THE DIAPASON APRIL, 2012
Duke University Chapel Durham, North Carolina Cover feature on pages 25–27 NEW YORK CITY Saturday, June 2 3:00 pm & 7:30 pm on the 75th anniversary of June 2, 1937 Church of the Ascension
DENVER Friday & Saturday June 15 & 16 at 7:30 pm St. John’s Cathedral
CHICAGO Friday & Saturday July 6 & 7 at 7:30 pm Rockefeller Chapel University of Chicago Christopher Houlihan performs the six organ symphonies LOS ANGELES of Louis Vierne in six major Thursday & Friday North American cities July 19 & 20 at 7:30 pm this summer to commemorate Cathedral of Our Lady of the Angels the composer on the 75th anniversary of his death. MONTREAL Friday & Saturday The symphonies will be August 3 & 4 at 7:30 pm presented in two sessions in cooperation with in each city, either in one day Les Amis de l’Orgue de Montréal or on two successive evenings. Church of the Gesu Part One : Symphonies I, III & V DALLAS Part Two: Symphonies II, IV & VI Saturday, August 18 Some venues may charge admission. at 3:00 pm & 7:30 pm Church of the Incarnation WWW.VIERNE2012.COM FOR MORE INFORMATION THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred Third Year: No. 4, Whole No. 1229 APRIL, 2012 John Bishop’s apps organs (both digital and pipe) is at an all- Established in 1909 ISSN 0012-2378 I was h-appy to peruse John Bishop’s time low throughout the world. Church- An International Monthly Devoted to the Organ, column in the January 2012 issue of The es are closing and merging their congre- the Harpsichord, Carillon, and Church Music Diapason. It was an app-etizing little gations. This is partly due to less interest tidbit. App-arently the app business is in in corporate worship and the economy full swing covering any number of app- creating fi nancial problems seriously lications. It’s app-arent that there is some affecting contributions. The Internet is CONTENTS Editor & Publisher JEROME BUTERA [email protected] value to many apps. However, according loaded with photos of closed and aban- 847/391-1045 to John, apps will not take the place of doned churches (mostly inner-city ones); FEATURES the human element in certain app-lica- many once had fi ne organs that are now Restoration of the 1770 Tannenberg Organ, Associate Editor JOYCE ROBINSON tions such as tuning or voicing a pipe wrecked by vandals. Zion Moselem Lutheran Church [email protected] by Raymond J. Brunner 19 organ. I app-laud John’s app-raisal and The current religious music “norm” 847/391-1044 research. I would be h-appy to app-oint appears to be led by praise bands, Dudley Buck’s Grand Sonata in E-fl at: Contributing Editors LARRY PALMER him to my Board of Directors. If I were which is the only type of church music The Architecture of an American Masterpiece Harpsichord younger, I would love to app-rentice with the younger generation enjoys and ap- by Jonathan B. Hall 20 him. Thank you John, for app-roaching parently appreciates and can relate to. JAMES MCCRAY Organists of Yesteryear this contemporary topic . . . When I was young some 60+ years ago, Choral Music in the World’s Largest Village Joe Rhodes most every home in town had a piano,
by Cathryn Wilkinson 22 Prescott, AZ and my peers were forced to attempt pi- BRIAN SWAGER Carillon ano lessons until many were fi nally dis- NEWS & DEPARTMENTS M. P. Möller couraged by their teachers due to lack Editor’s Notebook 3 JOHN BISHOP I read Randall Dyer’s article, “The of musical talent. Now, few homes have Letters to the Editor 3 In the wind . . . Last Vestiges of M. P. Möller,” in the pianos, and even fewer children take Here & There 3, 4, 6, 8, 10, 11, 12 January issue of The Diapason. I was piano lessons. Piano instruction often GAVIN BLACK trying not to think about it any more. But led to ORGAN lessons back then, but is Nunc Dimittis 10 On Teaching Harpsichord News by Larry Palmer 12 then, with sad feelings, I looked at the rare now. Drum and guitar lessons spark photos repeatedly, and saw the tools and their interest today. In the wind . . . by John Bishop 13 Reviewers John M. Bullard scale patterns lying around. Throughout our world, contracts for On Teaching by Gavin Black 14 David Wagner It happens that I was one of the last new pipe and digital organs are very rare Charles Huddleston Heaton REVIEWS seven men who were leaving the Aeo- now and competition is fi erce. Many fi ne John L. Speller lian-Skinner factory in Randolph, Mas- organbuilding fi rms have closed during Music for Voices and Organ 15 Jay Zoller sachusetts, two days before Christmas the past 40 years due to fi nancial prob- Book Reviews 16 1972. After that, we were told not to set lems, especially the larger and formerly New Recordings 17 foot into the plant again, otherwise we famous ones: Aeolian-Skinner, Schlicker, New Organ Music 18 could be charged with trespassing. And Möller, etc. Companies such as Wicks THE DIAPASON (ISSN 0012-2378) is published monthly then some years later, we can see that have downsized to meet the lesser de- NEW ORGANS 28 by Scranton Gillette Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. the Möller Company went through the mands of operating a large organ shop. SUMMER INSTITUTES 28 Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 MSG RLY. E-mail:
APRIL, 2012 3 St. John’s Church Lafayette Fest; June 3, Woodward Corridor Musi- The Cathedral of St. John, Albu- and Federico Lorenzani, followed by a Square, Washington, D.C., continues cians (chamber music). For information: querque, New Mexico, continues its concert by Stefano Innocenti at the Cap- its music series: April 6, soloists from 313/831-5000; Friends of Cathedral Music season: May pella Ducale di San Liborio. St. John’s Choir; May 4, Mary Bowden,
Jeffrey Cohan Timothy Tikker
Concert Artist Cooperative, begin- USA festivals. Dr. Kraaz is the profes- ning its twenty-fi fth year of operation in sor of music/organist at Ripon College in April, welcomes harpsichordist Paul Wisconsin. Mr. Tikker is the organist at Cienniwa, fl utist Jeffrey Cohan, or- Kalamazoo College in Michigan. ganist/historian Sarah Mahler Kraaz, Further information is available at and organist/composer/improviser Tim-
4 THE DIAPASON Colin Andrews Cristina Garcia Banegas Emanuele Cardi Sophie-Véronique Shin-Ae Chun Paul Cienniwa Adjunct Organ Professor Organist/Conductor/Lecturer Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Concert Harpsichordist Indiana University Montevideo, Uruguay Battipaglia, Italy Paris, France Ann Arbor, Michigan Boston, Massachusetts
Maurice Clerc Leon W. Couch III Joan DeVee Dixon Laura Ellis Henry Fairs Faythe Freese Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist Professor of Organ Dijon, France Milwaukee, Wisconsin Frostburg, Maryland Gainesville, Florida Birmingham, England University of Alabama
Johan Hermans Tobias Horn Michael Kaminski Sarah Mahler Kraaz Angela Kraft Cross Tong-Soon Kwak Organist/Lecturer Organist Organist Professor of Music/Organist Organist/Pianist/Composer Professor of Organ Hasselt, Belgium Stuttgart, Germany Brooklyn, New York Ripon College San Mateo, California Yonsei University, Korea
David K. Lamb Brenda Lynne Leach Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Organist/Conductor Organist/Conductor Assoc. Prof. of Organ Organist/Pianist/Harpsichordist Organist Organist/Presenter Columbus, Indiana New York City SWBTS, Fort Worth, TX Bergen, Norway New York, New York Champaign, Illinois
Anna Myeong David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Brennan Szafron Organist/Lecturer Organist/Lecturer Harpsichord & Organ Organist Organist/Lecturer Organist/Harpsichordist University of Kansas Atlanta, Georgia Southern Methodist University Decorah, Iowa William Jewell College Spartanburg, South Carolina
Timothy Tikker Michael Unger Elke Voelker Eugeniusz Wawrzyniak Jeffrey Cohan Duo Majoya Organist/Composer/Improviser Organist/Harpsichordist Organist/Musicologist Organist Concert Flutist Organ/Piano/Harpsichord Kalamazoo College, Michigan Rochester, New York Mannheim, Germany Charleroi, Belgium Seattle, Washington U of Alberta, King's UC www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director David Lamb, Assistant Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 a non-traditional representation celebrating its 25th year of operation The 2012 Haarlem International ture, including, but not limited to, the lection, Welch suggested that Stanford committee, headed by Bob Schubert. Organ Festival takes place July 14–28, conducting of competitions for organ- University, with its extensive archival The competition is in two phases: phase featuring historic organs in Haarlem, ists, the giving of scholarships for par- collection of music, might be interested. one was the search for a new text cele- Alkmaar, and Amsterdam. The schedule ticipation in masterclasses, pipe organ Jerry McBride, head librarian at the brating St. Andrew; phase two will begin includes more than 50 public events: the encounters or similar programs, the orga- Stanford Music Library, traveled to Port- soon—a search for a new tune to under- improvisation competition, recitals by nization and presentation of educational land to inspect the collection and eagerly score this winning text. organists and ensembles, masterclasses, experiences and programs for organists, accepted the gift. Adrian Low is professor of comput- and lectures. The opening concert will and the commissioning of appropriate Among the collection are many of ing education at Staffordshire Univer- feature the world premiere of the Fuku- new musical compositions and innova- Purvis’s organ scores, complete with his sity in the UK, and is faculty director shima Requiem by Zsigmond Szathmáry, tive events engaging several art forms. registrations and performance annota- for research, resources, and enterprise. performed by Cappella Amsterdam, For information:
Stephen Hamilton, Wendelin Eberle, and Douglass Hunt
On January 27, Stephen Hamil- the instrument were repaired and re- ton, minister of music emeritus at The stored in the historic church built in Church of the Holy Trinity (Episcopal) 1898. Hamilton’s concert included music in New York City, played a recital in by Messiaen, Bach, Ginastera, Tourne- honor of the renovation of the church’s mire and Franck. Shown in the photo- AUSTINORGANS.COM Rieger pipe organ. Installed in 1987, the graph are Stephen Hamilton, Wendelin 60-rank instrument underwent a com- Eberle, president of the Rieger Organ t8PPEMBOE4U)BSUGPSE$5 plete cleaning, with a new interior con- Company, and Douglass Hunt, curator sole, and a new 32-foot Pedal Bombarde. for the project. The roof, ceiling, and walls surrounding
6 THE DIAPASON thedral Music, and, on an international sets of service music (Gloria, Sanctus, level, a partnership with Pueri Cantores, Agnus Dei) available for download at a church music organization based in Eu- the church website (trinityepiscopalmc. rope. org) under “Service Music”. These nine Gray became director of the RSCM dignifi ed, quite easy-to-learn/memorize after 14 years as headmaster of the Ca- settings A, B, C are inter-changeable. thedral School, Llandaff in Cardiff; be- PDF downloads here are based on the fore that he served as a head of a pre- honor system. Users are asked to follow paratory school in Gloucestershire and the directions provided on the Service held a number of director of music posts Music page of the website, since this at schools in the west of England. He project represents a fund-raising effort studied music at Cambridge University, to restore the 1922 two-manual, 23-rank where he was also a counter-tenor cho- Austin organ at Trinity Church, Michi- ral scholar in the Choir of King’s College gan City. Wolfgang Rübsam is a regular Chapel under Sir David Willcocks and composer on the roster of Europe’s larg- Sir Philip Ledger. He subsequently took Craig Phillips est music publisher, Schott Music Inter- an education diploma at Durham Uni- national. versity, where he was also organist and missions for organ, choral, and ensem- choirmaster at St. John’s Neville’s Cross ble works, including commissions for Robert Sirota’s new work, holy and a choral scholar in the city’s Cathe- Ann Labounsky AGO national and regional conventions. ghosts, will be premiered by Victoria dral Choir under Richard Lloyd. Awards for composition have included Sirota at the Metropolitan Museum of begun in 1979 under the direct super- fi rst prize in the 1994 Clarence Mader Art in New York on May 2, in celebration Subito Music has announced the pub- vision of the composer and encompass Competition for Organ Composition, of the 30th anniversary of the installation lication of Dan Locklair’s popular organ more than 300 compositions recorded numerous ASCAP awards, and a Meet of the 1830 Thomas Appleton organ. solo, PHOENIX Processional, in his ar- over more than 30 years on instruments the Composer grant for a work pre- The three-movement piece is based on rangement for trumpet and organ. Subito associated with Langlais’ career, both in miered at the Ojai Festival in Califor- three tunes—Semley, Helmsley, and has also published another Locklair work France and the United States. For infor- nia. See the interview, “A Conversation From Greenland’s Icy Mountains, for this combination, Trumpets of Light. mation: 412/734-4975 x2, or
Kent Tritle
Handel and Haydn Society Collection of Church Music, edited by Lowell Mason. Kent Tritle continues his busy sched- ule as director of music and organist of the Cathedral of St. John the Divine, music director of the Oratorio Society of New York, music director of Musica Wolfgang Rübsam Sacra, and director of choral activities at the Manhattan School of Music. In addi- and David Hurd. tion, two recordings of unique repertoire are being released, and “The Choral Mix Wolfgang Rübsam, director of mu- with Kent Tritle” (WQXR) continues in sic at Trinity Episcopal Church, Michi- its second year. gan City, Indiana, has composed three ³ page 10 Chwen-Huei Tsai, Nigel Potts, and Melody Chen
Nigel Potts completed his third the Taiwan AGO chapter was formed tour to Asia in November 2011, where in 2010. Potts’s tour also included a he performed concerts, taught mas- recital for the Singapore AGO chap- terclasses, and presented workshops ter, as well as a return engagement at on ‘British Organ Music of the 19th & the Hong Kong Cultural Center. Nigel 20th Centuries’ at all three tour ven- Potts is represented by Phillip Truck- ues. His performance in Taipei, Tai- enbrod Concert Artists. Pictured are wan was offi cially the fi rst recital from Chwen-Huei Tsai, Nigel Potts, and a visiting international organist since Melody Chen (Taiwan AGO Dean).
MANDER ORGANS
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Exquisite Continuo Organs Lawrence Shoepple and Allen president Steve Markowitz St. Peter’s Square In February, Lawrence Shoepple addition, like many other Allen employ- London E 2 7AF • England celebrated his 50th anniversary as an Al- ees, he met his wife Eileen, who was also [t] 011 44 20 7739 4747 len Organ employee. He joined the com- employed at the company. [f] 011 44 20 7729 4718 pany in 1962, shortly after graduating Long-term company-employee rela- [email protected] high school in nearby Allentown, Penn- tionships are not unheard of at Allen Or- sylvania. Since then he has held various gan Company. Shoepple joins fi ve other www.mander-organs.com assembly and technical positions at the Allen employees who reached the 50- Imaginative Reconstructions company, currently working in the elec- year milestone in 2010. tro-mechanical assembly department. In 8 THE DIAPASON The people who work for Monarke are passionate about building organs. A team of designers, cabinet makers, sound engineers and musicians harmo- niously create unique instruments time and time again.
Each Monarke organ is individually created based on customer requirements. The instrument is careful- S`ÄUL[\ULK[VP[ZLU]PYVUTLU[;OPZTHRLZH4VUHYRL organ beautiful to look at and great to listen to.
Keplerlaan 2, 6716 BS Ede, The Netherlands, telephone: 011 31 318 63 74 03 www.johannus.com rian chant and Palestrina to Strauss and from which he received the Teacher of and master’s degrees from the University Eric Whitacre. To be released June 2012 the Year award in 1975, and served many of Southern California, and served as or- is Messages to Myself, with Musica Sa- congregations in Albany, Castleton, and ganist at Vermont Avenue Presbyterian cra performing fi ve new works by Daniel East Greenbush as an organist and choir Church and First Congregational Church Brewbaker, Michael Gilbertson, Zachary director. He served as an Army surgical of Los Angeles. In 1956, he became or- Patten, and Christopher Theofanidis. technician during World War II, and ganist, and several years later organist/ Tritle’s schedule: April 3, Manhattan used this experience to serve with the choir director, for Pasadena Presbyterian School of Music Chamber Choir; 4/10, Castleton volunteer ambulance service Church. During his 26 years there, he Cathedral of St. John the Divine, Man- for 31 years. Raymond P. Gietz, prede- played over 1,000 recitals broadcast over hattan School of Music Symphonic Cho- ceased by Jean, his wife of 42 years, is the church’s radio station, and directed rus and Brass Ensemble; 4/18, master- survived by his daughter, two grandchil- the Kirk Choir in many major produc- class, Metropolitan Opera Guild; 4/23, dren, and four great-grandchildren. tions including Stravinsky’s Symphony of Musica Sacra, Weill Recital Hall at Carn- Psalms and Bach’s Magnifi cat. egie Hall; 4/26, Oratorio Society of New Adelma Gomez died November After leaving Pasadena Presbyterian, York, Carnegie Hall; May 1, Cathedral of 14, 2011; she was 77 years old. Born he became organist and choir director St. John the Divine, music from Eastern in Buenos Aires, she graduated from for St. Therese Catholic Church in Al- Europe and Armenia; June 6, organ re- the Conservatorio Superior de Música hambra, and retired from this post in cital, Church of St. Ignatius Loyola. For Manuel de Falla; she studied organ with September 2011. Prichard toured Eu- information:
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10 THE DIAPASON setting was commissioned by the Dean tural fi rm of Fogh & Følner. With this Schmidt Piano and Organ Service, of St. Peter’s Roman Catholic Cathedral contract Lewtak will break a historic bar- Kitchener, Ontario, Canada, has restored in Lancaster, and also sets music for the rier: they will become the fi rst American a Layton reed organ for the family of the Memorial Acclamations, the Doxology, fi rm ever to build an instrument in Den- late Hon. Jack Layton, who was leader and Great Amen. Philip Ledger’s setting mark. More information can be found at of the offi cial opposition in the Canadian was commissioned by a Roman Catho-
Buzard Latrobe drawing MEAN TO YOU? John-Paul Buzard Pipe Organ Builders of Champaign, Illinois an- nounces that it has signed an agreement for a new Gallery Organ for St. Vincent Benedictine Archabbey, in Latrobe, Pennsylvania, to be completed by Eas- ter 2014. The Gallery Organ will be a three-manual 72-rank instrument locat- ed in free-standing cases on either side and beneath a large round window in the basilica’s gallery. It will complement a small Apse Organ built by Buzard in 2010. Both organs will play from a single console located near the crossing, con- structed previously and delivered with the Apse Organ. The Choir Division of the new Gallery Organ has been pre- pared for future addition. Often Imitated St. Vincent Archabbey is the oldest • Benedictine monastery in the USA, and has recently celebrated the 200th anni- versary of its founding by Boniface Wim- Never Duplicated mer. The monastic musicians are The Rev. Cyprian Constantine, OSB; The Rev. Stephen Concordia, OSB; and The Rev. Donald Raila, OSB. The visual de- sign is a collaboration between John-Paul NORTH AMERICA’S PREMIER Buzard and The Rev. Vincent DePaul Crosby, OSB. The Right Rev. Douglas PIPE ORGAN BUILDING AND SERVICE FIRMS Nowicki, OSB is St. Vincent’s archabbot. BUILDER MEMBERS ANDOVER ORGAN COMPANY DOBSON PIPE ORGAN BUILDERS PARSONS PIPE ORGAN BUILDERS BEDIENT PIPE ORGAN COMPANY GARLAND PIPE ORGANS, INC. PASI ORGANBUILDERS, INC. BERGHAUS PIPE ORGAN BUILDERS, INC. GOULDING & WOOD, INC. PATRICK J. MURPHY & ASSOCIATES INC. BIGELOW & CO. ORGAN BUILDERS HENDRICKSON ORGAN COMPANY PAUL FRITTS & CO. ORGAN BUILDERS BOND ORGAN BUILDERS, INC. HOLTKAMP ORGAN COMPANY QUIMBY PIPE ORGANS, INC. BUZARD PIPE ORGAN BUILDERS, LLC KEGG PIPE ORGAN BUILDERS RANDALL DYER & ASSOCIATES, INC. C.B. FISK, INC. LÉTOURNEAU PIPE ORGANS SCHANTZ ORGAN COMPANY CASAVANT FRÈRES NOACK ORGAN COMPANY, INC. SCHOENSTEIN & CO. TAYLOR & BOODY ORGANBUILDERS SUPPLIER MEMBERS A.R. SCHOPP’S SONS, INC. SOLID STATE ORGAN SYSTEMS PETERSON ELECTRO-MUSICAL PRODUCTS, INC. HARRIS PRECISION PRODUCTS OSI - TOTAL PIPE ORGAN RESOURCES Østerhåb Kirke, Horsens, Denmark
Lewtak Pipe Organ Builders has the highest standards of integrity, quality and craftmanship in pipe organ building been selected to build a new organ for Østerhåb Kirke, a newly built church in 1-800-473-5270Call for our free 64 page color prospectus www.apoba.com Horsens, Denmark. The new organ will have 26 stops (35 ranks) spread over two
APRIL, 2012 11 Harpsichord News by Larry Palmer
Bach from Finland and Medici Mu- sic from Italy
Elina Mustonen’s recording of Bach’s Six Partitas for Harpsichord An artist of distinction new to me is the superb Finnish harpsichordist Elina Mustonen. Her 2009 recording of the Six Partitas, BWV 825–830 by Johann Sebastian Bach (Polyhymnia Records PH 0908), provides musically stimulat- ing readings of these major dance suites Elina Mustonen, Bach 6 Partitas played with understanding and integrity on a fi ne harpsichord after Couchet by The pieces form four multi-movement Dutch builder Willem Kroesbergen sets, each containing one or more binary (Utrecht, 1993). Aria alla Francese, all of which are in Ms. Mustonen, who has been playing duple meter, with both A and B sections the harpsichord since the age of eight, ending in a petite reprise. Each aria ends graduated from the Helsinki Sibelius with open harmony, lacking a third—ma- Academy in 1983, moved on to pursue jor or minor—in its fi nal chord. This two-manual, twelve-rank tracker graduate study with Ton Koopman at The fi rst group of pieces, in A Major, E. & G.G. Hook Opus 173 (1854), built for organ was designed and built by David the Sweelinck Conservatory in Amster- contains a Preludio Cantabile con Liga- the State Street Congregational Church E. Wallace & Co. for the Congregational dam, and returned to Finland to join ture, Passagagli Pastorali (at 109 mea- in Portland, Maine, spent just over 100 Church in Perry, Maine. The new organ the faculty of the Sibelius Academy. She sures, the longest work in the volume), years of its life in the Westbrook, Maine uses some recycled materials and pipe- achieved her doctorate from that institu- and two Arias. Set Two, in A Minor, be- United Methodist Church, having been work, fi ts the available space, and has moved there in 1893. When the West- casework in the tradition of New Eng- tion in 1988 with a thesis on J. S. Bach’s gins with a Preludio di Botte, Acciacha- brook church closed and the congre- land Congregational churches. The new harpsichord pedagogy. ture, e Ligature—containing especially gation disbanded in 2003, the three- case was styled after an 1840 George Her earlier recordings of fi fteen Scar- thick chords with handfuls of notes— manual, 27-rank organ was transferred Stevens organ currently in storage in latti sonatas, chamber works, and com- and two Arias, separated by a 30-measure to David E. Wallace & Co. for disposal. the Wallace & Co. shop. The organ was plete sets of Bach’s French and English Tochata that opens with four measures In 2009 the restoration of the organ was installed in November 2009 and dedi- Suites for Harpsichord built Mustonen’s of whole notes outlining ascending tonic completed and the organ was then in- cated in April 2010. reputation as an artist of merit. chords, suggesting arpeggiation similar stalled in the Church of Our Lady and Of particular interest is the order in to that at the beginning of a Frescobaldi St. Rochus in Boom, Belgium. ter, New York, for the Eastman School which she offers the partitas on this two work in the same genre. of Music. The Wallace and Company compact disc set: beginning with the C- A third set of pieces, in G Minor, the restoration and renovation of me- crew—Nicholas Wallace, Gwen Row- Minor Partita (number 2), she continues opens with brief Preludio and Aria, a chanical-action instruments. Many of land, Seth Doyle, and David Wallace— with the third Partita in A Minor, and 16-measure Tochata, continues with the organs renovated by Wallace and will host an open house to celebrate the concludes with the fourth, in D Major an extended 89-measure Passagagli, Company are those that have been dis- renewal of the Hook & Hastings organ (total time 76:22). Disc two opens with and concludes with an Alemanda that placed from their original locations and and the 30th anniversary of the Wallace Partita Five in G, continues with the fi rst not only cadences with a third-bearing relocated to new homes, where they fi rm in mid May. Details of the celebra- Partita in B-fl at, and ends with the sixth chord, but has it prominently placed in continue to provide a traditional source tion will be available on the Wallace and Partita in E Minor (total time 75:57)— the top voice. Two more pieces, in D of music in support of the worship ser- Company website: giving an especially coherent tonal tra- Minor, make a pair rather than a suite, vice. The changing musical environ-
12 THE DIAPASON sitely lampooned by the British comedy I was getting away with it. But how re- where music and silence are almost indis- troupe Monty Python. We can deduce freshing to see this simple expression ex- tinguishable. In other words, just about In the wind . . . that the formalization of dining rituals pecting respect. By setting out a code of the worst possible moment. (After a quick by John Bishop set the stage for freer exchange of ideas decorum with a twinkle in his eye, he has check of my Dover score, I think it was in conversation. taken the pressure off anyone who didn’t about 13 bars before the last Adagissimo.) When you get right down to it, good know how to behave in church, while A matter of manners manners in just about any situation are a giving a nudge to those who know per- You guessed it. A cell phone rang. The In the fi rst days of the twentieth statement of respect for the occasion and fectly well but seem to have forgotten. iPhone Marimba. In the front row. In century my great-grandfather and his the people participating in it. I’ve heard many stories from colleagues Avery Fisher Hall. It kept ringing. It seven brothers ran a large and success- § who, sitting in princely splendor at their rang and rang. ful silk business, importing thread from console in the chancel, look out across a Someone in the audience yelled, China and weaving fabric. There was a A couple months ago, I wrote of my congregation full of Tetris, Words-With- “Thousand dollar fi ne.” sprawling mill complex in Manchester, fascination with the fast-growing world Friends, e-mails, and texting. One told The fi rst sentence of reviewer Daniel Connecticut bearing the family name of cell-phone Apps. Those snazzy little me how a man answered a phone call Wakin’s article in the January 12 edi- that included a company assembly hall, bits of software that are being created during worship, then walked around be- tion of the New York Times read, “They which is still home to a lovely organ by to simplify our lives at ninety-nine cents hind a pillar, thinking that would keep were baying for blood in the usually E. & G. G. Hook. Glad to know my a pop seem like gifts from God because his fellow worshippers from hearing him. polite precincts of Avery Fisher Hall.” forebears had good taste in pipe organs. they drop from heaven with no effort at (“Hey Mister, churches have acoustics!”) Maestro Gilbert stopped the perfor- Eight grand houses shared an expanse all, with the potential of enlightening us One of my Words-With-Friends mance, turned to face the audience, lo- of lawn, one of which was still my great- like mega-bytes of holy grail. But in fact, friends is organist of a church in Hawaii. cated the offender and stood staring at grandmother’s home when I was grow- when used without consideration, our Last week she shared a YouTube video him. An article in the January 11th issue ing up. Each year at Columbus Day we cell phones and all they contain are play- on the subject of cell phones in church, of
APRIL, 2012 13 ning along behind stonewalls shooting anything gets in the fi eld of music and composer’s interest. Not surprisingly, pos at which this short Bull piece would muskets at British Redcoats in Concord music teaching in general, or of organ- composers—whether they are writing be harder to play than the Reger Opus and Lexington, Massachusetts in 1775, playing and organ teaching in particular. for Karl Straube or not—tend to ap- 16: that is, a mind-bendingly fast tempo while Viennese noblemen in powdered We don’t necessarily all agree as to which proach daringly close to that “unplay- for the Bull and a glacial tempo for the wigs danced the minuet to the new mu- pieces are more diffi cult and which less able” line, and then to decide not to Reger. In order to achieve my inverting sic of Haydn. Tra-la! so. Most of us, from our own experiences cross it. This is as true of a composer of the diffi culty of these two pieces, the Jeopardy: as players and from what we have seen like Beethoven, who stated bluntly that tempos would have to be so extreme that A group of people who are united with our own students or other perform- he didn’t care what performers could or they would both be well outside what by a common interest and allow them- ers, know that different pieces or sorts of couldn’t do, as it is of composers like anyone would ever do. However, within selves to be sequestered toward that pieces are more or less diffi cult for dif- Bach or Franck, whose keyboard com- a more realistic range of performance interest, failing to communicate with ferent players, and at different times in positions arose out of their own work as tempos, the Bull can become a virtuoso the rest of society. one player’s career. performers and improvisers. challenge of its own, and the Reger can “What is an ivory tower?” It is also interesting that Straube—as move from the “impossible” all the way I’ve been down this path with you Repertoire in order of difficulty a student, before he had met Reger in down to the “very hard.” before, and we’ll do it together again, When I fi rst acquired copies of one or person—was in fact drawn to Reger’s because our future depends on it. With two volumes of the Peters edition of the music in part because it was fi rst pre- Difficult passages only a few regional exceptions, tradition- Bach organ music—in about 1971, at the sented to him as being too diffi cult to Many pieces that have a reputation al organized worship is taking a different age of about fourteen—I noticed that play. Straube’s teacher Heinrich Rei- for being very hard are as diffi cult as place in our society than it did when I was the separately bound Preface included a mann showed him Reger’s then very their reputations suggest only in spots. a kid. The Organ Clearing House thrives listing of all of the (non-chorale based) recently published Suite in E Minor, op. For example, the Bach F-major Toccata because churches close—a tough place pieces arranged according to diffi culty. I 16, telling him that it was unplayable. is considered one of his hardest organ to be—and I can tell you that churches was excited about this, since it seemed This seems to have motivated Straube to pieces. It earned a very high place on are closing by the hundreds all across the both useful and authoritative. I allowed learn it, which may or may not have been “the list”—maybe at the very top, cer- country. I’ve heard colleagues say that it to infl uence what pieces I chose to Reimann’s intention all along. I myself, tainly close. However, long stretches we have to separate the pipe organ from work on—though not in a logical or con- when I was still more-or-less a student, of the piece are really not hard at all. the church in order to sustain it, but let’s sistent way. Sometimes I would choose occasionally started to work on a piece The opening has nothing going on in face it: besides a few dozen spectacular a piece because I thought it was easy because someone had said to me that I the pedal, and the two manual lines are concert-hall installations, separating the enough to be within my grasp, some- could not learn it. (This was never, in my somewhat intricate, but not remotely organ from the church is like separating times I would spurn and reject pieces case, one of my own teachers.) I always beyond the bounds of the “intermedi- ice cream from sundaes. that were described as being “easy,” be- learned something valuable from the ate” for anyone. Then there is a pedal We are promoting an ancient instru- cause I thought that working on them attempt, although it did not necessarily solo, which is also quite learnable. The ment in a modern society. Get with it! Q would be sort of embarrassing, classify- result in my mastering the piece in ques- following two pages are essentially a re- ing me as “not very good.” Needless to tion at that time. cap of this opening: carefully designed say, this was all rather silly. by the always pedagogically aware com- I did continue for a long time—after Aspects of difficulty poser to be a bit longer and a bit trickier my studying had become at least a bit When we talk about a piece’s being than the opening itself, but similar in na- On Teaching more systematic and effective—to cast very diffi cult, we are almost always talk- ture. Then, beginning at about the fi fth by Gavin Black sneaky glances at the list out of the cor- ing about the learning and reliable play- page, the hands and feet start moving ner of my eye. I would pat myself on the ing of the notes: the right notes, in the together, and things get more complex. back just a little a bit whenever I put in right order, at a suitable tempo. That is Still, however, the notes fall into place some work on a piece in the top half or not to say that anyone denies that other quite naturally. Most players I know so of the diffi culty scale. I pretty much aspects of playing a piece can be diffi - who have worked on this piece report stopped doing this when Eugene Roan, cult. In fact, performing even a simple that this section yields nicely to practic- with whom I had by then started taking piece in such a way that it is extraor- ing and is not more diffi cult than other lessons, mentioned casually to me one dinarily compelling, beautiful, inter- Bach prelude-type pieces. It is the three day that an eminent recitalist he know esting, thought-provoking, disturbing, brief passages that involve the return thought that piece x was much more dif- whatever we want it to be, is probably of the opening motif of the piece, this fi cult than piece y—the opposite order as hard and (at least) as rarely achieved time in manuals and pedal together, that from the Peters list. This introduced me as playing a diffi cult piece competent- seem really hair-raising to many of those to the idea that this whole diffi culty thing ly. However, that is indeed a differ- who work on the piece. This is not ev- could be relative, though at that point in ent thing. When students ask whether eryone’s experience, but it is a common my career I couldn’t have said how or the Goldberg Variations or the Dupré one. Other very diffi cult pieces can be why this might be so. Prelude and Fugue in G Minor is too analyzed this way as well: perhaps most hard for them, they are rarely inquiring of them. In the Goldberg Variations, for Reger and Straube about whether the teacher thinks that another example, probably about eighty Another way that the concept of dif- they can project the deepest meaning percent of the writing is no more diffi cult fi culty as a kind of independent variable of the piece effectively. Of course, there than the average for The Well-tempered in pieces of music came to my atten- is always this relationship between what Clavier or Handel harpsichord suites. tion when I was fi rst getting interested might for the sake of simplicity be called That is not, by any standards, “easy.” But in organ was through hearing the story the two types of diffi culty: that the bet- it is the remaining fi fth or so of the work of Max Reger and Karl Straube. The ter-learned the notes of a piece can be- that gives it its reputation as “only for Hard pieces and idea was that Reger had made his or- come for a given player—the closer the advanced players.” recalcitrant passages gan pieces more and more diffi cult piece can come to feeling easy once it One source of diffi culty in working on This month I am writing about the in the hope of writing something that has been learned—the more of a chance pieces of music is unfamiliarity with a phenomenon of pieces being diffi cult Straube, his good friend who was also there is that a performance can also be particular style or the technical tenden- and the related phenomenon of specifi c the leading German organ virtuoso of musically effective. cies of a particular type of music. Ralph passages being hard to learn: either dif- the time, would be unable to play. It The piece that I happen to have been Kirkpatrick, in his preface to his edition fi cult by any standard or surprisingly was also said that he never succeeded: practicing the most in the week or so of sixty Scarlatti sonatas, fi rst outlines a diffi cult—for reasons that may seem that Straube “won.” There are a couple before I sat down to write this column set of rigorous ideas about how to work elusive—for a particular student. This of interesting things about this. One is the “In Nomine” by John Bull that is on the sonatas, both as to analysis and as is not a very systematic or methodologi- is that, of course, it is trivially easy to found in volume 1 of The Fitzwilliam to practicing. Then he says that if a stu- cal discussion: just a few ideas—almost write a piece that is unplayable, if that Virginal Book. The makers of a list like dent approaches six sonatas this thor- just random thoughts—that I think are is really all that you want to do. All that the Peters Bach organ repertoire list oughly he or she will not have to do the interesting or that may help some stu- you need to do is to write notes that are would probably put this piece at the same with the next sonata or later ones. dents or teachers. too far apart in compass to reach. The easy end of “moderate” or the somewhat The particular shapes of a given kind of We all believe that some pieces are music does not have to be particularly high end of “easy.” It is in three voices music become ingrained. I myself, as harder to learn or to perform than oth- complex or intricate or fast. However, throughout, but none of the voices is a player who has worked more on Ba- er pieces. This—just as a basic fact—is a piece that is really unplayable will, in very busy or intricate. For much of roque music than on anything else, fi nd probably as close to uncontroversial as fact, not be played. That is never in any the piece the middle voice lies in such it much easier both to sight-read and to a way that it could be taken by either learn Baroque pieces—even complex hand, so there is a fair amount of fi nger- and diffi cult ones—than music from a ing fl exibility. It is (though this is obvi- later era. To me this suggests patience. ously subjective) not a piece that many If a student is working on his or her fi rst MANDER ORGANS people would think should go very fast: piece from a particular genre or style certainly not fast enough to make play- or time period, then that piece is going ing it into an athletic challenge—which to be harder than the next one will be. New Mechanical some of Bull’s pieces are. This is a piece That should not be surprising. that I used to play a lot and, as best I can Action Organs remember, I did indeed initially choose Practice strategies it because it was not too athletic. Bull’s If a student is interested in working Walsingham or King’s Hunt would have on a piece that seems too hard, I am ex- seemed beyond me many years ago. tremely committed to letting him or her However, it occurs to me that this piece do so and to making it work. The fi rst Exquisite is a good illustration of the relationship step for me is to try to fi gure out whether Continuo Organs between note-learning diffi culty and the diffi culty is found in a few spots or St. Peter’s Square tempo. There is—literally—a set of tem- more or less throughout. This affects London E 2 7AF • England [t] 011 44 20 7739 4747 [f] 011 44 20 7729 4718 CLAYTON ACOUSTICS GROUP [email protected] 2 Wykagyl Road Carmel, NY 10512 845-225-7515 [email protected] www.claytonacoustics.com www.mander-organs.com ACOUSTICS AND SOUND SYSTEM Imaginative Reconstructions CLAYTON ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP
14 THE DIAPASON
Feb 2011 pp. 2-18.indd 14 1/13/12 10:25:02 AM all of the time signatures and all of the sound notion that a tricky rhythm should SAB, unison, and two-part settings bar lines were magically erased from all be practiced some—initially or whenever Music for Voices are frequently used by summer church of (at least) western classical music. The it becomes a problem—without the dis- choirs, and they are the items reviewed note lengths and the rhythms that arise traction of worrying about fi ngering and and Organ below. Some groups do not have a mid- from them are fully described by the hand position. It is a form of isolating by James McCray week rehearsal, but instead gather early note-heads, stems and fl ags. The bar lines and simplifying something diffi cult, phil- on Sunday for quick rehearsals of a do not change anything about that, and a osophically similar to practicing hands simple anthem. This gives some relief time signature is—for basic rhythms—ei- or feet separately. I would suggest, as a Summer church choirs yet still provides a choir to help lead the ther redundant or incorrect. Sometimes modifi cation of this, that a student can in congregational singing which, in some a time signature suggests something effect practice a rhythm in isolation by Man needs, for his happiness, not only churches, is desperately needed. Using about what pulses or groupings will arise playing it with random easy notes, per- the enjoyment of this or that, but hope and a soloist in the anthem slot, in place of enterprise and change. out of the basic rhythm. But even with haps just fi ve adjacent notes played up —Bertrand Russell the choir, often results in poor hymn respect to that, if the groupings or pulses and down by the fi ve fi ngers: no choices (1872–1952) singing unless the music is very familiar would not be there or would not be con- to make about notes or fi ngering, but and popular. vincing without the time signature, then a sonority to hear. This seems to me to These monthly columns are written Summer is often a stretch on budgets they are probably not really there with it be more “true to life” and probably just three months in advance of when they for the church. Smaller attendance usu- either. I mention this partly to reinforce more interesting for many players. It also will appear in print. So the dead of winter ally means smaller collections. Another the idea that no one learning how to read gets around a problem that clapping and seems to be a good time to think of sum- problem is the use of substitute organists rhythm in our common notation should tapping both have: that they are usually mer! In Joan Didion’s latest best-selling who may or may not be as effective as be thinking about time signatures or bars carried out as “repeated note” gestures, autobiographical book, Blue Nights, she the incumbent musician. Hymn tempos, or measures. This is just a distraction. and that fast “notes” are therefore harder offers this observation on it: choir accompaniments, and other mat- Also, when a player who is past the stage than they need to be. If a student is in ters that choir directors take for granted of learning notation—who is presumably fact going to tap a rhythm on the table, In certain latitudes there comes a span are sometimes a cause of disappointment comfortable with the rhythm side of mu- then he or she should use two hands of time approaching and following the while the regular organist enjoys time summer solstice, some weeks in all when sic reading—nonetheless has a problem alternating, or two or more fi ngers al- the twilights turn long and blue. . . . You off. This is especially critical when there reading the rhythm of a passage or with ternating in what amounts to keyboard- notice it fi rst as April ends and May be- is no mid-week rehearsal and the short feeling secure about that reading, it is al- playing gestures. gins, a change of season, not exactly a pre-service rehearsal is the only time all most always a distraction to be thinking 7) Another way to practice the rhythm warming—in fact not at all a warming— practice together. about the time signature or the phenom- of a passage with diffi cult notes is to slow yet suddenly summer seems near, a pos- However, the need for a change enon of “measures”. I have seen many the passage down enough that the notes sibility, even a promise. in the routine of church musicians is students effectively prevent themselves become easy. This is, of course, always highly recommended. Even God rest- from reading a fairly straightforward the pillar of good practicing, as far as I Those of us who are church choir direc- ed after his toils of creating the world! rhythm because they were not sure right am concerned, whatever the particular tors and teachers enthusiastically share During summer, church choir directors off the bat how to relate that rhythm to circumstances. Sometimes, however, in those feelings! should plan for the coming year, attend something about the time signature or order to make the notes of a passage easy Church choirs typically have a full choral workshops, review new music, meter or the placement of bars. This enough that the student can afford to or partial break during the period from and do all those things that were ne- leads me to the next point, an especially think about the rhythm, the tempo has to June to late August. The church moves glected during the frantic pace of the important one. become so slow that the rhythm begins into a slower pace with lower attendance other nine months. Consider setting 4) If the systematic counting of a to seem even more non-intuitive or not at weekly services. In some instances, new goals for the choir and for yourself passage is going to be useful in creat- really there: almost as if the sixteenth- the number of services is also reduced. that will result in positive changes for ing an accurate rhythm, then of course notes were indeed lasting years. The way Schedules change; with vacations and the church. Be reminded that summer the counting must happen at a steady to deal with this is not to be afraid of other summer activities, church choirs is a time for refueling. pace. It does not, however, need to use subdivision. If the line that I used for my and directors enjoy their well-deserved At all costs, avoid feeling guilty for numbers that relate it to the measures. examples above were hard enough that it respite from the weekly demands of re- wanting and enjoying the slower pace Often using the ordinary “one and two had to be practiced at eight quarter-notes hearsals and worship services. of summer. Vacations are important for and three and . . . ” system for counting per minute, for example, then the cor- Pentecost is often the end of the health and attitude. As Supreme Court a passage is enough of a distraction that rect choice for the counting beat would church choir’s season, and in 2012 that Justice Louis D. Brandeis pointed out it hinders rather than helps. Also, some- probably be the thirty-second note, at occurs on May 27. Those choirs that when he was criticized for taking a short times a student puts so much stock in the sixty-four per minute. This would in- continue to sing during the summer vacation just before the start of an im- fact that the numbers are present and in deed mean that the opening whole-note months usually fi nd their numbers are portant trial, “I need the rest. I fi nd that the correct order that he or she forgets to would be counted (steadily!) from one smaller. Of course, this suggests that I can do a year’s work in eleven months, keep them absolutely steady. So we hear to thirty-two. This might seem—or in- easier music is required, and that is the but I can’t do it in twelve.” Happy sum- something like this: “one and two . . . and deed be—annoying. However, there is focus of this month’s reviews. mer to each of you! three . . . andfourand.” The student be- no shortcut to practicing slowly enough, lieves that the passage is being practiced and attempting to time a note that lasts correctly because, again, those numbers half a minute by counting only “one and are there, and they are the right numbers two and three and four and” is not going INCE 1979, we have in the right order. So rather than count- to succeed. The numbers and the “ands” ing a passage as in Example 1, I would are too far apart to be meaningfully relat- designed and built over suggest something like that shown in Ex- ed to one another in counting them out. 120 new pipe organs for ample 2. 8) There is sometimes a fear of sub- S This starts with deciding to use the division or of building rhythms up by clients in Australia, Austria, eighth-note as the steady beat. (The cor- counting out the smallest components. New Zealand, England, rect choice for the steady counting beat The fear is, I believe, that too much of at the beginning of the process of drilling this will make a performance seem chop- Canada and the United States. a rhythm is the smallest fairly common py, make it not convincingly refl ect the Our instruments, whether note value, unless the passage needs underlying pulse. My own experience is to be kept slow enough that that note that this is just not a problem. Having the tracker or electric action, have value is too slow to follow easily: see 7) player’s conception of what the rhythm been praised for their rugged below.) Then it expresses the length of actually is—what the note lengths and construction, comfortable each note in the number of eighth-notes their relationships are—be both correct Opus 116 that that note value actually includes. Of and really solid is the absolute require- consoles, responsive key course, it is still necessary to be sure that ment for achieving a convincing pulse. the numbers come at an even pace. But Counting small beats—subdivided actions and tonal integrity. the second example zeros in on what the beats—accurately is the most sure-fi re New cases, keyboards, player needs to understand and to work way to be certain that the rhythm being windchests, reservoirs and on. Of course, as the passage becomes drilled is accurate. As a passage becomes better learned and can go faster, the next solid and as the tempo is able to ap- pipes are all built from raw step with this type of counting looks like proach performance tempo, the player’s materials within our two Example 3. focus on the smaller beats will naturally 5) The kind of counting described in melt away. The ease with which both the workshops located in Saint- 4) is also one of the best exercises for correct notes and the correct rhythm Hyacinthe, Québec. Our team teaching the basics of rhythm notation, can be executed will free the player up once the simple rhythmic meaning of the to listen for the beat groupings and the of experienced builders also different note shapes has been learned. underlying pulse along with any and all restores and rebuilds older Taking a large number of fairly straight- other artistic or rhetorical aspects of the forward but not trivial rhythms—say music. Also, any rhythm that needs to be instruments to make them of about the level of my example—and slowed down a lot and treated to a really sound and play better than ever. Opus 118 counting them out this way serves to drill extreme subdivision will be the excep- the meaning of the different note values tion: an especially hard passage. Every quite effi ciently. For this purpose it is not player will have the experience of playing necessary to play anything, just to count, many passages that have been learned dropping back to “1” at the beginning of from the beginning counting only the LÉTOURNEAU PIPE ORGANS each new note. At the same time, this time-signature beats. If it is indeed eas- type of counting really does work well ier to get a convincing overall pulse and to straighten out a tricky or recalcitrant shape in these passages—which I rather USA Canada rhythm. It is not just for beginners: I use doubt—then the player can consciously 1220 L Street NW 16 355, avenue Savoie it myself when I encounter a rhythm that transfer the feeling of playing and hear- Suite 100 – Box 200 St-Hyacinthe, Québec I want to count out. ing those passages to others that have Washington, DC J2T 3N1 6) Sometimes the idea arises of prac- had to be taken apart more fi nely. Q 20005-4018 Tel: 450-774-2698 ticing the rhythm of a passage complete- Tel: 800-625-PIPE Fax: 450-774-3008 ly separately from the actual notes. This Gavin Black is Director of the Prince- Fax: 202-737-1818 [email protected] usually takes the form of tapping the ton Early Keyboard Center in Princeton, [email protected] www.letourneauorgans.com rhythm on a table or clapping it. This can New Jersey. He can be reached by e-mail be a good idea. It is based on the clearly at
APRIL, 2012 15 Unison The cello line could be sung by the bass Put on Love, Lee Dengler. SAB and and fuguing tunes of Tans’ur, Billings, section, as indicated on the score. This keyboard, Augsburg Fortress, 978-1- Knapp, and Arnold, followed by the su- Give Me the Wings of Faith, David contrapuntal music could be used for 4514-2078-4, $1.30 (M-). perior hymn-tunes by Samuel Holyoke Halls. Unison with optional descant Pentecost or as a general anthem. The text is adapted from Colossians and Oliver Holden (cf. “Coronation”), and organ or piano, Paraclete Press, 3:12–17. The gentle music moves in a come into the discussion, defi ning the PPMO 1138, $1.20 (E). SAB lilting 6/8 meter, without counterpoint in decline of the fuguing tune for Chris- The text, by Isaac Watts, begins in a the choral writing. The keyboard music tian worship. Chapter 3, “Immigrant unison phrase that returns in several Sing, Ye Faithful, Robert Lau. SAB, is not diffi cult and is a comfortable ac- Musicians and the First Organs,” intro- statements at the end as a coda. There organ, congregation, and optional companiment for the choir. The music duces the various groups seeking reli- are four verses, which are set in optional trumpet, Paraclete Press, PPMHS builds to a loud closing verse, then re- gious freedom in Pennsylvania, mostly arrangements, using a descant above all 1134, $2.20 (M-). laxes for a quiet Amen. from Germany and primarily Luther- women or all men. The keyboard part is Based on the hymn tune Finnian, this ans, German Reformed, and Moravians. on two staves and tends to be chordal. is the inaugural work published in a new SATB Ogasapian brings in at this point the This comfortable work will be useful for series entitled Hymns of Praise. There Moravian organbuilder Johann Klemm any size choir. are four verses, with the congrega- How Sweet and Awesome, Joey Hoel- and his apprentice cabinetmaker, David tion singing in unison with the choir on scher. SATB and piano, Beckenhorst Tannenberg, plus his short-lived rival, A Prayer to Jesus, Michael Burk- verses 1 and 4. The organ part is on two Press, BP 1943, $1.95 (E). Philip Feyring. Distinguished Moravian hardt. Unison treble and keyboard, staves and plays with the choir as a solo Using a modifi ed Isaac Watts text from composers of church music are praised: MorningStar Music Publishers, between verses. The trumpet is added to 1707, this simple setting has limited four- Denke, Herbst, Peter, and Antes (who MSM-50-1985, $1.50 (E). play the melody when the congregation part writing, with much in unison. The traveled to Europe and met Haydn). Designed for children’s choir, this three- sings. For duplication, the congregation’s piano part starts very simply but with The characteristic Moravian trombone page setting is very easy, with a limited vo- music is on the back cover. each verse grows in diffi culty, although it choirs are also mentioned along with cal range and vocal rhythms, although it is not really very challenging. Beginning their love-feasts and Sing-Stunden could be sung by the women of the choir. Easy Settings, arr. Lloyd Larson. freely for the fi rst verse, the music then (Song Hours). But Ogasapian notes that There is a closing Amen; the keyboard SAB or two-part mixed, piano and/or falls into a more consistent tempo. Even the rich Moravian legacy had little in- part, on two staves, is very simple. optional 3–5 octave handbells, Hope though there are a few divisi chords in fl uence on the music of contemporary Publishing Co., 8507, $8.95 (M). dramatic passages, the music will be easy groups. It “stood apart,” was “self-con- To Follow You, Chris de Silva. Uni- There are ten settings in this collec- for most choirs. tained and hermetic.” son, keyboard, assembly with op- tion, so the cost per anthem is less than Chapter 4, “Urban Church Music at tional string quartet, GIA Publica- a dollar. The works are designed for a the Turn of the Century,” concentrates tions, G-7610, $1.80 (M-). small church choir; arrangements are of on Boston, Philadelphia, New York, Here is an easy work that could be recent songs that have been popular in Book Reviews and Charleston, from the Revolution used in the summer, then brought back worship. All could be sung by two parts, to the time of Beethoven. Ogasapian’s later in the year and used with string omitting the alto part, making them even intimate knowledge of such a place as quartet, which will make it seem a com- more useful. The accompaniments often Church Music in America, 1620– Charleston, South Carolina, is astonish- pletely new anthem. The music for the are more challenging than the choral 2000, by John Ogasapian. Macon, ing. Familiar names like Pachelbel (Jo- assembly is on the back cover for dupli- writing, and this elevates the impact of GA: Mercer University Press, 2007. hann’s son Charles [Karl]—in both Bos- cation. There are three verses, refrain, the music without taxing the choir. This ISBN: 13:978-0-88146-026-1 (10:0- ton and Charleston where he died after and a coda. The vocal music is very busy very useful collection could provide the 88146-026-5), 284 + xviii pp., hard- a long career), Selby, Jackson, Muhlen- with lots of syncopations, which keeps it entire repertoire for the summer. cover, $49.95;
16 THE DIAPASON both races. Here signifi cant names are Noble to St. Thomas’ in New York. chanical key action came in. The chap- golden age of organ audio recordings. treated: Bradbury, Bliss, Sankey, Root, New composers of infl uence were Mac- ter closes with reference to the writings Here is just another example of the in- Fanny Crosby, Doane, Lowry, Stebbins, farlane, Dickinson, Everett Titcomb, of James Boeringer, Carl Schalk, Alec terestingly planned and beautifully ex- Gabriel, and Rodeheaver. Never conde- David McK. Williams, and Leo Sow- Wyton, and Ned Rorem expressing ecuted recording with varied literature scending, Ogasapian displays a genuinely erby. Hymnody and hymnal revision cautious optimism for the future. coupled with both a performer and an Olympian perspective in the fairness, fl ourished anew in all denominations, This is the most readable, balanced, instrument that are totally up to the de- balance, and empathy he brings to his including historically Black churches, up-to-date, and reliable history of Amer- mands of the project at hand. subject (he was organist in fi ne Episco- and the great Episcopal Hymnal 1940 ican church music available. It should Also, one can follow the careers of up pal churches in the Boston area), reject- is described. Professional training in be in the library of every church musi- and coming young artists like Mr. Brakel ing the disparaging critical assessment church music reached new heights, at cian. For we do not work in a vacuum; with a quick web search to fi nd
APRIL, 2012 17 will simply be reduced to downloadable An International Collection, Works where he was a classmate of Pierre Co- Marilyn Biery and her husband James tracks on iTunes or CDBaby? for Violin & Organ, Volume 6. The chereau, and he then took private les- are both organists, composers, and Many audio and recording engineers Murray/Lohuis Duo. Robert Murray, sons with Jeanne Demessieux. He was church musicians. Until recently, they know of the diffi culties of recording the violin; Ardyth Lohuis, organ. Raven assistant to both Jeanne Demessieux were both working at the Cathedral of St. “King of Instruments” and have been OAR 923, $14.98; at the L’église de la Madeleine and to Paul in St. Paul, Minnesota. Their expe- challenged with capturing the sound of
18 THE DIAPASON Restoration of the 1770 Tannenberg Organ, Zion Moselem Lutheran Church Raymond J. Brunner
Façade
Tannenberg organ, Zion Moselem Lutheran Church
estoration of the 1770 Tannenberg in 1894, at which time the organ was R organ at Zion Moselem Lutheran moved and rebuilt by Samuel Bohler Church, Moselem Springs, Pennsylvania, of Reading, Pennsylvania. Bohler re- Keydesk was completed in September 2011 by placed the original bellows with an in- R. J. Brunner & Co. of Silver Spring, ternal winding system and replaced the are in the façade. The Flaut Major 8′ and ington. Restoration of the original pipes Pennsylvania. The earliest of the nine keydesk and keyboard. He altered the Flaut Minor 4′ are identical open wood and voicing of the new pipes was done by extant David Tannenberg organs, it pre- stop action and also removed the Terz ranks made primarily from pine and wal- Hans Herr in the Brunner shop. dates the Revolutionary War and is per- and Mixtur stops, replacing them with nut. The rack board for the Terz shows The organ was re-dedicated on Oc- haps the oldest surviving organ built in lower-pitched unison stops. By then the that this rank did not contain a break. tober 2, 2011 with a concert played by the American colonies. As such, it is of walnut casework had been painted over. The restoration required making a Philip T. D. Cooper; it was hand pumped great historic importance, and its res- The casework was eventually painted new keydesk and stop action, as well as for the entire concert. Mr. Cooper also toration allows us to learn more about white, imitating the appearance of other a new keyboard. The keyboard was cop- assisted in historical research for the 18th-century organbuilding as practiced Tannenberg organs. ied from the Madison instrument, with restoration and was instrumental in en- by Tannenberg and other German immi- In 2010, R. J. Brunner & Co. was cho- the natural keys covered with ebony, couraging the church to undertake the grants to Pennsylvania. sen to undertake a historic restoration of while the walnut sharps are capped with project. The fi ne sound of the organ de- Tannenberg was a Moravian and built the organ. Organbuilder Raymond Brun- reclaimed ivory from old keyboards. Re- lighted the large crowd in attendance, many organs for Moravian congregations ner was in charge of the project, and his moval of several layers of paint revealed and Zion’s organist Nancy Keller has in Pennsylvania and elsewhere. He also previous research and restoration experi- the beauty of the walnut casework and been using the organ on a regular basis. supplied organs to Lutheran, German ence with several other Tannenberg or- the fi ne quality of this master organ- This instrument should serve the con- Reformed, and Catholic congregations. gans was a valuable asset to determining builder’s work. The façade pipes were gregation of Zion Moselem Lutheran His instruments ranged in size from four- how the work should be done. It was de- restored to their original appearance Church well for many more years, and stop positive organs for Moravian use to cided to restore the organ to its original by removal of ears that had been ap- the organ can be heard once again as a large three-manual, 34-stop organ for form, including replacement of the two plied when Bohler rebuilt the organ. A David Tannenberg intended. Q Zion Lutheran Church in Philadelphia. missing original stops and construction metallurgical analysis of the pipe metal Tannenberg’s Moravian organs had a of an authentic winding system. Fortu- was done to determine the proportions Raymond J. Brunner founded R. J. predominance of unison-pitch stops, nately, the unaltered 8-stop Tannenberg of lead and tin, as well as the amount of Brunner & Co. in 1981. He is a graduate since those organs were generally used organ at Hebron Lutheran Church in impurities in the metal. New Terz and of Lehigh University and a member of the in conjunction with other instruments. Madison, Virginia provided many of the Mixtur pipes were made for the organ by American Institute of Organbuilders and His Lutheran organs had more devel- answers. Although built 32 years later, it the Paul Fritts shop in Tacoma, Wash- the Organ Historical Society. oped choruses that might include muta- has an original pair of wedge bellows that tion and mixture stops, as well as reeds. could be copied for the restoration. An- Manual (51 notes, C to d′′) The Moselem organ has eight stops on other fortunate event was that Brunner 8′ Principal 12 stopped wood basses, 39 metal pipes, 19 in façade one manual, with a total of nine ranks. was able to obtain parts of two different 8′ Flaut Major Stopped wood pipes 4′ Principal Octav 2 open wood basses, 49 metal pipes, 10 in façade Built early in Tannenberg’s career, it pro- period wedge bellows sets, once used on ′ vides an opportunity to learn more about Pennsylvania German organs that are no 4 Flaut Minor Open wood pipes 3′ Quinte 51 metal pipes the evolution of his organbuilding. It is longer extant. Using these historic frag- 2′ Sub Octav* 51 metal pipes 3 the only surviving example of his organs ments from other organs enabled the 1⁄5′ Terz 51 metal pipes with a walnut case. recreation of an authentic set of bellows Mixtur II 102 metal pipes 1 The Moselem organ was completed like the original winding of the organ. Mixture pitches are 1 ⁄3′ and 1′, breaking once to 4′ and 2 in 1770 and installed in the stone Zion An electric blower provides an alternate 2⁄3′ at middle C. Lutheran Church building, where it was source of wind. located in a small gallery. This building Twenty-fi ve pipes of the Principal 8′ * Tannenberg called his 2′ stops Sub Octav rather than Super Octav. was replaced by a new brick structure and ten pipes of the Principal Octav 4′ Wind pressure: 2¼ inches (56mm)
APRIL, 2012 19 Dudley Buck’s Grand Sonata in E-fl at: The Architecture of an American Masterpiece Jonathan B. Hall
hile a junior or senior in high First movement Example 1. Unadorned E-fl at major scale Wschool, I found a newish LP in the The motif is heard at the very outset of local public library: Fugues, Fantasia and the work, in the fi rst movement, marked Variations—Nineteenth-Century Ameri- allegro con brio. Here, one must respect- can Concert Organ Music (New World fully disagree with the liner notes in the Records, NW280). Dated 1976, it was no Morris album: the movement is neither Example 2. E-fl at major scale with chromatic alterations doubt intended as part of the vast trib- especially a “virtuoso” one nor, most def- ute to the Bicentennial that many of us initely, “in free form.” It is a textbook ex- remember. Richard Morris was the or- ample of sonata-allegro form, and (in my ganist, and he played the 1876 Hook & opinion) at the high end of moderately Hastings instrument in St. Joseph’s Old diffi cult1 (Example 4). Example 3. Two idiomatic uses of the chromatic alterations Cathedral, Buffalo, New York. Note that the scalar material is in the Dubbed the Centennial Organ be- tenor. This motif is echoed throughout cause it had stood in the eastern end of the movement (Examples 5 and 6). the huge Main Building of the Centen- Meanwhile, as mentioned, the move- nial Exposition in Philadelphia, the four- ment hews closely to classical sonata- Example 4. Grand Sonata, fi rst movement, measures 1–3 manual instrument has been in Buffalo allegro form. The opening theme mod- since 1877. It underwent change when ulates to the dominant key of B-fl at, it was electrifi ed in 1925, but is sub- whereupon we hear a second theme in stantially in conformity with its original a contrasting, lyrical style. (Here, we do design. Most recently, in 2001, it was re- not hear the cyclical material.) Ener- stored by Andover and rededicated by getic closing material rounds out the ex- Thomas Murray. position. The development bandies the The Hook was the perfect organ for subsidiary ideas around in more or less the repertoire, and the performance remote keys, eventually leading us to brought out the character of the instru- the expected retransition and recapitu- ment convincingly. But I was instantly lation in the tonic key. Note, as we end, captivated by the fi rst piece. Taking up the reappearance of motivic pitches in the whole of Side A was the Grand So- the pedal (Example 7). nata in E-fl at, opus 22, by Dudley Buck. I was already a devotee of Bach, and to Second movement my ears the opening strains of the Buck The second movement, an andante were improbably sweet, heavy with a espressivo in the subdominant key of Example 5. Grand Sonata, fi rst movement, measures 16–18 Victorian lyricism, very like a forbidden A-fl at, prominently features the cyclical fruit. I was hooked. scalar material in both hands (Example Since then, I have treasured my own 8). Cast in a spacious ABA song form, this copy of this LP, and often re-read Bar- movement not only calls to mind one of bara Owen’s comprehensive accompa- Beethoven’s “hymnic adagios,” but also nying essay, which expanded the record the songs of Stephen Foster (who died in jacket from single to double format. But 1864) as well. It also reminds us of what my appreciation of the Grand Sonata has made Buck so popular in his day. matured from a slightly guilty Victorian pleasure to serious musical appreciation. The secret of his success lies in his feel- The work, in fact, bears hallmarks of ad- ing for the voice, for he is a vocal writer par excellence. This is a gift. One may study vanced compositional techniques, and, the range of the voice and try to master its indeed, points a way forward in Ameri- capacities, but without the intuitive sensi- Example 6. Grand Sonata, fi rst movement, measures 57–59 can musical composition. tiveness to that which is vocal, the results are but poor; the music may be good but it Cyclical structure does not fi t the voice. This intuition is his in In 1982, Jerome Butera (editor of this the highest degree, and his songs are rich, journal) successfully defended a thesis at varied, picturesque, and stirring . . . [H]e the American Conservatory of Music in does this so simply that we are unconscious of the mechanism, but feel the beauty and Chicago for his DMA degree. This thesis fi tness of the whole.2 was devoted, in large part, to the Grand Sonata. He gives a clear, detailed account I agree in particular with the last sen- of the piece, situating it in nineteenth- tence; to this day, we are likely to be “un- century European practice. The thesis conscious of the mechanism”! But we remains the most complete account of are not likely to miss Buck’s rich lyricism; the work written to date. and the theme of this movement is the But I am not aware of any study that very quintessence of nineteenth-century points out the cyclical nature of this so- American song, at least of a certain pop- Example 7. Grand Sonata, fi rst movement, measures 150–156 nata. That is to say, each of its four move- ular variety. ments begins with some reference to a particular shared musical idea. It is a Third movement simple idea, to be sure; but its presence The third movement of the Grand adds luster to the fi rst major organ so- Sonata, marked vivace non troppo, is a nata composed in America. It links the well-known scherzo and trio, which is Buck piece, on a technical level, to the reprinted (minus its trio) in the second symphonies of Vierne, albeit on a more volume of A Century of American Or- modest scale. At the same time, it places gan Music, edited by Barbara Owen. It it on a more elevated architectonic plane is in the relative-minor key of C minor; than the early Widor symphonies. the trio is in the parallel key of C major. The piece’s stated key is E-fl at major. Here, the cyclical theme is visible in the Buck begins with a rising E-fl at major rising scale with sharp fourth (Example (Example 13). Note that this grand Vic- sition was hardly new at that time; there scale (Example 1). Then he colors the 9), and elsewhere. torian coda uses both of the little musical had been Beethoven, for a start, with scale with the lowered chromatic neigh- gestures shown at Example 2. his Pathétique sonata and Fifth Sym- bors of scale degrees 3, 5, and 6 (Exam- Last movement As mentioned earlier, this basic cycli- phony; there had been Berlioz, Liszt, ple 2). The fi nal movement, aptly described cal motive is not especially exciting. A Reubke. (Speaking of Tristan, Wagner These color-tones are commonplace as a “rollicking fugue” in the Morris liner rising major scale, wherein 3, 5, and 6 completed that opera in 1859, having in Romantic music, simply ornamenting notes, begins with a strong evocation of are colored by their lower neighbors, is laid aside his work on the Ring cycle in the third of the tonic and subdominant the cyclical theme. I have always very not an innovation by any means; certain- 1857.) Buck returned to the States in harmonies, and hinting at the V/V. With much enjoyed these measures, but never ly it is not as historically important as the 1862, and accepted a job in Hartford. these extra notes, we can form these typ- understood why Buck chose to begin the Tristan chord! But I think the evidence He composed the Grand Sonata in ical gestures of Victorian parlor music, way he did. I suggest that the notion of in the musical text is convincing. Dudley 1865. So, although he would not have both of which are common in the Grand the cyclical theme solves this problem Buck consciously built his Grand Sonata been in Europe for the premieres of Sonata (Example 3). neatly (Example 10). with reference to that motif. the Ring operas, there is no doubt that Nor does this scale, of itself, form a And of course, the “rollicking” fugue motivic composition was au courant and motif that is exactly repeated through subject repeats the very same pitches of European infl uences made an impression. the piece. However, as we shall see, its that long-ago tenor line in the fi rst move- In retrospect, it is hardly a surprise. In his doctoral thesis, Butera points presence is subtly pervasive. The rising ment (Example 11). This theme is an Buck went to Europe in 1858; he stud- to the Grand Sonata as combining for- chromatic scale is basic to every move- elaboration of the patriotic song “Hail ied in Leipzig, Dresden, and Paris; his mal procedures of German Romanti- ment of the Grand Sonata and contrib- Columbia” (Example 12). teachers included Beethoven’s protégé cism with “sentimental Victorian” parlor utes to the listener’s conviction that the And we do not end this wonderful Ignaz Moscheles, as well as the then- music.3 These turn out to be two sides piece hangs together, and thence to the fugue—and sonata—without a fi nal fare- current Thomaskantor, Ernst Richter, of the same coin: the “parlor” idea of a work’s enduring popularity. well to the motif in the last measures and others. This kind of motivic compo- chromatically infl ected scale pervasively
20 THE DIAPASON Example 8. Grand Sonata, second movement, measures 5–8 Example 13. Grand Sonata, fourth movement, measures 80–87
Example 9. Grand Sonata, third movement, measures 4–8
Example 10. Grand Sonata, fourth movement, measures 1–2 mony and melody; tertian key relation- 65 of Horatio Parker” (DMA thesis, American ships; dramatic exploitation of virtuosity Conservatory of Music, Chicago, 1982), 18. (à la Reubke or Liszt); freedom of fugal 2. Karleton Hackett, The Great in Music: treatment (ditto); and so on.8 A Systematic Course of Study in the Music of Classical and Modern Composers, ed. W. S. B. To this good list we can add the Mathews (Chicago: Music Magazine Publish- choice of a style that would prove the ing Company, 1900), 169. ancestor of some of America’s most 3. Butera, thesis abstract, ProQuest Dis- distinctive music; music that—like the sertations and Theses database. war that ended in the year the Grand 4. Cf. A. J. Goodrich, Complete Musical Sonata was composed—would fi ght to Analysis (New York: The John Church Com- unite the “varied carols” of America’s pany, 1889), 297 ff. singing. The result was to be a convinc- 5. Dwight’s Journal of Music, Saturday, Example 11. Grand Sonata, fourth movement, measures 10–15 November 10, 1877, 126. ing, and world-transforming, musical 6. Phone conversation with Joshua Banks idiom. This is surely quite a feather in Mailman, May 2011. the cap of a twenty-six-year-old com- 7. Scott Joplin, “The School of Ragtime” poser. I say we should let him be as (New York, 1908), in Scott Joplin: Collect- American as he likes. Q ed Piano Works (New York Public Library, 1972), 284. Notes 8. Butera, “Form and Style,” 40–41. 1. I wrote these words before reading virtu- ally the same ones in Dr. Butera’s thesis, which Jonathan B. Hall is music director of Cen- I cite here: “The fi rst movement is a virtual text- tral Presbyterian Church in Montclair, New Example 12. Opening of “Hail Columbia” book example of classical sonata process . . . .” Jersey. His fi rst book, Calvin Hampton: A Jerome Butera, “Form and Style in Two Ameri- Musician Without Borders, is available from can Sonatas: The Grand Sonata in E-Flat, op. 22 Wayne Leupold Editions. He is past dean of of Dudley Buck, and The Sonata in E-fl at, op. the Brooklyn AGO Chapter. The Fifthteenth Annual infl uences the entire work in a decidedly pressing this insight so clearly. Joshua Germanic fashion. Banks Mailman, who recently complet- It is thus most worthwhile to point ed a Ph.D. in music theory at Eastman, Albert Schweitzer out the modest, but effective, use Buck listened to me play the opening bars of made of this principle. He would contin- the piece over the phone during a wide- ue to do so: in 1880, he composed Scenes ranging conversation. His reaction was Organ Festival from Longfellow’s “Golden Legend”: A swift. “My gosh,” he said. “Did Scott Symphonic Cantata, where the Leitmo- Joplin ever hear that piece?”6 A Weekend in Celebration of Excellence in Organ Music: tiv system is very much in evidence.4 Ragtime. Of course! It is so far to the In 1877, Dwight’s Journal of Music foreground that it has gone unmen- A Gala Concert, ORGAN COMPETITION, Services, and Masterclass published a favorable review of Buck’s tioned. The spirited, syncopated, mildly Second Sonata, opus 77, premiered by chromatic opening fi ts the style admi- High School Division First Prize: $2,000 Clarence Eddy in Chicago in Novem- rably. It is important to remember that Other prizes also awarded ber 1877. It praised the work in part by ragtime and jazz both have roots, in part, drawing favorable parallels to the Grand in the idioms of 19th-century parlor mu- Sonata, which the reviewer found “ . . . sic and popular song—idioms also very College/Young Professional First Prize: $3,500 somewhat too American in tone, uneven, much in evidence in the Grand Sonata. Through age 26 Other prizes also awarded and almost crude in places.” He also And, as for the chromatically infl ected questions whether the classical sonata scale on which the piece is based, the This includes an appearance on our 2012 - 2013 Concert Series form is necessary, especially in light of blues scale is easily extracted from it. Beethoven’s opus 111 and the six Men- Granted, there are features of ragtime, delssohn organ sonatas.5 I do not ques- blues, and jazz that are not present: what 2012 JUDGES tion the youthful ebullience of the piece, Joplin calls the “weird and intoxicating AUDITION CDS: its extroversion, cheeriness, and, in effect”7 is absent, among many other places, obvious lightness. However, such things. The piece is an ancestor, nothing Due on June 12, 2012 Cherry evaluations as “too American . . . uneven, more; it represents one of the streams of Rhodes and almost crude” should not daunt us. infl uence of these later styles. It seems THE COMPETITION: Further study of this composer—this to me that we organists have tended to cosmopolitan, lyrically gifted, all-Amer- overlook this. September 7-9, 2012 Gordon Turk ican classic—is very much in order. Butera’s thesis accurately points out many salient features of this work, in- Conclusion: looking forward cluding both “conservative” and “pro- For Information & Whatever its faults, Buck’s Grand gressive” elements. Among the former, Application: Sonata has staying power. Very popular he points out the use of sonata-allegro in its day, it has enjoyed high visibility form; the four-movement plan of fast- wherever there is interest in Victorian or slow-scherzo-fast; the employment of First Church 19th-century American organ music— ternary forms; and a learned fugue to this, despite the frequent reaction that conclude. On the progressive side, he of Christ the piece is “too American,” mere “par- notes (inter alia) chromaticism in har- Faythe lor music,” or, in a word, corny. 250 Main Street But what do we have, at the end of the Freese day? Do we have a monument to a de- Wethersfield, CT 06109 parted esthetic—a period piece—a cu- Visit firstchurch.org/asof rious and lovely heirloom? Do we have THE something like an amiable and slightly DIAPASON 860.529.1575 eccentric uncle? I think not—defi nitely website: Ext. 209 not. The Grand Sonata is altogether more important than that. I am indebted music@firstchurch.org to an old friend and colleague for ex-
APRIL, 2012 21 Organists of Yesteryear in the World’s Largest Village Cathryn Wilkinson
A musical village on the edge of a tor and mother of Ernest, produced con- in 1924. Douglas wrote in great detail metropolis certs with the Oak Park Choral Society in about each work—for example, singling From 1920–1940, the organists at 1897. Oak Park and its eastern neighbor out some of Seder’s improvisations and churches in Oak Park, Illinois distin- Austin formed a local chapter to support the beautiful Sanctus from Gounod’s St. guished themselves, certainly by talent, the vision of Edward and Marian Mac- Cecilia Mass, presumably transcribed by but also by hard work and a vision that Dowell’s newly conceived colony in Pe- Seder for organ. On nearly any given day went beyond playing hymns for their terborough, New Hampshire. By 1935, at 6:30 p.m., listeners throughout Chi- congregations. With the resources of 100 years after its settlement, Oak Park cago could tune in to WGN and hear a Chicago just a few miles away, Oak Park boasted a semi-professional Civic Sym- live organ recital by Seder. might not be classifi ed as a typical town. phony Association, the Warrington opera Seder performed upwards of 1,000 But recounting the contributions of a house, several movie theaters open even concert broadcasts, fi rst on an Estey or- generation of Oak Park’s organists shows on Sundays, and a Civic Music Associa- gan at the station, and later on a Lyon the extent of the opportunities that were tion organizing local concerts. & Healy organ constructed specifi cally open to professional musicians of this for the WGN live broadcast studio in era. In small ways, their legacy lives on Home to good churches Chicago in 1924. The radio organ was in today’s churches; in larger ways their Central to Kettlestrings’s vision and the played in a studio designed by acousti- musical accomplishments are an inspira- community-building ethic that shaped the cians with walls covered in silk brocade tion for our generation. village was the establishment of churches. to provide optimal tone quality. Report- In the mid-nineteenth century, visitors The fi rst makeshift church building was edly in December 1925 Seder reached journeying across Illinois by horse and an unassuming 1855 frame structure the mark of having broadcast his 1,000th wagon often overnighted in Oak Ridge, known as “Temperance Hall,” shared piece without ever having repeated a about 15 miles from Chicago’s bustling by several dozen worshippers of varying work on the air. commercial district. At this crossroads, denominations. Dora Kettlestrings, the Edwin Seder and his wife, professional His radio presence certainly brought on the site that grew into the village of daughter of Joseph, led a cappella sing- soprano Else Arendt (Archives of First Unit- recognition. He had gained the post of Oak Park, the welcoming home of Jo- ing for services in this hall. A memoir of ed Church of Oak Park) professor in the organ department at seph Kettelstrings had served as an im- early days recounts that Mr. Blackner Northwestern University in Evanston in promptu tavern and hotel from the mid ran a New England-style singing school Actus Tragicus, according to the Tri- 1919 and also taught at Chicago’s Sher- 1830s. Beginning in the 1840s Chicago in Oak Park and his wife played a parlor bune’s Douglas, “both ardently and with wood Music School. In 1934, he joined emerged as a mecca for city dwellers, organ in Temperance Hall.2 The fi rst de- respect.” Seder played Bach’s Prelude the music faculty at Wheaton College who could obtain the latest innovations nominational building constructed in Oak in E-Flat and the St. Anne Fugue at one Conservatory, in the far western suburbs from the east coast on the edge of the Park was Emmanuel Lutheran Church in Bach Chorus concert. For the Chicago of Chicago, where he taught history, or- prairie via the city’s burgeoning freight 1867, a German congregation. Singverein he accompanied Bruch’s Das gan, and conducting. networks. In a pattern that retraced itself With the construction of the landmark Lied von der Glocke, op. 45. He frequent- In addition to his teaching, broadcast- all across the Midwest, the Kettlestrings stone edifi ces of First Congregational ly accompanied his wife, soprano Else ing, and service playing, Seder earned family gradually divided and sold off Church in 1873 and First United Meth- Harthan Arendt, in recitals of Baroque the FAGO certifi cate and became presi- property to new settlers. In the case of odist in 1874, several congregations an- music, both in Oak Park and throughout dent (dean) of the Chicago AGO chapter. Oak Park, sales were restricted to those chored Oak Park’s central commercial Chicago venues. Upon Seder’s untimely During his tenure he led the chapter in “people who were against saloons and for district, just two blocks from the train death in 1946, Arendt became the music planning for a series of weekly noonday good schools and churches.”1 By 1851, line to Chicago. The saying went, “When director at the church. recitals in Chicago venues. He concert- the Chicago and Rock Island Railroad you get where the saloons stop and the A regular feature of The American ized frequently in Oak Park and Chicago. line connected Chicago southwest to Jo- churches begin, you are in Oak Park.”3 Organist in the 1920s and 1930s was He was once presented by the Chicago liet and soon extended on to the Missis- Modeled on European cathedrals, these a listing of service music submitted by AGO chapter in recital at St. James Ca- sippi River. Hospitality and convenience buildings accommodated several hun- members. There is no indication on what thedral. He was invited to perform at St. steadily attracted more residents with a dred worshippers and symbolized the basis these lists were selected; many of Luke’s Episcopal Church in Evanston, can-do spirit to Oak Park, with the popu- key role that religion played in the vil- the submissions are from the same or- home to a 4-manual Skinner, Opus 327, lation reaching 4,600 in 1890. lage. By the 1930s, at least seven congre- ganists on a regular basis. They worked and at the dedication of the 121-rank In the early years of the 20th century, gations in the village registered member- in congregations with some of the coun- Kimball organ at New First (Union Park) Oak Park mirrored the progress that ships above 1,500. Perhaps largely due to try’s better-known music programs, such Congregational Church of Chicago in swept across the quickly industrializing the immigrant population, which in the as Lynnwood Farnam at Holy Commu- 1927. Two representative recitals at First North American landscape. By 1940 the 1920s and 30s hovered around 50% non- nion in New York and Ray Hastings at Congregational in Oak Park reveal that village population had reached a high natives mainly from northern Europe, a Temple Baptist Church in Los Angeles. much of his repertoire showed off the or- of 66,000, growing more than 100% in commitment to maintaining churches in From a review of several of the service chestral organ through recent character the years between the wars. The former the European style was unquestioned. music submissions, character music and music and opera transcriptions: settlement earned the nickname “The Fine pipe organs were de rigueur in opera excerpts from concert venues World’s Largest Village,” and it could these churches. E. M. Skinner, Austin, were quite commonly heard during wor- Concert Overture in B Minor (Rogers) have been, in political jurisdiction and and Casavant each installed large show- ship services, and hymn-based voluntar- “Allegro” from Sonata I (Guilmant) Danish Song (Sandby) in mindset. However, these villagers case instruments in Oak Park in the fi rst ies only on occasion. March of the Gnomes (Stoughton) were not a common lot; among them are decades of the 20th century. Many of In 1922, Seder reported having played Serenade (Rachmaninov) counted many innovative and enterpris- these organs served well into the 1980s. Festival Toccata (Fletcher), Allegro in Rhapsody (Cole) ing scions: Frank Lloyd Wright, Ernest The organists who played them, along F (Guilmant), Largo from the Ninth Hemingway, Doris Humphrey, and Ray with school and private music teachers, Symphony (Dvorák), Grand Choeur A second program opened with a repeat Kroc. In the economic recovery after the provided musical experiences for the Dialogué (Gigout), Sunset and Evening performance of Stoughton’s March of the Great Depression, a euphoria of success whole village. Some of the organists were Bells (Federlein), and “March” from Gnomes, followed by: seemed to waft all across American so- heard nightly at Oak Park’s movie the- Tannhäuser (Wagner) at First Congrega- ciety, spurring innovation and business aters as well as Sundays at the church. tional Church. On Palm Sunday in 1923, Overture to Der Freischütz (Weber) growth. The aura of achievement was he performed “The Palms” (Faure), “Je- Minuet (Zimmerman) Bells of St. Anne (Russell) embodied in Chicago’s centennial cel- Radio is king for the rusalem” (Parker), Prelude to Parsifal Brook (Dethier) ebration in 1933 with a hugely popular King of Instruments (Wagner), and “Palm Sunday” (Mail- Concert Overture (Hollins) and privately fi nanced world exposition, Edwin Stanley Seder (1892–1935), ly). He performed these works on the “A Century of Progress.” First Congregational Church church’s 4-manual Skinner organ (Opus Seder’s concerts often featured complex Chicagoans formed and supported an Seder served as organist at First Con- 274) of 69 ranks, which was situated in works by Bach, such as Komm Gott, extensive variety of professional and ama- gregational Church in Oak Park from the front of the nave high above the al- Schöpfer from the Leipzig chorales, which teur musical organizations. Some were 1921 to 1935. This congregation built on tar with the console hidden by a carved he played along with one of the few works based on ethnic identities, such as the the site of the Scoville family’s apple or- wooden screen. he composed, The Chapel of San Miguel, Chicago Welsh Male Choir, and others on chard in 1873 and in the 1890s they host- Seder played, not only behind this on a program in Winnipeg in 1929.4 business connections, such as the Illinois ed the MacDowell Society’s concerts. By screen on Sundays, but also out of sight Bell Telephone company chorus. Organ- Seder’s time, the fi rst church had been for many radio listeners. The advances in Music for the masses ists were connected through the Chicago replaced with a spacious English Gothic broadcasting and electronic technology Edgar A. Nelson (1882–1959), Choir Directors’ Guild, the local Organ- revival building. in early 20th-century America strongly First Presbyterian Church ists’ Club, the Chicago Club of Women Seder held a music degree from the impacted the organ world. Chicago ra- Philip Maxwell of the Chicago Daily Organists, and the Illinois AGO chapter, University of New Mexico, where he dio station WLS, funded by Sears, Roe- Tribune wrote often about Edgar Nel- founded as the Western Chapter in 1907. also taught before moving to the Chi- buck (the World’s Largest Store), began son’s many performances for very large Although overshadowed by Chicago’s cago area. His musical accomplishments broadcasting in 1924 and from day one audiences in Chicago. He mentions that museums, cultural centers, performing show him to have a broad command of employed theatre organist Ralph Waldo one of Edgar Nelson’s favorite passages in arts, and industry, Oak Park developed organ and choral repertoire. At First Emerson. Early rival WGN (the World’s the Bible was “Sing unto him a new song: a signifi cant cultural identity in its own Congregational, he maintained a choir Greatest Newspaper) was fi nanced by the play skillfully with a shout of joy” (Psalm century of progress. The Scoville family skilled and balanced enough to present Chicago Tribune. The Tribune’s reviewer 33:3).5 Maxwell did not document Nel- donated land along the main thorough- Bach cantatas and Messiah. He also ac- Elmer Douglas wrote a daily review of son’s shouts of joy, but Nelson’s skillful fare and funds to construct a public li- companied the Chicago Bach Chorus radio broadcasts, which were the new playing is well documented. His career brary in 1888. William Corbett conduct- in many Bach cantatas. With this group sensation. The public considered musical was centered around First Presbyterian ed a village orchestra in the 1880s, and he performed the Christmas Oratorio broadcasts on the airwaves just as much Church in Oak Park, in the “church cor- at about that time, the Congregational at Orchestra Hall on Michigan Avenue. a performance as a live concert. Douglas ridor” of the city’s commercial district, Church hosted concerts by the Ruben- In one program of extreme dimensions, was particularly enamored of the playing but his impact went far beyond. stein Club. Dr. Methven, as president, the Chicago Bach Chorus performed by organist Edwin Stanley Seder, who Nelson was born into a musical fam- and Mrs. Clarence Hemingway, conduc- the Magnifi cat, fi ve cantatas, and the began playing for WGN radio broadcasts ily of Swedish heritage and followed in
22 THE DIAPASON to the Chicago Bears football team, but for a few days each August, in Chicago’s sweltering summer heat, a musical crew headed by Nelson organized singing contests and performances for choral en- sembles from as many as sixteen states. On one occasion, more than 80,000 people were expected in the audience, purchasing tickets at $1.50 each. Partici- pating choirs were auditioned because the number of choirs that wished to per- form was far greater than the organizers could accommodate. The festival pre- sented not only classical choirs, but also represented Chicago’s varied ethnicities with African-American gospel choirs, ac- cordion ensembles, and popular country vocalists as well. When he was only 28 years old, Nel- son was honored by King Gustaf V of Sweden with the Order of Valhalla, dur- Dr. Edgar Nelson, organist at First Pres- ing a tour of Scandinavia with the Swed- byterian Church of Oak Park (Archives of ish Choral Club of Chicago, which he First United Church of Oak Park) directed.6 In 1930, he became president of Bush Conservatory of Chicago. Two his father’s steps as a church musician. years later, when the Bush Conservatory Beginning in 1909 and continuing for was subsumed under Chicago Musical George Henry Clark, Grace Episcopal Church (Collection of Dennis Northway) 47 years, he was music director at First College, Nelson continued on as presi- Presbyterian Church, playing an organ dent of the merged school. His legacy recital to celebrate the 25th anniversary the pedal division. Whether Clark was by the Hall Company, with whom he was such that the Chicago Conservatory of the instrument. duly impressed with Casavant’s work or may have consulted on the design. Hall of Music dedicated a concert hall in his At the time of its installation, the due to some other circumstance, he be- had also installed an organ for the Bush honor after his death, naming it the Ed- church’s organist was George H. Clark. came Casavant’s Chicago sales represen- Temple of Music, a well-known piano gar A. Nelson Memorial Hall. Born in England, Clark was raised in the tative in 1932. His fi rst instrument was store in Chicago. In addition to his teaching and ad- English choirboy tradition of London’s purchased by Saint Catherine of Siena While he was working at First Pres- ministrative roles, for 44 years Nelson smaller parishes. He studied with Joseph Roman Catholic Church in Oak Park. byterian in Oak Park, Nelson was also a conducted the 200-voice Marshall Field Bonnet—for how long and where is not This was Opus 1467, a 3-manual instru- student at the Bush Conservatory in Chi- Chorus, associated with Chicago’s land- known, but Clark often included works ment of 24 ranks. Clark played the inau- cago, one of several prominent private mark department store on State Street. of Bonnet on his recital programs. gural organ recital featuring repertoire music schools established in the early For more than ten years, Nelson was the Clark kept good company. He was that frequently appeared on concert 20th century. Nelson later joined the fac- accompanist for the prestigious Apollo chosen to be one of three organists per- listings of the period: an excerpt from ulty there. As church music director, he Musical Club. This independent audi- forming for a festival AGO service on Tannhäuser, Borodin’s “At the Convent,” presented organ concerts and conducted tioned chorus of about 80 voices sold April 24, 1928 in celebration of the new an unnamed work by Guilmant, and a musical revues, such as a musical ar- standing subscriptions to its concerts of Möller organ, Opus 5196, at nearby Aus- transcription of the “Hallelujah” chorus. rangement of The Thurber Carnival. He oratorios, cantatas, passions, and other tin Congregational Church. The other also directed children’s and adult choirs large choral works such as Bach’s B-Mi- performers were William H. Barnes, A dean and director from and composed incidental music for the nor Mass in Orchestra Hall. A Chicago the noted author, organ designer, and Chicagoland’s best church’s Christmas pageants, which Tribune reviewer referred to Nelson’s past dean of the Chicago AGO chapter, Raymond Allyn Smith and Theo- were remembered later by church mem- accompanying there and for numerous and Harold B. Simonds, organist of St. dore Kratt, First Baptist Church bers as being fabulous. The church mu- vocal recitals as consistently ideal. The Chrysostom’s Church in Chicago. Just two blocks from the principal sic budget provided for a paid quartet of Apollo Musical Club’s director in the Clark had a 2-manual organ installed church corridor of Lake Street stand the local professional singers, which Nelson early 20th century was Harrison Wild, in his Oak Park home in 1926. Opus First Baptist and First United Methodist conducted for Sunday services. Not until notably also a founding member of the 1162 was the fourth Casavant organ in churches. The Methodist congregation the early 1950s with new pastoral leader- American Guild of Organists in 1896 and Oak Park and featured a 16′ Bourdon in was Oak Park’s fi rst, formally organized ship was a volunteer choir and a handbell the Chicago (originally the “Western”) ensemble formed. chapter in 1907. When Wild retired from Dr. Nelson played Sunday mornings the Apollo Club in 1928, Nelson took on in Oak Park for a congregation of 1,600 the role of conductor and held that post and then for 40 years headed into Chi- until 1951. cago each afternoon to Orchestra Hall, In 1937, living in the technological age where he conducted a choir of 125 voic- that followed the century of progress, es at the Chicago Sunday Evening Club Nelson was among the musical experts until 1956. The club was a source of chosen by the Federal Trade Commis- pride for the greater metropolitan area sion for a panel to review the issue of a and eventually drew a national audience new organ. The panel was to advise on through radio broadcasts. Every Sunday the validity of claims by the Hammond night local businessmen and travelers Clock Company of Evanston, Illinois would fi ll the 2,000-seat concert hall for that its electronic instruments were or- a nondenominational Christian service gans. No doubt many organists saw the featuring prominent religious speak- clock company’s invention as a threat. ers such as Henry Sloane Coffi n from Nelson joined the majority opinion of Union Theological Seminary and W.E.B. the panel, which concluded that the so- DuBois from Atlanta University. Found- called electronic organ did not meet the ed in 1908, the Chicago Sunday Evening accepted defi nition of an organ. This Club still produces a weekly cable TV verdict did not hold back the Hammond broadcast. “30 Good Minutes” is aired on Clock Company, nor did it intrude on WTTW, where production moved from Nelson’s indefatigable musical activity or Orchestra Hall in the 1960s. impeccable musicianship. The club’s leaders, who included Rev. Clifford W. Barnes, an internationally Casavant makes their mark known church activist and Chicago phi- in Oak Park lanthropist, offered an additional level of George H. Clark, Grace Episcopal status to the CSEC, as did Daniel Burn- Church ham’s beautiful Orchestra Hall venue In the early years of the 20th century, from 1904. Dr. Nelson played the Lyon Mrs. Linda Holdrege Kettlestrings, who & Healy organ there, Opus 164 also from married into Oak Park’s founding fam- 1904, which at 4 manuals and 56 ranks was ily, served as organist at Grace Episco- reported to be the largest instrument the pal Church. The building was a gracious Chicago-based company ever built. The English Gothic revival structure com- CSEC services included performances by pleted in 1905 on the “church corridor.” the club’s own chorale, which pre-dated Mrs. Kettlestrings also accompanied the Chicago Symphony Orchestra’s resi- silent movies at Oak Park’s Lamar The- dent chorus by several decades. ater two blocks away.7 In 1922, just a few Dr. Nelson was respected and well years after the fi rm of Casavant Broth- known in Oak Park through his long ers of St-Hyacinthe, Quebec celebrated tenure at First Presbyterian Church. their 40th anniversary, they installed Also, due to his post as conductor, and Opus 940, a 65-rank, 4-manual organ from 1938 until shortly before his death, for Grace Episcopal Church. Chicago general choral director for the annual was already home to a dozen organs by Chicagoland Music Festival, his reputa- Casavant, but this was only their third in tion extended much further. Beginning Oak Park, and by far the largest in this in 1930, the Chicago Tribune Charities village, which The Diapason had de- sponsored this event annually for 35 clared to be a prominent organ center. years, reportedly attracting more than The Chicago Tribune reported the cost 10,000 singers at a time to Soldier Field. of Grace’s new instrument at $50,000.8 The outdoor stadium was usually home In 1947, Marcel Dupré performed a solo
APRIL, 2012 23 Smith not only performed in the Chi- worked in a village, but they worked at cago area; he was invited elsewhere as a level that rivaled larger urban centers a soloist. His program in 1923 for the like Chicago. Their legacy shows that ongoing recital series at the University the society that heralded the era of ra- of Illinois, home to a 4-manual, 59-rank dio, streetcars, Gershwin, and Guthrie Casavant, follows: also valued the centuries-old tradition of organ-playing in its churches. Q Toccata and Fugue in D Minor (Bach) Sonata No. 4 in D Minor (Guilmant) Notes Echoes of Spring (Friml) 1. Village History, “About Our Village.” Notturno (Mendelssohn)
24 THE DIAPASON Cover feature
Foley-Baker, Inc., Tolland, Connecticut Duke University Chapel, Durham, North Carolina The 1932 Aeolian at Duke Univer- sity Chapel has as colorful a history as any American organ. In 1930, at a time when contracts had grown scarce, Aeo- lian wrested the job from Skinner, only to plagiarize the stoplist and layout of Skinner’s 1928 organ for Princeton Uni- versity Chapel. By the time Aeolian in- stalled the job, their brazen move had evolved into the bittersweet reality of a merger with Skinner. Thus, the Duke organ became Aeolian’s last statement of what a grand organ should be. After World War II, the instrument developed particular appeal through the tenure of Chapel organist Mildred Hendrix, with later chapters of near-replacement in the late 1980s, a seminal bequest toward restoration by Director of Chapel Music Duke University Chapel, Horace Trum- Benjamin Smith, renewed respect in the Façade and casework, built in 1931 by Irving and Casson of Boston bauer, with Julian Abele, architects 1990s, and a complete renovation fi n- ished in 2009 by Foley-Baker, Inc. More be reasoned to where Aeolian left them than history, the tale of the Duke Aeolian in 1932. The adoption of such a plan was reads like a screenplay. not a foregone conclusion, for the Aeo- Mike Foley recently wrote up the proj- lian is not without its anomalies. Unison ect in The American Organist from his fl ute tone outside the Solo is atypically company’s point of view; a forthcoming gentle (the Great Principal Flute, for article in The Tracker will examine the example, is softer than the Gemshorn), organ’s historical and contemporary im- and some layout details that actually aid portance in greater detail. This piece tonal projection do not initially appear focuses on technical and musical issues to. After careful study and consideration, raised in the renovation, since the Duke however, the conclusion among organists project lies in that area between restora- and rebuilders was that the most musical tion (in which nothing is changed) and result would be attained with a return to rebuilding (in which new and old ma- the 1932 scheme. terial are given equal status toward an While Aeolian’s scaling and voicing was updated musical goal). How this project heroic in these jobs, the metal pipework balanced respect for the original mate- and some of the heftier chorus reeds are rial with modern and practical concerns perhaps one degree less substantial than is important to review, and can be ex- what is asked of them. As a result, it be- amined in three primary areas: musical, comes especially incumbent to examine console, and interior. pipes thoroughly during rehabilitation to ensure their readiness for another life- Background cycle. In addition to normal tub wash- From 1929 to 1932, its fi nal years of ing, numerous seams and loose languids production, Aeolian’s organ department were repaired. Pipes were re-rounded on produced three heroic organs: Long- mandrels to assure good speaking condi- wood Gardens (Op. 1726, 146 ranks, tions, tops trimmed, and new tuning col- fi ve 32′s), completed in June 1930; lars fi t throughout. Some of the largest Westchester County Center, an audi- wood pipes had developed cracks, which torium in White Plains, New York (Op. were routed out, splined and repaired. 1747, 69 ranks, 32′ Bombarde), com- Finally, Foley-Baker tonal director Milo- pleted in late 1930; and Duke Chapel van Popovic reviewed all fl ue pipes on (Op. 1785, 120 ranks, three 32′s), signed the voicing machine. The goal here was in October 1930, installed in early 1932 to do anything and everything that would and dedicated that June. (In 1931, Aeo- promote stability of speech and tone for lian signed a fourth in this mode for the the next several generations. Hershey Community Theatre in Penn- For Duke, two aspects made the fl ue sylvania. The contract went to Aeolian- reconditioning process more complex. Skinner in the merger, and the resulting Unlike working on a Skinner, where instrument, completed in 1933 under many examples exist for study, the scar- Ernest Skinner’s personal direction, was city of this breed of Aeolian can involve a Skinner through and through.) more interpretation than can be comfort- High pressures, large scales, multiple able during a restorative process. Also, reed batteries, and identical primary Aeolian employed Hoyt metal for many scaling link these Aeolians as sister ef- fl ue ranks, evidently unaware of the forts. The recent renovations at Duke material’s tendency to creep over time. and Longwood reveal that while Aeo- The syndrome mostly affects fl ue pipe lian’s intentions were suitably heroic in windways, as lower lips bow out, making each case, the company was still feeling the tone less effi cient and duller while its way along the fi ner points of how to vaguely staying on speech. Re-setting build mechanisms and pipes to cope the windways is straightforward enough, with the demands of high wind pres- but it involves a careful ear and a degree sures. In turn, those details affect how New console by Richard Houghten of conjecture to divine what the original these organs are renewed for their sec- voicers were after. ond life cycle. were installed, probably not to provide the Chapel’s acoustical transformation in Broome & Co. LLC undertook recon- a different type of tone as much as to 1974, from one of stereotypical Akous- ditioning of all reed stops, having per- Musical issues correct speech defi ciencies common to tolith deadness to epic acoustical gran- formed a similar task with the Longwood At 120 ranks, the tonal disposition at ranks built from Hoyt metal, as the origi- deur. This one event changed all music reeds, each job informing the other. Duke represented an apotheosis of the nals were. Some sounds were changed. in Duke Chapel; certainly no one active That process is intensive. The pipes are Symphonic organ, from a period in which New Choir mutations did not precisely at Aeolian or Aeolian-Skinner ever expe- fully documented before disassembly a semblance of traditional chorus build- replicate the Aeolian originals, and the rienced Op. 1785 as we do today. and rigorous cleaning; wood wedges ing was beginning to return to Ameri- Antiphonal chorus was remodeled, using Given this history of change, it was clear are replaced with brass; every scrolled can organbuilding. The comprehensive new 8′ and 4′ ranks, a revoiced chorus that any serious renovation of the Aeo- slot is cut out and replaced; and fi nally, chancel scheme was supported by an reed, and a de-tierced and brightened lian needed to develop an ethic around the pipes are re-assembled and checked encased two-manual section in the nave, mixture. Finally, the chancel Great cho- the organ’s tonal content. Duke organists through on the voicing machine. having an unenclosed chorus, Pedal 16′ rus underwent a bit of reshuffl ing: the Robert Parkins and David Arcus spent The fi nal element in the organ’s mu- 1 Principal in the façade, and a group of 5 ⁄3′ Quinte became a third 4′ Principal, years considering the matter, working sical rehabilitation was the many weeks enclosed softer voices. the III–VI Plein Jeu was returned to the through the issues as they considered of tonal fi nishing, again led by Milovan The instrument remained in this origi- factory to be loudened, and the chorus various restorers. By the time Foley- Popovic. Tremolo regulation received nal state only 16 years, however. Certain was rebalanced somewhat on site. Baker was signed on in 2007, the plan perhaps as much attention as tone, an mechanical and musical issues brought In 1975 the Echo-Antiphonal was had solidifi ed around restoration of the area to which Mike Foley is personally about a campaign of work by Aeolian- removed to make way for the present 1932 tonal scheme: retaining the 1948 devoted. Aeolian used small tremolos Skinner in 1948, including a new re- Flentrop, deleting a section of the Aeo- Aeolian-Skinner replacement ranks, re- to wobble large reservoirs, resulting in mote-control combination action and lian many had found particularly effec- versing the 1948 changes and shifts, and a light, fast and almost reiterative ef- crescendo pedal. Ten new string ranks tive. But much more noteworthy was regulating the pipes as closely as could fect that many would fi nd unpalatable
APRIL, 2012 25 today. To produce, from these ele- ments, an effect that organists will ac- tually use is no small feat. Finally, after years of silence, the Chimes and Harp are heard again, the latter particularly fi ne in Aeolian organs, long on tone and short on action noise. In the end, there was one stoplist change and one addition. The 15-inch wind pres- sure Pedal reed unit was made available in the manuals as an additional unison Trombone. And a new 25-inch-wind Fes- tival Trumpet was added, modeled on the louder of the two fanfare Tubas on the Skinner at Yale University (the Aeolian- Skinner at Girard College in Philadelphia has a stop of similar construction). All members of the design team refl ected upon a group of samples; the preferred stop was built by A.R. Schopp’s Sons and voiced by Christopher Broome. These unenclosed pipes are nestled into the right transept opening, speaking directly into the crossing as a heraldic voice. Scaffolding was 50 feet high to remove Great/Pedal/Choir/Swell equipment Console While the company’s earliest consoles followed the terrace-jamb form typical FBI Head of Field Operations, Phil Car- of the late 19th century, Aeolian evolved penter, watches as a reservoir is low- a trademark style in the ’teens, using ered from the Great division horizontally tilting tablets in angled side jambs. The resulting low profi le, even for large consoles, suited the residential set- ting (the person on the bench, operating a roll, could still engage socially). Organ- ists often derided these consoles, since at a glance it wasn’t clear which stops were drawn. Branching out to church organs in the 1920s, Aeolian fi rst rotated the tablets to the more usual vertical ar- rangement, then developed a distinctive type of drawknob console, with natty celluloid moldings around departments and large ivory stopknobs on thick ivory shanks rather than the usual ebony. Some The reconditioned, 30-horsepower, tri- peculiarities migrated from the resi- ple-outlet Spencer blower dence consoles: expression shoes with little excursion, spongy key action with- out tracker touch, non-AGO pedalboard Looking over the sea of Choir division pipes towards the enclosed Great reeds and clavier relationships, and placement of the Sforzando piston directly next to Great to Pedal (surprise!). The Duke console was Aeolian’s tallest of this model: impressive as a forest of ivory, if tending to noisiness with its vac- uum-action stopknob motors. As the size and fame of the Duke choir grew, the console height became a liability in the visual communication between organist and conductor. And, with the removal of the nave sections in 1975, the console contained many redundant controls. For these and other reasons, the organ- ists decided they would prefer to archive the original console and have a smaller one better suited to the instrument’s cur- Original Aeolian rack board labels were rent confi guration. Richard S. Houghten replicated of Milan, Michigan was directly con- tracted for this work, along with the de- renewal of the main windchests, whose sign and installation of solid-state control solid tops are shellacked but whose sides systems throughout. The new console and bottoms are painted. Most Aeolian blends dimensions and features more organs have 6-stage accordion swell en- typical of Skinner (particularly key-touch gines. For fancy jobs, a relay mixed and and piston arrangement) with some of Portions of the reconditioned Pedal and Great matched the six stages to produce 14 dis- the visual design peculiar to the Aeolian crete increments of opening. A nice idea original. Legally sourced ivory for keys, in theory, in practice the operation could stopknobs, tablets, pistons, and indicator lack smoothness, particularly in the fi rst tags contribute to an ambience more of few stages. For Duke, Aeolian built 14- a modernized old console than a brand- stage accordions, an elegant solution but new one. a tougher restoration challenge. Finally, tremendous effort was put into renew- Interior ing the Duke chambers and making all Projects involving old organs are made surfaces maximally refl ective, together easier when the instruments in question with a well-lit working environment for are entirely original. More challenging is the technician. After decades of looking an organ that has unquestionable musi- dank and worn, the chambers now gleam cal merit but might not have a mechani- like a fi rst-class hotel lobby. cal foundation of comparable quality. At Longwood, Aeolian’s fi rst truly high- Personnel pressure effort (ranging from 8″ to 30″), There had been talk of restoring the Aeolian experienced some structural Duke Aeolian since 1990. Through the instability with their new style of pit- 1990s and 2000s, former curator Nor- man windchest. Unlike Skinner chests, man Ryan had rehabilitated much of which are formed with horizontal joist- the Swell, and portions of the Choir and like separators between every stop, the Solo. In the push to undertake a com- Aeolian pitman chest is a simple box with prehensive renovation, two gentlemen a solid table, four sides and an occasional stood behind the project and saw that it vertical post. At Longwood, this proved got done. Duke University Organist Dr. insubstantial to the pressures employed Looking down into the Great division Robert Parkins set aside earlier concep- (many were reinforced in the recent ren- tions about style and saw that the instru- ovation); the White Plains organ shows chest was carefully checked for signs of of any restorative effort. Each fi rm’s in- ment’s fabric and tone were respected. further evidence of the same syndrome. stress or need for reinforcement, none struments bring particular challenges. He also dealt with the many logistical By the time the Duke organ was built, was needed in the end. Aeolian was atypical in being a two-fi nish issues such projects raise. Chapel Or- Aeolian had already realized that stouter Otherwise, restoring all mechanisms to wood shop: some things painted, oth- ganist Dr. David Arcus, familiar with and construction was necessary. While each a like-new standard comprises the bulk ers shellacked. This factor complicates fond of similar instruments built by Skin-
26 THE DIAPASON 8′ Principal Flute 73 pipes PEDAL (wind pressures: 6″ for 8′ Doppel Flute 73 pipes fl ues, 15″ for reeds) (in Choir chamber) 32′ Diapason (ext Ped Diap) 12 pipes 1 5⁄3′ Quint 73 pipes 32′ Bourdon (from Bourdon 16′; 1–12 in restored to original from Third Diapason common with Diapason 32′) 4′ Octave 73 pipes 16′ Diapason 32 pipes 4′ Principal 73 pipes 16′ Contrabass 32 pipes 4′ Flute 73 pipes 16′ Diapason (Great) (in Choir chamber) 16′ Bourdon 68 pipes 1 3⁄5′ Tenth 73 pipes 16′ Gamba (Choir) 2 2⁄3′ Twelfth 61 pipes 16′ Echo Lieblich (from Swell Bourdon) 2 2′ Fifteenth 61 pipes 10 ⁄3′ Quint (from Pedal Bourdon) Harmonics V 305 pipes 8′ Octave (ext Diapason) 12 pipes Plein Jeu III–VI 268 pipes 8′ Principal 32 pipes 16′ Contra Tromba 73 pipes 8′ Gedeckt (from Pedal Bourdon 16′) (in Choir chamber) 8′ Stille Gedeckt (from Sw Bourdon 16′) 1 8′ Trombone (Pedal) 5⁄3′ Twelfth (from Pedal Bourdon 16′) 8′ Tromba 73 pipes 4′ Flute (from Pedal Bourdon 16′) (in Choir chamber) Harmonics V 160 pipes 4′ Octave Tromba 73 pipes 32′ Bombarde (ext Ped Tbone) 12 pipes (in Choir chamber) 32′ Fagotto (ext Choir) 12 pipes 8′ Tuba Mirabilis (Solo) 16′ Trombone 32 pipes 8′ Festival Trumpet 61 pipes 16′ Tuba (Solo) (new, fl oating, 25″ wind pressure) 16′ Tromba (Great) Great to Great 16 16′ Fagotto (Choir) 2 Great to Great 4 10 ⁄3′ Quint Trombone (from Great Contra Chapel organist David Arcus Great Unison Off Tromba 16′) 8′ Trombone (ext) 12 pipes SWELL (wind pressures: 6″ for 8′ Tuba Mirabilis (Solo) fl ues and orchestral reeds, 10″ for 8′ Festival Trumpet chorus reeds) 4′ Clarion (ext) 12 pipes 16′ Bourdon 73 pipes Chimes (Choir) 8′ Diapason 73 pipes 8′ Geigen Diapason 73 pipes Couplers 8′ Gamba 73 pipes Great to Pedal 8 Solo to Great 16 8′ Gamba Celeste 73 pipes Swell to Pedal 8 Solo to Great 8 8′ Salicional 73 pipes Choir to Pedal 8 Solo to Great 4 8′ Voix Celeste 73 pipes Solo to Pedal 8 Solo to Swell 16 8′ Rohrfl ute 73 pipes Great to Pedal 4 Solo to Swell 8 8′ Cor de nuit* 73 pipes Swell to Pedal 4 Solo to Swell 4 8′ Flauto dolce 73 pipes Choir to Pedal 4 Swell to Choir 16 8′ Flute Celeste 61 pipes Solo to Pedal 4 Swell to Choir 8 4′ Octave 73 pipes Pedal to Pedal 4 Swell to Choir 4 4′ Fugara 73 pipes Pedal Divide Great to Choir 16 4′ Flute Triangulaire* 73 pipes Swell to Great 16 Great to Choir 8 2 2⁄3′ Nazard* 61 pipes Swell to Great 8 Great to Choir 4 2′ Piccolo 61 pipes Swell to Great 4 Solo to Choir 16 2′ Flautino* 61 pipes Choir to Great 16 Solo to Choir 8 3 1⁄5′ Tierce* 61 pipes Choir to Great 8 Solo to Choir 4 Cornet V (composed of stops marked*) Choir to Great 4 Pedal to Choir 8 Chorus Mixture V 305 pipes Great and Choir Transfer 16′ Posaune 73 pipes 8′ French Trumpet 73 pipes Balanced Expression Pedals 8′ Cornopean 73 pipes Choir Expression Swell division 8′ Oboe 73 pipes Swell Expression 8′ Vox Humana 73 pipes Solo Expression 4′ Clarion 73 pipes Crescendo (programmable) 8′ Harp (in Choir box) 4′ Celesta (in Choir box) Combination Pre-sets Tremolo Standard Capture Combination System with Chimes 256 levels of memory Swell to Swell 16 Manual Piston Combinations Swell to Swell 4 Great: 1–8, 0 (Cancel) Swell Unison Off Swell: 1–8, 0 Choir: 1–8, 0 CHOIR (wind pressure: 6″ Solo: 1–8, 0 throughout) Pedal: 4–8, 0 16′ Gamba 12 pipes General: 1–20 (ext Viole d’orchestre 8′) General Cancel 8′ Diapason 73 pipes Pedal Piston Combinations 8′ Viole d’orchestre 73 pipes Pedal: 1–5, 0 8′ Viole Celeste 73 pipes General: 1–16 8′ Concert Flute 73 pipes Setter 8′ Quintadena (derived from stops marked*) Piston Sequencer 8′ Dulciana* 73 pipes Memory Up and Down pistons 8′ Dulciana Celeste 73 pipes 4′ Violina 73 pipes Reversibles 4′ Harmonic Flute 73 pipes Manual and Pedal Pistons 2 Reservoirs and wind lines under the Swell 2⁄3′ Nazard* 61 pipes Great to Pedal 8 2′ Piccolo 61 pipes Swell to Great 8 3 ′ ner (particularly that at Yale University, riety, this renovation allows the Aeolian 1⁄5 Tierce 61 pipes Choir to Pedal 8 1 ′ on which he studied with Dr. Charles to shine forth with the elegance of its 1⁄7 Septieme 61 pipes Solo to Pedal 8 16′ Fagotto 73 pipes Diapason 32′ Krigbaum) asked important questions, sisters. Better still, it is played often and 8′ Trumpet 73 pipes Bombarde 32′ challenged assumptions, and kept music well. For those who labor hard on such 8′ Corno di bassetto 73 pipes Fagotto 32′ central to the discussion. His persuasive jobs, there is no fi ner outcome. 8′ Orchestral Oboe 73 pipes 16′ Manual Stops Off playing on the Aeolian invigorated es- —Jonathan Ambrosino 8′ Tuba Mirabilis (Solo) 32′ Pedal Stops Off tablished admirers and persuaded new 8′ Festival Trumpet All Swells to Solo Expression Pedal ones. For Sunday worship, the two or- Photo credit: Mark Manring 8′ Harp 49 bars Sfz mf 4′ Celesta (ext Harp) 12 bars Sfz Tutti ganists have developed creative means of employing both Flentrop and Aeolian The Duke Aeolian was rededicated in Tremolo Chimes 25 tubes Manual Pistons Only in antiphonal hymn accompaniment, as a gala concert February 8, 2009, joint- Choir to Choir 16 Solo to Swell 8 well as showcasing Duke’s other organs: ly offered by Drs. Parkins and Arcus Choir to Choir 4 Swell to Pedal 8 the meantone Brombaugh in the side to a capacity audience, with works of Choir Unison Off Choir to Great 8 Memorial Chapel, and the Richards, Brahms, Karg-Elert, Reger, Pierné, Solo to Great 8 Fowkes in Goodson Chapel, next door at Franck, Gigout, Locklair, Tournemire, SOLO (wind pressures: 10″ for Swell to Choir 8 Duke Divinity School. and Jongen. The entire recital can be fl ues and orchestral reeds, 15″ Solo to Choir 8 A project of this magnitude, accom- seen episodically on YouTube. for chorus Tubas, 25″ for Tuba Great to Choir 8 plished on budget in 20 months, requires mirabilis) All Pistons Next 8′ Stentorphone 73 pipes Harp Sustain planning of the surest sort coupled to ex- Chancel Organ, Duke University Chapel, ′ Durham, North Carolina 8 Gamba 73 pipes perience in managing complex projects. 8′ Gamba Celeste 73 pipes Indicator Lights While Mike Foley plays an active role Aeolian Organ Company, Opus 1785, ′ 1931–32 8 Flauto Mirabilis 73 pipes Usher Signal in that process, foreman Phil Carpen- 4′ Octave 73 pipes Telephone ter’s long experience in the site manage- GREAT (wind pressures: 6″ for 4′ Orchestral Flute 73 pipes Transposer ment shows through every detail of the fl ues, 12″ for reeds) Mixture V 305 pipes Pedal Divide fi nished result. The Duke renovation 32′ Quintaton (from tenor c) 61 pipes 16′ Tuba 73 pipes Sfz mf 16′ Diapason 73 pipes 8′ Tuba Mirabilis 73 pipes Sfz Tutti takes its place in FBI’s impressive roster ′ of high-profi le work of late: Boston-area partially in north façade 8 Tuba 73 pipes Crescendo 16′ Bourdon (Pedal, ext) 17 pipes 8′ French Horn 73 pipes All Swells to Solo Expression Pedal Aeolian-Skinners at Symphony Hall, The 8′ First Diapason 73 pipes 8′ English Horn 73 pipes All Pistons Next First Church of Christ, Scientist, and swapped with Second in 1932 4′ Clarion 73 pipes Pedal 32′ Off Trinity Church; Groton School; and in 8′ Second Diapason 73 pipes Tremolo Manual 16′ Off 2010, the relocated 1929 Skinner for The swapped with First in 1932 Chimes Harp Sustain Memorial Church, Harvard University. 8′ Third Diapason 73 pipes Solo to Solo 16 Digital display for memory level, general pis- For those who admire all of Duke’s restored to original from Prestant 4′ Solo to Solo 4 ton number, and crescendo level fi ne organs, in their excellence and va- 8′ Gemshorn 73 pipes Solo Unison Off
APRIL, 2012 27 New Organs Summer Institutes, Workshops & Conferences
Gregorian Chant Workshops The Fellowship of United Methodists in April 24–26, June 10–15, September 28–30, St. Music & Worship Arts (FUMMWA) Music Edmund’s Retreat, Mystic, CT. and Worship Arts Week April: Style and interpretation of Gregorian June 24–29, Lake Junaluska, NC. chant; June: Gregorian chant and liturgical mu- Handbells, organ and choral workshops, sic; September: Gregorian Chant Express; Wil- recitals; Lee Afdahl, Joby Bell, Sondra Tucker, liam Tortolano. Contact: 860/536-0565;
28 THE DIAPASON 2012 NPM National Convention July 23–27, Pittsburgh, PA. Masterclasses, workshops, concerts; Bert Adams, FAGO Charles Callahan, Hector Olivera, Lynn Calendar Park Ridge Presbyterian Church PATRICK ALLEN Trapp, David Haas, others. Contact:
APRIL, 2012 29 CALIFORNIA LUTHERAN UNIVERSITY Gail Archer; First Presbyterian, Potsdam, NY Ryan Jackson; Cathedral of the Incarnation, 4 pm Garden City, NY 4 pm MICHELE JOHNS K. Scott Warren; St. Ignatius Loyola, New Choral Evensong; St. James’ Church, New A.Mus.D Kyle Johnson, DMA York, NY 4 pm York, NY 4 pm JeeYoon Choi; St. Patrick’s Cathedral, New Julian Revie; St. Patrick’s Cathedral, New Organ — Harpsichord University Organist York, NY 4:45 pm York, NY 4:45 pm The University of Michigan rLFKPIOT!DBMMVUIFSBOFEV David Goodenough; Cathedral Church of St. Todd Fickley; Cathedral Church of St. John School of Music John the Divine, New York, NY 5:15 pm the Divine, New York, NY 5:15 pm www.callutheran.edu Craig Williams; St. Thomas Church Fifth Av- John Scott; St. Thomas Church Fifth Avenue, enue, New York, NY 5:15 pm New York, NY 5:15 pm Andrew Peters; Grace Church, Newark, NJ Christopher Houlihan; St. Bernard Roman 3 pm Catholic Church, Pittsburgh, PA 4 pm KIM R. KASLING Craig Cramer; St. Stephen’s Episcopal, Mill- Hector Olivera; Mifflin County High School, Brian Jones Lewistown, PA 3 pm D.M.A. burn, NJ 4 pm DirectorDirector of Music Emeritus The Practitioners of Musick; St. Mary’s Church, Andre Rakus; Washington National Cathedral, St. John’s University Burlington, NJ 4 pm Washington, DC 5:15 pm TRINITY CHURCH Paul Winter, Missa Gaia; Bryn Mawr Presbyte- Central Florida Master Choir; First United BOSTON Collegeville, MN 56321 rian, Bryn Mawr, PA 4 pm Methodist, Ocala, FL 3 pm Gerhard Weinberger; Washington National Massimo Nosetti; First United Methodist, Co- Cathedral, Washington, DC 5:15 pm lumbus, IN 3 pm Ken Cowan; St. Andrew’s Episcopal, College Craig Cramer; Cathedral of St. Joseph the Park, MD 4 pm Workman, La Crosse, WI 3 pm JAMES KIBBIE Ryan Hebert, with instruments, works of Mes- William Ferris Chorale; Emmanuel Episcopal, siaen; Sykes Chapel, University of Tampa, Tam- LaGrange, IL 3 pm The University of Michigan pa, FL 2 pm Organ and choral music of Gerald Near; House Ann Arbor, MI 48109-2085 Douglas Cleveland; Hyde Park Community of Hope Presbyterian, St. Paul, MN 2 pm ORGAN CONSULTANT 734-764-1591 FAX: 734-763-5097 United Methodist, Cincinnati, OH 4 pm www.gabrielkney.com Choral Evensong for Eastertide; Cathedral 30 APRIL email: [email protected] Church of St. Paul, Detroit, MI 4 pm Haydn, The Creation; St. Bartholomew’s, New Delbert Disselhorst; St. David’s Episcopal, York, NY 7:30 pm Glenview, IL 4 pm Hector Olivera; Lancaster Mennonite High Stephen Schnurr; Immaculate Conception School, Lancaster, PA 7:30 pm David K. Lamb, D.Mus. BVM Church, Chicago, IL 4 pm ARTHUR LAMIRANDE Karen Beaumont; St. Mark’s AME, Milwau- 1 MAY Director of Music/Organist kee, WI 3 pm John Schwandt; East Liberty Presbyterian, First United Methodist Church [email protected] Robert Ridgell, Handel, Organ Concerto No. Pittsburgh, PA 4 pm Columbus, Indiana 10; Cathedral of St. Paul, St. Paul, MN 7 pm Hector Olivera; Seaford High School Audito- 812/372-2851 www.youtube.com/watch?v=WTkDk-cX1X4 rium, Seaford, DE 8 pm 23 APRIL Ian Sadler; Park Congregational, Grand Rap- Hector Olivera; Concord City Auditorium, ids, MI 12:15 pm Concord, NH 7:30 pm Ricardo Ramirez; Alice Millar Chapel, North- Music Sacra; Weill Recital Hall, Carnegie Hall, western University, Evanston, IL 12:15 pm New York, NY 8 pm David Lowry Todd Wilson, service playing workshop; Com- 2 MAY THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD munity Presbyterian Church of Ben Avon, Pitts- Victoria Sirota, premiere of Sirota, holy 1512 BLANDING STREET, COLUMBIA, SC 29201 burgh, PA 8 pm ghosts; Metropolitan Museum of Art, New York, DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY Frédéric Champion; Cincinnati Museum Cen- NY 3:30 pm Thomas Dahl; All Saints Lutheran, Worthing- ROCK HILL, SC 29733 ter, Cincinnati, OH 7:30 pm Mario Duella; Elliott Chapel, Presbyterian ton, OH 7 pm Homes, Evanston, IL 1:30 pm Oberlin Collegium Musicum; Trinity Cathedral, •Brian Bloye; St. Alphonsus Catholic Church, Cleveland, OH 12:10 pm Chicago, IL 7:30 pm Christopher Urban, with bass; First Presbyte- rian, Arlington Heights, IL 12:10 pm ANDREW PAUL MOORE 24 APRIL A.S.C.A.P. Bach, Easter Oratorio and Magnifi cat; St. Bar- 3 MAY FELLOW, AMERICAN GUILD OF ORGANISTS CHRIST CHURCH tholomew’s, New York, NY 7:30 pm Akiko Enoki Sato, harpsichord; First Church, David Enlow, with l’Orchestre des Portes Boston, MA 12:15 pm 345 SADDLE LAKE DRIVE Rouges; Church of the Resurrection, New York, ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS (770) 594-0949 NY 8 pm 4 MAY Bruce Neswick, hymn festival; Christian Theo- Anthony Rispo; St. James’ Church, New York, logical Seminary, Indianapolis, IN 7 pm NY 7 pm OUGLAS EILL 25 APRIL 5 MAY LEON NELSON D O’N Andrew Scanlon; Visitor Center, Old Sa- Robert Ridgell, with violin, Biber, Rosary Sona- Cathedral of the Madeleine lem Museums & Gardens, Winston-Salem, NC tas; Cathedral of St. Paul, St. Paul, MN 5:30 pm University Organist 12 noon North Park University Salt Lake City, Utah CSU Chamber Choir; Trinity Cathedral, Cleve- 6 MAY land, OH 12:10 pm Choral Evensong for Easter; Cathedral of the Chicago, Illinois [email protected] 801/671-8657 Incarnation, Garden City, NY 4 pm 26 APRIL Andrew Henderson, with harp; Madison Av- Brumel and Josquin works; St. Luke in the enue Presbyterian, New York, NY 3 pm Fields, New York, NY 8 pm St. Vincent Ferrer Chorale and Soloists; St. MARILYN MASON Oratorio Society of New York; Carnegie Hall, Vincent Ferrer Church, New York, NY 3 pm CHAIRMAN, DEPARTMENT OF ORGAN New York, NY 8 pm Canterbury Choral Society, with brass; Church UNIVERSITY OF MICHIGAN of the Heavenly Rest, New York, NY 4 pm Susan Matthews; Cathedral Church of St. ANN ARBOR 27 APRIL Philippe Lefebvre; Old West Church, Boston, John the Divine, New York, NY 5:15 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it MA 8 pm Elke Völker; St. Thomas Church Fifth Avenue, with awesome technique and a thrilling command of its daring writing.” Kathleen Scheide, with Zofi e Vokalkova, New York, NY 5:15 pm The American Organist, 1980 fl ute; United Methodist Church, Saratoga Springs, Michael Stairs; Longwood Gardens, Kennett NY 7:30 pm Square, PA 2:30 pm Stephen Hamilton; Church of the Transfi gura- Gail Archer; St. Anthony of Padua, Lancaster, tion, New York, NY 7:30 pm PA 4 pm SYLVIE POIRIER Gail Archer, An American Idyll; Rutgers Pres- Keenan Boswell; Bryn Mawr Presbyterian, LARRY PALMER byterian, New York, NY 7:30 pm Bryn Mawr, PA 4 pm Ken Cowan, with brass and tympani; Christ Choral Evensong; Shadyside Presbyterian, Professor of PHILIP CROZIER and St. Luke’s Episcopal, Norfolk, VA 8 pm Pittsburgh, PA 4 pm ORGAN DUO David Higgs; Trinity Lutheran, Akron, OH 8 pm Thomas Dahl; Washington National Cathe- Harpsichord and Organ Massimo Nosetti; Trinity United Methodist, dral, Washington, DC 5:15 pm 3355 Queen Mary Road, Apt 424 New Albany, IN 7 pm Cathedral Contemporary Choir; Cathedral of Meadows School of the Arts Nigel Potts; Christ Church Cathedral, Nash- Mary Our Queen, Baltimore, MD 4 pm Montreal, H3V 1A5, P. Quebec ville, TN 7:30 pm Dongho Lee; Trinity Evangelical Lutheran, SOUTHERN METHODIST UNIVERSITY Canada David Enlow; Episcopal Church of the Nativ- Newport News, VA 4 pm ity, Huntsville, AL 7:30 pm Marion Civic Chorale; First United Methodist, (514) 739-8696 Ocala, FL 3 pm Dallas, Texas 75275 Fax: (514) 739-4752 28 APRIL Dorothy Young Riess; Trinity United Method- Sine Nomine, works of Schütz & Monteverdi; ist, Youngstown, OH 2 pm Musical Heritage Society recordings [email protected] St. Michael’s Episcopal, Bristol, RI 8 pm Easter Lessons & Carols; Christ Church Grosse Alumni recital; McDaniel College, Westminster, Pointe, Grosse Pointe Farms, MI 4:30 pm MD 3 pm Wilma Jensen; Christ Church Cathedral, David Higgs, masterclass; Trinity Episcopal Nashville, TN 3:30 pm Cathedral, Cleveland, OH 10 am Cathedral Choir, with orchestra; Cathedral Peter Richard Conte, with Canton Symphony Church of the Advent, Birmingham, AL 4 pm Orchestra; Umstattd Hall, Canton, OH 8 pm Ravenswood Consort; St. Simon’s Episcopal, A four-inch Professional Card John Gouwens, carillon; Memorial Chapel, Arlington Heights, IL 4 pm Culver Academies, Culver, IN 4 pm Agape Ringers; First United Methodist, Lom- in THE DIAPASON David Enlow, masterclass; Episcopal Church bard, IL 4 pm of the Nativity, Huntsville, AL 9:30 am For rates and specifi cations William Ferris Chorale; Madonna della Strada 7 MAY Chapel, Loyola University, Chicago, IL 7:30 pm Tom Trenney, recital and silent fi lm accompa- contact Jerome Butera niment; Capitol Hill United Methodist, Washing- 29 APRIL ton, DC 8 pm 847/391-1045 Sine Nomine, works of Schütz & Monteverdi; Todd Wilson, with brass; Calvary Episcopal, Grace Episcopal, New Bedford, MA 3 pm Cincinnati, OH 7 pm [email protected] Two Choirs Concert; South Church, New Brit- ain, CT 4 pm 8 MAY Haydn, The Creation; Woolsey Hall, Yale Uni- Thomas Dahl; Central Synagogue, New York, versity, New Haven, CT 5 pm NY 12:30 pm
30 THE DIAPASON
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM 9 MAY Gryphon Trio, with Christ Church Schola; Christ Todd Wilson, with trumpet; Trinity Cathedral, Church Grosse Pointe, Grosse Pointe Farms, MI Stephen G. Schaeffer Cleveland, OH 12:10 pm 4:30 pm Ken Cowan; Independent Presbyterian, Bir- Recitals – Consultations 11 MAY mingham, AL 4 pm John Rose; Trinity Episcopal, Torrington, CT Kristin Lensch; Zion Lutheran, Wausau, WI Cathedral Church of the Advent 7:30 pm 3 pm Birmingham, Alabama •David Enlow; Greene Memorial United Meth- Jonathan Ryan; St. James Cathedral, Chi- odist, Roanoke, VA 8 pm cago, IL 3 pm www.AdventBirmingham.org Kevin Neel; St. John Presbyterian Church, Kelly Dobbs-Mickus; Madonna della Strada New Albany, IN 7 pm Chapel, Loyola University, Chicago, IL 3 pm Dennis James, silent fi lm festival; Phipps Cen- ter for the Arts, Hudson, WI 7:30 pm 21 MAY ROBERT L. Stephen Tappe Lawrence Lawyer, with Cathedral Chamber Wolfgang Rübsam; Elliott Chapel, Presbyte- Organist and Director of Music Orchestra and tenor; Chapel, Little Sisters of the rian Homes, Evanston, IL 1:30 pm SIMPSON Saint John's Cathedral Poor, St. Paul, MN 6 pm 22 MAY Christ Church Cathedral Denver, Colorado 12 MAY Christopher Candela; St. Vincent Ferrer 1117 Texas Avenue Houston, Texas 77002 www.sjcathedral.org •David Enlow, masterclass; Greene Memorial Church, New York, NY 7 pm United Methodist, Roanoke, VA 10 am 23 MAY Christoph Bull; Methuen Memorial Music 13 MAY ORGAN MUSIC OF THE SPANISH BAROQUE Michael Boney; Cathedral Church of St. John Hall, Methuen, MA 8 pm the Divine, New York, NY 5:15 pm Gail Archer, An American Idyll; Central Syna- Joe Utterback Elmo Cosentini; St. Thomas Church Fifth Av- gogue, New York, NY 7:30 pm David Troiano enue, New York, NY 5:15 pm Todd Wilson & Elizabeth Lenti, with orches- DMA MAPM COMMISSIONS & CONCERTS Bach Society of Dayton; Kettering Adventist tra, Haydn and Paulus concertos; Trinity Cathe- 586.778.8035 732 . 747 . 5227 Church, Kettering, OH 7:30 pm dral, Cleveland, OH 12:10 pm [email protected] Spring Festival Concert; Alice Millar Chapel, Northwestern University, Evanston, IL 7 pm 27 MAY Thierry Escaich; St. Louis Cathedral, New Or- Choral Evensong; Cathedral Church of St. leans, LA 6 pm John the Divine, New York, NY 4 pm Louis Perazza; Washington National Cathe- David Wagner 14 MAY dral, Washington, DC 5:15 pm Marcia Van Oyen DMA Janet Hamilton & Timothy Baker; St. Mark’s Ken Cowan; Grace Episcopal, Charleston, SC First United Methodist Church, Madonna University United Church of Christ, New Albany, IN 7 pm 7:30 pm Plymouth, Michigan David Lamb, hymn festival; First United Meth- Livonia, Michigan 15 MAY odist, Columbus, IN 9 am mvanoyen.com [email protected] The Chenaults; All Saints Church, Atlanta, GA 7:30 pm 30 MAY Daniel Brondel; Methuen Memorial Music 17 MAY Hall, Methuen, MA 8 pm Bach Vespers; St. Lorenz Lutheran, Franken- Kathrine Handford; Lawrence University Me- muth, MI 7 pm morial Chapel, Appleton, WI 12:15 pm Kevin Walters KARL WATSON 19 MAY M.A., F.A.G.O. SAINT LUKE’S Simon Preston; Spivey Hall, Clayton State UNITED STATES University, Morrow, GA 8 pm West of the Mississippi Rye, New York METUCHEN Spring Choral Fest; Cathedral Church of St. Paul, Detroit, MI 5 pm John Gouwens, carillon; Memorial Chapel, 15 APRIL Culver Academies, Culver, IN 4 pm Scott Montgomery; St Peter’s Episcopal, St. Louis, MO 5 pm Davis Wortman 20 MAY Tom Trenney, with St. John’s University Men’s RONALD WYATT Victor Hill, harpsichord; Clark Art Institute, Chorus; St. John’s Abbey Church, Collegeville, Williamstown, MA 3 pm St. James’ Church MN 4 pm Trinity Church Marilyn Keiser; St. James’ Church, New York, Andrew Peters; Second Presbyterian, St. NY 3 pm New York Galveston Louis, MO 4 pm Saint Andrew Chorale; Madison Avenue Pres- John Schwandt; Vine Congregational, Lin- byterian, New York, NY 3 pm coln, NE 3 pm Elmo Cosentini; Cathedral Church of St. John Thomas Trotter; Parker Chapel, Trinity Univer- the Divine, New York, NY 5:15 pm Charles Dodsley Walker, FAGO James Metzler; St. Thomas Church Fifth Av- sity, San Antonio, TX 3 pm enue, New York, NY 5:15 pm Choral Evensong; St. John’s Cathedral, Den- Artist-in-Residence Founder/Conductor Stephen Rapp; St. Patrick’s Cathedral, New ver, CO 3:30 pm Saint Luke’s Parish Canterbury Choral Society York, NY 6:30 pm Timothy Olsen; Lagerquist Hall, Pacifi c Lu- 1864 Post Road 2 East 90th Street Cordus Mundi; St. Mary’s Church, Burlington, theran University, Tacoma, WA 3 pm Darien, CT 06820 New York, NY 10128 NJ 4 pm Martin Setchell; St. Mary’s Cathedral, San (917) 628-7650 (212) 222-9458 Gary Desmond; Washington National Cathe- Francisco, CA 3:30 pm dral, Washington, DC 5:15 pm Ekaterina Gotsdiner-McMahan; Trinity Epis- Jonathan Hellerman; Mount Calvary copal, Santa Barbara, CA 3:30 pm Church, Baltimore, MD 5:15 pm, following 4:30 Choir of Canterbury Cathedral; St. James’ William Webber, C.A.G.O. pm Evensong Episcopal, Los Angeles, CA 4:30 pm Christopher Houlihan; Morning Star Luther- Bach, Cantata 67; St. John’s Lutheran, Orange, an, Matthews, NC 4 pm CA 7 pm Organist, First Christian Church, Danville, KY Instructor of Music & Religious Studies, Maysville Community College Contact Bill at
A Professional Card in The Diapason For rates and digital specifi cations, House Organist contact Jerome Butera The Bushnell Memorial 847/391-1045 Hartford [email protected]
A two-inch Professional Card in The Diapason For information on rates and specifi cations, contact: Jerome Butera [email protected] 847/391-1045
APRIL, 2012 31 17 APRIL 29 APRIL Choral concert, with Northwest Girlchoir; St. 22 APRIL Thomas Trotter; Chapel of the Christ, Martin E. Ray Peebles & Bryan Bierbaum; First Unit- Mark’s Episcopal Cathedral, Seattle, WA 7:30 pm Gerard Brooks; Methodist Central Hall, West- Luther College, New Ulm, MN 8 pm ed Methodist, Shreveport, LA 4 pm minster, London, UK 3 pm The American Boychoir; First-Plymouth 12 MAY Matthew Burgess; Westminster Cathedral, 18 APRIL Church, Lincoln, NE 4 pm Mozart, Coronation Mass; Cathedral Basilica London, UK 4:45 pm Stile Antico; St. John’s Episcopal Cathedral, Bruce Neswick; Broadway Baptist, Fort of St. Louis, St. Louis, MO 8 pm Andrej Kouznetsov; Westminster Abbey, Lon- Los Angeles, CA 8 pm Worth, TX 7 pm Namhee Han; Glendale CIty Seventh-day Ad- don, UK 5:45 pm Norma Aamodt-Nelson, with Brass Refl ec- ventist, Glendale, CA 4 pm 20 APRIL tions; Edmonds United Methodist, Edmonds, WA 24 APRIL Jeremy Filsell, piano, and Nigel Potts, organ; 3 pm 13 MAY Philip Scriven, Bach works; Chapel, Cran- Green Lake Church of Seventh-day Adventists, Naomi Shiga & Jonathan Wohlers; Kane •Todd Wilson, Poulenc, Organ Concerto, Du- leigh School, Cranleigh, Surrey, UK 1:10 pm Seattle, WA 7 pm Hall, University of Washington, Seattle, WA 3 pm rufl é, Requiem; St. James’ Episcopal, Los Ange- Christopher Houlihan; All Saints’ Episcopal, Lenore Alford; St. Mary’s Cathedral, San les, CA 4:30 pm 25 APRIL Fort Worth, TX 7:30 pm Francisco, CA 3:30 pm Winfried Bönig; Westminster Cathedral, Lon- Chelsea Chen; La Jolla Presbyterian, La Jolla, 14 MAY don, UK 7:30 pm 21 APRIL CA 7 pm Isabelle Demers; Gano Chapel, William Jewel Dean Billmeyer, masterclass; Riverside Re- Los Angeles Master Chorale; Walt Disney Con- College, Liberty, MO 7:30 pm 26 APRIL cital Hall, University of Iowa, Iowa City, IA 10 am cert Hall, Los Angeles, CA 7 pm •Todd Wilson, masterclass on Durufl é; St. Jane Parker-Smith; Reading Town Hall, Read- ing, UK 7:30 pm Choir of Men and Boys of Canterbury Cathe- James’ Episcopal, Los Angeles, CA 7:30 pm dral; St. Mark’s Episcopal Cathedral, Seattle, WA 4 MAY 28 APRIL 7:30 pm Stephen Hamilton; Faith Lutheran, Clive, IA 19 MAY Daniel Moult; Bridlington Priory, Bridlington, 8 pm Raymond Johnston, with Cathedral Choir Michael Kleinschmidt, Bach works; St. Mark’s UK 6 pm 22 APRIL and Choral Society & Aurora Brass Quintet; St. Episcopal Cathedral, Seattle, WA 7:30 pm Diana Lee Lucker; Wayzata Community Mark’s Cathedral, Minneapolis, MN 7:30 pm Choral Evensong; All Saints’ Episcopal, Bev- 29 APRIL Church, Wayzata, MN 3 pm Houston Chamber Choir; Church of St. John Dean Billmeyer; Congregational United erly Hills, CA 7:30 pm Ph. Lefebvre, Y. Castagnet, J.P. Leguay, the Divine, Houston, TX 7:30 pm S.-V. Cauchefer-Choplin, D. Roth; Saint-Sulpice, Church of Christ, Iowa City, IA 4 pm Robert Bates; Trinity Episcopal Cathedral, 5 MAY Paris, France 4 pm Christopher Houlihan; Trinity Episcopal, Tul- Phoenix, AZ 7:30 pm Brent Nolte; Ferguson Hall, University of Min- Martin Baker; Westminster Cathedral, Lon- sa, OK 7:30 pm David Higgs, masterclass; Fremont Presbyte- Thomas Baugh; Bates Recital Hall, University nesota, Minneapolis, MN 4 pm don, UK 4:45 pm rian, Sacramento, CA 10 am of Texas, Austin, TX 4 pm Alison Luedecke; Pasadena Presbyterian, Robert Quinney; Westminster Abbey, London, Paul Jacobs; St. Martin’s Episcopal, Houston, Pasadena, CA 7:30 pm UK 5:45 pm 20 MAY TX 3 pm Philip Crozier; Eglise Saints-Anges de La- Hordur Askelsson, with cello; Trinity Lutheran, Jeremy Filsell, piano, and Nigel Potts, organ; 6 MAY chine, Montreal, QC, Canada 3 pm Lynnwood, WA 7 pm Our Lady of Lourdes Church, Sun City West, AZ Julian Collins, with cello; First Presbyterian, Isabelle Demers; Grass Valley Seventh-day 1 MAY 3 pm Rochester, MN 4 pm Adventist Church, Grass Valley, CA 2 pm and 7 Philip Scriven, Bach works; Chapel, Cran- Timothy Zerlang; St. Mary’s Cathedral, San Nigel Potts; First United Methodist, Lubbock, pm leigh School, Cranleigh, Surrey, UK 1:10 pm Francisco, CA 3:30 pm TX 5 pm Gillian Weir; St. Lawrence Church, Alton, Rex Rallanka; Grace Lutheran, Tacoma, WA David Higgs; Fremont Presbyterian, Sacra- mento, CA 4 pm Hampshire, UK 8 pm 23 APRIL 3 pm Thierry Escaich, choral concert and organ Avis McIntyre; Wesley’s Chapel, London, UK Christoph Bull; Royce Hall, UCLA, Los Ange- James Taulbee; St. Alban’s Episcopal, West- improvisations; Renee and Henry Segerstrom 1:05 pm les, CA 2 pm wood, CA 4 pm Concert Hall, Costa Mesa, CA 5:30 pm Sergio Militello, with Wimbledon College Choir; Peter Richard Conte; Walt Disney Concert Sacred Heart, Wimbledon, London, UK 8 pm 24 APRIL Hall, Los Angeles, CA 7:30 pm 22 MAY Anna Myeong; Bales Organ Recital Hall, Uni- 3 MAY versity of Kansas, Lawrence, KS 7:30 pm 7 MAY VocalEssence; Burnsville Performing Arts Cen- ter, Burnsville, MN 7 pm Jonathan Hope; Christchurch Priory, UK Thomas Murray; Organ Recital Hall, Colorado 12:30 pm 27 APRIL State University, Fort Collins, CO 7:30 pm Francesca Massey; Ripon Cathedral, Ripon, Joyce Kull; St. John’s Cathedral, Denver, CO INTERNATIONAL UK 1 pm 7:30 pm 10 MAY Allan Mahnke; St. Barnabas Lutheran, Plym- 4 MAY 28 APRIL outh, MN 12:30 pm 15 APRIL Sophie-Véronique Cauchefer-Choplin; St. Craig Cramer; St. Olaf Catholic Church, Min- Daniel Cook; Westminster Abbey, London, UK Paul’s Cathedral, London, UK 7:30 pm neapolis, MN 7 pm 11 MAY 5:45 pm Stephanie Burgoyne & William Vandertuin; St. Britten, War Requiem; Lied Center, Lincoln, NE Isabelle Demers; University of Nevada, Las Jude’s Anglican, Brantford, ON, Canada 12:15 pm 7:30 pm Vegas, NV 7:30 pm 17 APRIL 6 MAY Naji Hakim; Eglise Saint-Martin, Dudelange, Andrea Vannucchi; Cattedrale, Pistoia, Italy Luxembourg 8 pm 5 pm martin ott pipe Christopher Stokes; Westminster Cathedral, organ 19 APRIL company London, UK 4:45 pm inc. Keno Brandt, with bagpipe; Eglise Saint-Mar- Stephen Binnington; Westminster Abbey, tin, Dudelange, Luxembourg 8 pm London, UK 5:45 pm 7408 Somerset Ave. St. Louis, MO 63105 20 APRIL 314-504-0366 Phone 7 MAY 801-756-5777 Martin Ott [email protected] Avis McIntyre; St. George, Beckenham, UK John Keys; All Saints, Oakham, UK 11:15 am www.bigeloworgans.com Orgelbaumeister www.ottpipeorgan.com 12:30 pm Edward Norman; Holy Rosary Cathedral, Van- 8 MAY couver, BC, Canada 8 pm Philip Scriven, Bach works; Chapel, Cran- leigh School, Cranleigh, Surrey, UK 1:10 pm Parkey 21 APRIL Paul Hale; Victoria Hall, Hanley, UK 12 noon 11 MAY OrganBuilders Yuka Ishimaru; St. Saviour’s Church, St. Al- Andrew Keegan Mackriell; St. Jude’s Angli- Distinguished Pipe Organs bans, UK 5:30 pm can, Brantford, ON, Canada 12:15 pm 3870 Peachtree Ind. Blvd. Voice 770-368-3216 Suite 150-285 Fax 770-368-3209 Duluth, Georgia 30096 www.parkeyorgans.com
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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 Jeremy Filsell, piano and Nigel Potts, organ; 24 MAY Leighton; Salutation, Petition and Acclama- Pièce d’Orgue, BWV 572, Bach; Hommage Metropolitan United Church, Toronto, ON, Cana- Olivier Latry, with La Maîtrise de Notre-Dame; tion on Salve Regina, Trapp; Le Mystère de à Pachelbel, Rakich; Canzonetta, Chadwick; da 7:30 pm Saint-Sulpice, Paris, France 8:30 pm Noël, Fauchard. Marcia Religiosa, Parker; Nocturne, Taille- ferre; Suite No. 1, Price. 12 MAY 25 MAY PHILIP CROZIER, Klosterkirke, Sorø, David Hirst; All Saints, Huntingdon, UK 7:30 Joel Vanderzee; St. Jude’s Anglican, Brant- Denmark, August 10: Bergamasca (Fiori RUDY SHACKELFORD, piano and organ, pm ford, ON, Canada 12:15 pm Musicali), Frescobaldi; Trio Sonata No. 5 in with Rev. Arthur L. Wolz, Jr., narrator, Bethany C, BWV 529, Bach; Postlude pour l’offi ce de United Methodist Church, Gloucester Point, 13 MAY 26 MAY Complies, JA 29, Choral cistercien pour une VA, October 23: Now Thank We All Our God Michael Bonaventure; Westminster Cathe- Kimberly Marshall; St. John’s, Smith Square, élévation, JA 132, Monodie, JA 133; Andante, (Cantata No. 79), Bach, transcr. Fox; Siciliano dral, London, UK 4:45 pm London, UK 5:45 pm JA 89 bis, Choral Phrygien, JA 68, Alain; Toc- (Sonata for Flute, BWV 1031), Bach, transcr. Tim Wakerell; Westminster Abbey, London, Gerard Brooks; St. Saviour’s Church, St. Al- cata in F, BuxWV 156, Buxtehude; Vater unser Vierne; Badinerie (Orchestral Suite No. 2, UK 5:45 pm bans, UK 5:30 pm im Himmelreich, Böhm; Triptyque, Bédard. BWV 1067), Bach, transcr. Murray; Sinfonia Sct. Nicolai Kirke, Rønne, Denmark, Au- (Cantata No. 29), Bach, transcr. Guilmant; Pré- 14 MAY 27 MAY gust 12: Triptyque, Bédard; Trio in d-mol, lude in e, op. 28, no. 4, Chopin, transcr. Liszt; Karen Beaumont; Southwark Cathedral, Lon- Gerard Brooks; Methodist Central Hall, West- BWV 583, Bach; Suite pour orgue, Trois Min- Prélude in e, op. 28, no. 4, Chopin; Sposalizio don, UK 1 pm minster, London, UK 7:30 pm utes, Intermezzo, Alain; Vater unser im Him- (Années de Pèlerinage), Liszt; Fantasia in g, Peter Stevens; Westminster Cathedral, Lon- melreich, Böhm; Prélude et fugue sur le nom BWV 542a, Bach, transcr. Liszt; Fantasia and 15 MAY don, UK 4:45 pm d’Alain, op. 7, Durufl é. Fugue in g, BWV 542, Bach; St. Francis of As- Philip Scriven, Bach works; Chapel, Cran- Robert Quinney; Westminster Abbey, London, sisi: The Sermon to the Birds (Deux Légendes), leigh School, Cranleigh, Surrey, UK 1:10 pm UK 5:45 pm Liszt; Chaconne (Partita No. 2 in d for Vio- ROBERT DELCAMP, University of the lin, BWV 1004), Bach, transcr. Busoni; Lita- South, Sewanee, TN, October 22: Prelude and nies, Alain; Consolation No. 3 in D-fl at, Liszt, 16 MAY 29 MAY Fugue on B-A-C-H, Liszt; Prelude, op. 28, no. Philip Scriven, Bach works; Chapel, Cran- transcr. Shackelford; Prelude and Fugue on the Jill York; Reading Town Hall, Reading, UK 1 pm 4, Prelude, op. 28, no. 9, Chopin, transcr. Liszt; Name BACH, Liszt. leigh School, Cranleigh, Surrey, UK 1:10 pm Weinen, Klagen, Sorgen, Zagen, Andantino, Ada- 18 MAY gio (Six Consolations), Fantasy and Fugue on the CAROLYN SHUSTER FOURNIER, Randy Mills; St. Jude’s Anglican, Brantford, Chorale Ad nos, ad salutarem undam, Liszt. Cathédrale, Laon, France, August 15: Grand ON, Canada 12:15 pm Chœur alla Haendel, op. 18, Guilmant; Pièce Organ Recitals JAMES DORROH, St. John Berchmans en sol mineur, Chauvet; Suite gothique, op. 20 MAY Cathedral, Shreveport, LA, October 30: Prael- 25, Boëllmann; Cortège et Litanie, op. 19, Simon Hogan; Westminster Cathedral, Lon- udium, E-fl at, BWV 552, 1, Bach; Herzlich tut no. 2, Dupré; Cloches, Fournier; Impromptu, don, UK 4:45 pm ROBERT BATES, University of North mich verlangen, Es ist ein Ros’ entsprungen Carillon de Westminster (Pièces de fantaisie, John Carnelley; Westminster Abbey, London, Texas, Denton, TX, October 24: Praeludium (Eleven Chorale Preludes, op. 122), Brahms; op. 54, no. 6), Vierne; Postlude pour l’Offi ce UK 5:45 pm in g, BuxWV 148, Bach; Pavane, Gaillarde, Choral II in b, Franck; Prelude (Suite pour de Complies, Litanies, Alain. Hau, hau, le boys, Dolent depart, Tant que orgue, op. 5), Durufl é; Fanfare, Cook; Air, 21 MAY vivray (pub. Attaingnant), Anonymous; Tien- Hancock; Adagio, quasi largo, Finale (Sym- STEPHEN THARP, Propsteikirche St. Pe- Henry Fairs; Methodist Central Hall, Westmin- to de medio registro de tiple de segundo tono phonie III, op. 28), Vierne. ter, Recklinghausen, Germany, September 24: ster, London, UK 7:30 pm (Facultad Orgánica), de Arauxo; Prelude and Organ Sonata No. 8 in A, op. 91, Guilmant; In- Fugue in e, BWV 548, Bach; Annum per an- ROBERT KNUPP, Presbyterian Homes, termezzo in A, op. 118, no. 2, Brahms, transcr. 22 MAY num, Pärt; Deuxième fantaisie, Alain; Cha- Evanston, IL, October 24: Prelude in E-fl at, Tharp; Funérailles (Harmonies Poétiques et David Hamilton; Palmerston Place, Eding- ron’s Oar, Bates; Scherzo symphonique, Co- BWV 552, Bach; Fugghetto—Forbidden Religieuses), Liszt, transcr. Demessieux; Vari- burgh, UK 7:30 pm chereau, transcr. Filsell. Sanctus, deMets; Toccata, Hill; An Wasser- ations on the hymn tune ‘Rouen’, Baker. Philip Scriven, Bach works; Chapel, Cran- fl üssen Babylon, BWV 653, Bach; Sinfonietta, leigh School, Cranleigh, Surrey, UK 1:10 pm CRAIG CRAMER, Christ Episcopal Gjeilo; Bagatelles for Organ, Mahloch; Fugue KENT TRITLE, St. Francis Episcopal Church, Little Rock, AR, October 7: Prelude in E-fl at, BWV 552, Bach. Church, Stamford, CT, September 25: Pasto- 23 MAY and Fugue in G, BWV 541, Bach; Lumina, ral Drone, Crumb; Resurrection, King; Views Martin Baker; Westminster Cathedral, Lon- DeCerf; Introduction, Scherzo and Fugue on CHRISTA RAKICH, St. Petrus und Jako- from the Oldest House, Rorem; The 94th don, UK 7:30 pm B-E-A-T-E, Zahnbrecher; Festival Fanfare, bus major, Nendingen, Germany, October 26: Psalm, Reubke.
Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera 847/391-1045,
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APRIL, 2012 33 Classifi ed Advertising Rates Classifi ed Advertising will be found on page 33.
PUBLICATIONS/ PUBLICATIONS/ PUBLICATIONS/ PIPE ORGANS RECORDINGS RECORDINGS RECORDINGS FOR SALE
Festival March by Ralph Kinder completes Utterback Service Music Sale . . . Images—3 Portative organ: Designed for small choral or Like the harpsichord? Harpsichord Tech- ′ ′, ′, my restoration of his “Three Pieces” from piano/organ duets: $10 for 2 copies. Voluntar- nique: A Guide to Expressivity, second baroque ensembles. Four stops: 8 , 4 2 and 1904. Other titles are “Berceuse” and “Fanta- ies—7 useful organ solos: $10. Send order and edition, by Nancy Metzger is the hands-on 1-1/3′, with the last two divided into bass and sia on Duke Street.” All three are now avail- check for either or both pieces with $3 postage guide for touch and historically informed treble registers and an adjustable point of divi- able for the first time in decades as originally (media mail) to Jazzmuze, Inc., 80 Rumson performance. www.rcip.com/musicadulce. sion (b24/c25 or c25/c#26). Adjustable pitch published in 1904. michaelsmusicservice.com; Place, Little Silver, NJ 07739. Please include between A=440 Hz and A=415 Hz. Quarter- 704/567-1066. e-mail and phone. Check www.jazzmuze.com for sawn white oak case. Available immediately. sample pages. For more information, contact Létourneau Fruhauf Music Publications is pleased to an- Chanson de Nuit, by Edward Elgar, tran- Pipe Organs at [email protected] or 888/774-5105. nounce the release of a new choral composi- The Tracker —The Organ Historical Society scribed by Herbert Brewer, is offered by Mi- tion for the spring season: Sing The Waters, publishes its journal four times a year. The chael’s Music Service. Elgar was a church a verse anthem for SATB + soprano solo and organist from 1885 to 1889, and originally Tr a c ke r includes news and articles about the Möller Artiste, 3 ranks, very good condition, organ, is based on the tune NETTLETON, with a organ and its history, organbuilders, exemplary named this piece “Evensong.” Consolation by new text that celebrates the cycles of life and organs, regional surveys of instruments, and René Becker (1882–1956), a quiet meditation some renovation completed, builder ready to spirit (15 pages, softbound 8½x11). Visit www. the music played on the organ. The emphasis is dedicated to his son, contrasts with Becker’s assist in moving for additional cost. $10,000/ frumuspub.net, or contact: [email protected]; on American organ topics of the 18th, 19th, and better-known toccatas and sonatas, and will best offer. 414/228-8737; jennifer.ankerberg@ 805/682-5727, mornings, Pacifi c time; or write 20th centuries, and there are occasional sub- work well on any organ with an effective oboe. sbcglobal.net. Fruhauf Music Publications, P.O. Box 22043, jects on European topics. Most issues run 32 http://michaelsmusicservice.com. Santa Barbara, CA 93121-2043. pages with many illustrations and photographs, and at least one annual issue is published in Wicks organ, 2 manuals, 4 ranks, ca. 1990. full color. Membership in OHS includes a sub- Two Films on DVD about J. S. Bach’s “Art of 16′ Rohrfl ute 97 pipes, ′8 Principal 85 pipes, 4′ The OHS Catalog is online at www.ohscatalog. Fugue,”* and 2 CDs of the entire work played by Gemshorn 73 pipes, 8′ Trumpet 61 pipes. Ex- org. More than 5,000 organ and theatre organ scription to The Tracker. Please visit our web- site for more information or subscription: www. George Ritchie, as well as two hours of video cellent condition. Oak casework and console. CDs, books, sheet music, DVDs and VHS vid- lecture by Ritchie at the organ, receive rave re- eos are listed for browsing and easy ordering. organsociety.org. Lauck Pipe Organ Co. 269/694/4500; e-mail: views from all quarters and are sold as a set, [email protected]. Use a link for adding your address to the OHS FSF-DVD-001, for $39.95 postpaid worldwide Catalog mailing list. Organ Historical Soci- Certifi ed appraisals—Collections of organ by Raven, Box 25111, Richmond, VA 23261, ety, Box 26811, Richmond, VA 23261. E-mail: www.RavenCD.com. [email protected]. books, recordings, and music, for divorce, es- Hook & Hastings opus 1366, built in 1887. tate, gift, and tax purposes. Stephen L. Pinel, From Felicity Methodist, New Orleans, Louisiana. Appraiser. [email protected]; 609/448-8427. Completely restored and installed; $75,000. Roy 39 Free Harmonizations of 26 Familiar Hymn ELECTRONIC ORGANS Redman; 817/996-3085. Tunes for Organ, Vol. 2 (34 pages), settings for FOR SALE one or two manuals with pedal, 1–4 verses each: Atlantic City Convention Hall Organ— The Land of Rest; Lasst Uns Erfreuen; Lauda Anima; fi rst recording since 1956 of the world’s largest 1968 Wicks organ—47 registers, 36 ranks, Rodgers Organ, 905, 3 manuals, 45 ranks, Laudes Domini; Leoni; Lyons; Melita; Men- organ, the famous organ created by Senator unifi ed to 46 stops. Three-manual draw-knob delssohn; Mit Freuden Zart; Nicaea; Oh when Emerson Richards and built by Midmer-Losh eight speakers, manufacture date 1998, excellent condition, $25,000. Rockford, IL, 815/397-5579. “eye-line” console with Great, Swell, Positiv, the Saints; Old 100th; Old 124th; Perfect Love; with 7 manuals and 449 ranks to fi ll the 41,000- and Pedal divisions. Visual design is façade- Personent Hodie; Puer Nobis; Quittez, Pasteurs; seat Atlantic City Convention Hall with sound. Buyer assumes shipping costs. Organist Timothy Hoag and others recorded fence and some pipes in a modifi ed “garden” St. Anne; Salzburg; Shalom; Slane; Stuttgart; arrangement with a central swell box. Organ Toplady; Truro; Westminster Abbey; Woodbird. this CD in November 1998, for the Atlantic City ′ ′ ′ Visit www.frumuspub.net to view listings and Convention Hall Organ Society to raise interest PIPE ORGANS space approximately 40 wide, 14 deep, 17 details; also look for featured downloadable .pdf in the largely neglected instrument. This CD is tall. Organ to be removed by purchaser by June fi les. Contact: [email protected]; 805/682- priced at $14.98 plus shipping. Visit the OHS FOR SALE 2012. Make offer. Contact Music Director Jer- 5727, mornings, Pacifi c time, or: Fruhauf Music Online Catalog for this and over 5,000 other or- emy Wirths, St. Monica Catholic Church, 9933 Publications, P.O. Box 22043, Santa Barbara, gan-related books, recordings, and sheet music: 4 stop portable organ—3 piece, move in a mini- Midway Road, Dallas, TX 75220. 214/358-1453, CA 93121-2043. www.ohscatalog.org. van. $20,000. Roy Redman; 817/996-3085. [email protected].
TOTAL PIPE ORGAN RESOURCES
2320 West 50th Street * Erie, PA 16505-0325 (814) 835-2244 * www.organsupply.com
Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice
Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail:
For Pipe Organ Parts: arndtorgansupply.com Or send for our CD-ROM catalog Arndt Organ Supply Company 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 Phone (515) 964-1274 Fax (515) 963-1215
PEEBLES-HERZOG, INC. 50 Hayden Ave. Columbus, Ohio 43222 Ph: 614/279-2211 • 800/769-PIPE www.peeblesherzog.com
3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com
34 THE DIAPASON Classifi ed Advertising Rates Classifi ed Advertising will be found on page 33.
PIPE ORGANS MISCELLANEOUS SERVICES/ ANNOUNCEMENTS FOR SALE FOR SALE SUPPLIES
′ Austin Op. 1513— Two-manual/pedal, 4-rank 16 Principal pipes, wooden, small scale, Moller Need help with your re-leathering The Associazione Giuseppe Serassi will ′ unifi ed. $6,000 or best offer; buyer to remove/ low 12 notes, cost $4000. 8 Tuba, large scale, project? All pneumatics including present a conference on May 20 celebrating the ship. Currently in storage, playable before dis- Tellers, cost $1200. Deagan Xylophone, 37 notes, Austin. Over 45 years experience publication of a new book, I Serassi—Celeber- assembling, some restoration needed. 612/554- needs releathering, cost $800. 24-note Harp (on the job assistance available). rimi costruttori di organi, by Giosuè Berbenni. 3350; [email protected]. needs releathering, $600. Reisner direct action 615/274-6400. The event takes place at Reggia di Colorno in magnets, 77 3/4, 66 1-1/8, 159 5/8, cost $350 Parma, Italy, and includes presentations by the each. Siedle Organ Company, 412/221-5484. author and other speakers: Patrizio Barbieri, 1964 M.P. Möller pipe organ. 36-rank American Marco Brandazza, Giuseppe Spataro, Frances- Classic specifi cation including two célestes, two ANNOUNCEMENTS co Ruffatti, and Federico Lorenzani, followed by enclosed divisions and 32′ reed. Three-manual Atlantic City Pipe Organ Company—2- a concert by Stefano Innocenti at the Cappella console. No casework or façades; instrument manual, 3-rank, 5 Walker stops, free-standing Ducale di San Liborio. The four-volume, 2,000 is in good condition but will need releather- DE chest & pipes with detached console, International Organ Music Seminars an- page work is available for €200, in a limited ing. Asking $50,000 “as is” or can be rebuilt Peterson relay, 10 years old; $7,000 OBO. nounces a German organ music seminar and ′ and numbered boxed edition. For information: with some modifi cations. Available immedi- 16 reeds, principals, strings. 609/641-9422; extension, directed by Jens Korndörfer and www.serassi.it. ately. For more information, contact Létourneau mywebpages.comcast.net/acorgan. Christina Harmon, with Ludger Lohmann, Ed- Pipe Organs at [email protected] gar Krapp, and Christophe Mantoux: seminar May 30– June 6; extension June 6–June 9. The or 888/774-5105. If your company was not listed in THE DIA- SERVICES/ Bavarian and Alsace Organ Seminar includes visits to Munich, Ottobeuren, Weingarten, PASON 2012 Resource Directory, be sure to be SUPPLIES part of the 2013 issue! Visit www.TheDiapason. Martin Pasi pipe organ—Two manuals, 24 Ochsenhausen, Freiburg, Strasbourg, Heidel- berg, Stuttgart, Ulm, and Giengen Cathedral. com and from the left column select Supplier stops, suspended-tracker action. $350,000. Web: Login. For information, contact Joyce Robinson, Releathering all types of pipe organ ac- The Central German Organ Extension in- http://martin-pasi-pipe-organ-sale.com; phone: cludes Passau, a Danube cruise, Regensburg, 847/391-1044, [email protected]. 425/471-0826. tions and mechanisms. Highest quality ma- terials and workmanship. Reasonable rates. Weiden, Lahm, and Naumburg. For informa- Columbia Organ Leathers 800/423-7003. tion: www.bfoms.com. www.columbiaorgan.com/col. Request a free sample issue of THE DIAPASON Small pipe organs for sale. Great prices. For for a student, friend, or colleague. E-mail the Edi- more information, please go to our website, THE DIAPASON 2012 Resource Directory tor: [email protected]. www.milnarorgan.com. Highest quality organ control systems since was mailed to all subscribers with the Janu- 1989. Whether just a pipe relay, combination ary 2012 issue. Additional copies are avail- able at a cost of $5.00 postpaid. Contact action or complete control system, all parts THE DIAPASON E-News is mailed monthly to MISCELLANEOUS are compatible. Intelligent design, competitive the editor, Jerome Butera, at 847/391-1045, [email protected]. registered subscribers who have signed FOR SALE pricing, custom software to meet all of your re- up to receive it. Don’t miss the latest news, quirements. For more information call Westa- announcements and classifi ed ads (with cott Organ Systems, 215/353-0286, or e-mail Wood pipes. Missing pipes made to match. [email protected]. Tours of the World’s Largest Pipe Organ in At- photos) before they appear in print! Visit Damaged pipes in any condition repaired. Over lantic City’s Boardwalk Hall are now available by www.TheDiapason.com; at the bottom left reservation. The two-hour docent tours include 25 years experience. Filip Cerny, 814/342-0975. column, click Subscribe to our newsletter. Austin actions recovered. Over 40 years the ballroom Kimball organ and the 33,000+ For assistance, contact Joyce Robinson, experience. Units thoroughly tested and fully pipe Midmer-Losh organ, with its 7-manual con- 847/391-1044, [email protected]. ′ guaranteed. Please call or e-mail for quotes. sole and 5-manual portable console. Tourgoers 16 Double Open Wood Diapason with chests will see the 64′ pedal stop, the immense 32′ Dia- and racks. 14″ Scale, 5″ WP. $8000 FOB Deer- Technical assistance available. Foley-Baker, Inc., 42 N. River Road, Tolland, CT 06084. pasons, and areas of the organs not open to the fi eld, NH. Can deliver. john@organclearinghouse. Phone 1-800/621-2624. FAX 860/870-7571; casual visitor. Tours cost $20, which goes directly Postal regulations require that mail to com; 617/688-9290. [email protected]. to support the restoration of these instruments; children under 12 are admitted free. For reser- THE DIAPASON include a suite number to vations: [email protected]. For information: assure delivery. Please send all corre- Consoles, pipes and numerous miscellaneous Aeolian/Robert Morton-style maroon www.acchos.org. spondence to: THE DIAPASON, 3030 W. parts. Let us know what you are looking for. leather is now available from Columbia Or- Salt Creek Lane, Suite 201, Arlington E-mail [email protected] (not comcast), gan Leathers! Highest quality. 800/423-7003, Heights, IL 60005. phone 215/353-0286 or 215/788-3423. www.columbiaorgan.com. See new classifi ed advertising rates on page 33.
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America
Advertise in -+ &62GHOO The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS odellorgans.com s 860-365-8233 contact Jerome Butera P.O. Box 405, East Haddam, Connecticut 06423 847/391-1045 518-761-0239 2 Zenus Dr., Queensbury, NY 12804-1930 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected]
GUZOWSKI & STEPPE ORGANBUILDERS INC Own a piece of history! NEW INSTRUMENTS REBUILDS - ADDITIONS TUNING & SERVICE The cover of the 100th Anni- 1070 N.E. 48th Court FT. LAUDERDALE, FL 33334 versary Issue of The Diapason is (954) 491-6852 now available on a handsome 10″x 13″ plaque. The historic cover im- Patrick j. Murphy age in full color is bordered in gold- & associates, inc. colored metal, and the high-quality organbuilders plaque has a marbleized black fi n- ish; a slot on the back makes it easy 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 to hang for wall display. Made in 610-970-9817 • 610-970-9297 fax [email protected] • www.pjmorgans.com the USA, The Diapason 100th Anniversary Issue commemorative plaque is available for $45, shipping Jacques Stinkens The Organ Clearing House in USA included. $10 discount for PO Box 290786 Organpipes - since 1914 members of the 50-Year Subscrib- Charlestown, MA 02129 ers Club. Order yours today: Flues - Reeds Ph: 617.688.9290 [email protected] Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com 847/391-1045 NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl
APRIL, 2012 35