THE DIAPASON SEPTEMBER, 2006
Texas A&M International University Laredo, Texas Cover feature on pages 30–31 MEN of SONG the art of male a cappella singing perfected
ENSEMBLE AMARCORD
“Move over King’s Singers, Hilliard Ensemble and Chanticleer: There is a new male a cappella group on the international classical music scene...as pleasing as it was sophisticated. The daunting program was leavened by the fresh singing style and general appeal of the singers, a group of handsome and personable 20-som In the areas of balance and precision,ethings. the AFFABRE CONCINUI group sounds as if they started singing The Polish Chamber Singers together decades ago. Their youthfulness shows where it should—in lively “One of the most beautiful and successful concerts in this tone and a smooth blend that allows, vibrant for year’s festival....The cheering of the audience w each singer’s individuality....an unusually vociferous standing ovation...a fine stop, even after three encores.”ould not (Nordbayerischer Kurier performance by a group destined to have a , Wuerzburg, Germany) long and prosperous career.” “A standing ovation has never happened before in the (The Salt Lake Tribune, history of the festival, but these six gentlem Utah) get the audience to jum en managed to p from their chairs and cheer!” (Heider Anzeiger , Heide, Germany)
CHANSON “Simply splendid...The group’s six young m have been singing together for four years anden have achieved a vocal blend and a stylish finesse that far surpass m been in the business longer....closeany groups harm that have excellent diction and fine attention to styleonies, that characterized the entire perform ance. It was a moment to cherish.” (The Courier-Journal, Louisville)
Toll Free 888-999-0644 • Fax (860) 560-7788 www.concertartists.com [email protected] within about a 10-day time period. It was an indescribably moving experience THE DIAPASON to be able to play organs that E. Power A Scranton Gillette Publication Biggs and J. S. Bach had played and that Ninety-seventh Year: No. 9, Whole No. 1162 SEPTEMBER, 2006 I had first listened to and had been Established in 1909 ISSN 0012-2378 inspired by some 30+ years previously. At St. Pancratius in Neuenfelde, An International Monthly Devoted to the Organ, those who played the organ were invit- the Harpsichord, the Carillon and Church Music ed to sign the organ’s guest book. I paged through the guest book and found a typewritten page that had been sent to the church by Biggs thanking CONTENTS Editor & Publisher JEROME BUTERA [email protected] the parish for being able to play the 847/391-1045 organ. I photographed this interesting FEATURES piece of organ recording history with E. Power Biggs in Mozart Country, Part 3 my camera and have included a copy by Anton Warde 21 Associate Editor JOYCE ROBINSON with this letter. [email protected] I eagerly await the next installments A London Musical Journal 847/391-1044 of the series. Holy Week and Easter 2006 Robert Valenta by Joel H. Kuznik 26 West Chicago, Illinois Contributing Editors LARRY PALMER University of Iowa Institute for Sacred Music 2006 Harpsichord The author replies: by William Dickinson 29 I am delighted that Mr. Valenta JAMES McCRAY enjoyed Part 1 of the Biggs series. 554 at Lübeck, 558 at Gouda, 559 at Choral Music The Golden Age of the Organ, Neuenfelde, and 560 at Lüneburg) and LETTERS TO THE EDITOR 3 released 1/17/64, documented a com- four made on the 1955 “Mozart” trip pletely different trip by Biggs that he (BWV 553 at Ebersmünster in Alsace, NEWS BRIAN SWAGER Carillon undertook in 1961 with help from 555 at Absam, Austria; 556 at Mönchs- Here & There 3, 4, 5, 6, 8, 10, 12 Philips engineers. His first use of two- deggingen in Bavaria, and 557 at Appointments 5 HERBERT L. HUESTIS track recording equipment had been Ochsenhausen in Swabia). Biggs had Nunc Dimittis 10 OrganNet Report for Bach at Zwolle, recorded in 1957 recorded all eight of the little preludes In the wind . . . Osiris Organ Archive and released in 1958. All of his previ- and fugues on the 1954 trip but took by John Bishop 14 www.mdi.ca/hhuestis/osiris ous recordings were monaural, and I advantage of the 1955 trip to replace e-mail: [email protected] am certain that Columbia never recordings on modern organs in the REVIEWS released any “artificial stereo” remakes north (or in one case, a “redundant” Music for Voices and Organ 16 Prepress Operations DAN SOLTIS of those mono recordings. Andrew Schnitger) with vintage organs in the Book Reviews 16 Kazdin’s discography of Biggs lists a south for his final compilation. “Biggs New Recordings 18 THE DIAPASON (ISSN 0012-2378) is published monthly by “stereo counterpart” to the 1956 “Little Part 4” explains this in somewhat more Scranton Gillette Communications, Inc., 3030 Salt Creek New Organ Music 20 Eight,” released in July 1958. But that detail [in the October issue]. Lane, Suite 201, Arlington Heights, IL 60005. Phone is impossible. It has to have been the I don’t recall having seen a carbon of 847/391-1045. Fax (847) 390-0408. Telex: 206041 MSG RLY stereo counterpart to the mono Zwolle that nice letter from Biggs in the log- NEW ORGANS 32 Email: [email protected] web: TheDiapason.com Subscriptions: 1 yr. $35; 2 yr. $50; 3 yr. $65 (United album released in April of that year book at Neuenfelde, although the files CALENDAR 33 States and U.S. Possessions). Foreign subscriptions: (the item that appears just above it in contained several others just like it 1 yr. $45; 2 yr. $60; 3 yr. $80. Single copies $6 ORGAN RECITALS 36 (U.S.A.); $8 (foreign). Kazdin’s list). addressed to other churches that had Back issues over one year old are available only from The 1956 “Eight” comprised four welcomed him and his Ampex in 1954. CLASSIFIED ADVERTISING 37 The Organ Historical Society, Inc., P.O. Box 26811, Rich- recordings made on the 1954 trip (BWV Anton Warde mond, VA 23261, which can supply information on avail- abilities and prices. Cover: Kegg Pipe Organ Builders, Periodical postage paid at Rockford, IL and additional Hartville, Ohio; Texas A&M International mailing offices. POSTMASTER: Send address changes University, Laredo, Texas 30 to THE DIAPASON, 3030 Salt Creek Lane, Suite 201, Arling- ton Heights, IL 60005. Routine items for publication must be received six Here & There weeks in advance of the month of issue. For advertising www.TheDiapason.com copy, the closing date is the 1st. Prospective contributors of articles should request a style sheet. Unsolicited It’s not too early to plan on advertising The Church of St. Louis, King of reviews cannot be accepted. This journal is indexed in the The Music Index, annotat- in THE DIAPASON 2007 Resource France, in St. Paul, Minnesota, has ed in Music Article Guide, and abstracted in RILM Directory. Be sure your company is announced its seventh season of Send subscriptions, inquiries, and Abstracts. included in the only comprehensive lunchtime recitals. Programs take place address changes to THE DIAPASON, Copyright ©2006. PRINTED IN THE U.S.A. directory and buyer’s guide for the organ on Tuesdays at 12:35 p.m., from Sep- 3030 Salt Creek Lane, Suite 201, THE DIAPASON accepts no responsibility or liability for and church music fields. The Directory tember 5 through the end of May: Sep- Arlington Heights, IL 60005. the validity of information supplied by contributors, ven- 3 is printed in a 5 ⁄4w x 8w handbook format tember 5, Brian Carson; 9/12, Mark dors, advertisers or advertising agencies. and mailed with the January issue of Trautman; 9/19, Diana Lee Lucker; THE DIAPASON. It features an alphabeti- 9/26, Dean Billmeyer; October 3, Tim No portion of the contents of this issue may be reproduced in any form without the specific written permission of the Editor, except that libraries are authorized to make photocopies of the material contained herein for the pur- cal listing of companies and individuals, Strand; 10/10, Carolyn Diamond; 10/17, pose of course reserve reading at the rate of one copy for every fifteen students. Such copies may be reused for with complete contact information, Ray Johnston; 10/24, Istvan Ruppert. other courses or for the same course offered subsequently. including web and e-mail addresses, and For information: a product/service directory.
SEPTEMBER, 2006 3 Evensong; October 8, workshop with Our Lady of Sorrows Church, the Western Hemisphere to be visited Horace Clarence Boyer; 10/14, New Orange, New Jersey, has announced its by a reigning pontiff. NVENTION is one of Brunswick Chamber Orchestra; Decem- fall music events: September 24, Peter As part of the celebration, a concert I the great marks ber 3, Handel’s Messiah; 12/17, Advent Sykes; November 5, F. Allen Artz; 11/26, series has been established. The anniver- Lessons & Carols. For further informa- Solemn Evening Prayer and Benedic- sary recital will be played by the church’s of genius, but if we tion:
Affabre Concinui
Phillip Truckenbrod Concert ish Chamber Singers, has won a number Artists has announced representation of of top prizes at international vocal com- the men’s a cappella sextet Affabre petitions, including those in Gorizia, Concinui, which will make its first Italy, in 1988, and Arezzo, Italy, in 1994. American tour early in the 2007–2008 The singers have frequently represent- concert season. Affabre Concinui (Latin ed their homeland at international for “ideally harmonized,” the ensemble’s events such as the 1992 World Exposi- artistic credo) was formed in 1983 by tion in Seville, the 1995 Festival of Pol- alumni of two famous men’s choirs in the ish Culture in Taiwan, the 1996 World Polish city of Poznan and made its debut Economic Forum in Switzerland, and at a Christmas concert in Gdansk. Since the Olympic Games in Atlanta. then the ensemble has performed in all Affabre Concinui has recorded the cities of Poland as well as in Austria, numerous CDs for Harmonia Mundi, Belgium, Czech Republic, Denmark, and they are regulars on Polish radio England, Finland, France, Germany, and television. Their repertoire consists Holland, Italy, Lebanon, South Korea, of well over 300 works ranging from Spain, Switzerland, Taiwan, Turkey, the Renaissance to contemporary, including Ukraine, USA, and the Vatican. many pop musical standards. For infor- The ensemble, also known as the Pol- mation:
4 THE DIAPASON of Jozef Sluys, promoter of the organ of Music and Performing Arts and the week. Recitals take place at the Cathe- Appointments University of Vienna. dral of SS Michael and Gudula and other Dr. Bacon has been heard in recital in churches in the area. Performers include Germany, Austria, France, Switzerland, Jozef Sluys, Olivier Vernet, Ton Van Eck, Joel Bacon has been appointed to Canada, Mexico, and the USA; live per- Klemens Schnorr, Eric Mairlot, Susan the newly established Stewart and formances have been broadcast on Aus- Woodson, Gillian Weir, and others. (See Sheron Golden Chair in Organ and trian Radio (Ö1) and Public Radio complete listings in THE DIAPASON Cal- Liturgical Studies at Colorado State International. He has taught at the Oun- endar). For information: University, the first endowed chair in dle International Festival as well as
David K. Lamb Maija Lehtonen Sabin Levi David F. Oliver Larry Palmer Organist/Choral Conductor/ Organist/Pianist/ Organist/Harpsichordist/Carillonneur/ Organist/Lecturer/ Harpsichordist/Organist Oratorio Accompanist Recording Artist Lecturer/Recording Artist Recording Artist Professor of Harpsichord and Organ Director of Music/Organist Senior Lecturer, Organ Faculty Organist and Composer in Residence College Organist Meadows School of the Arts First United Methodist Church Oulu Polytechnic First Christian Church of Independence Assistant Professor Southern Methodist University Columbus, Indiana Organ and Violin Assistant Music Director Department of Music Dallas, Texas with Manfred Grasbeck Shireinu Choir of Kansas City Morehouse College Helsinki, Finland Kansas City, Missouri Atlanta, Georgia
Gregory Peterson Stephen Roberts Clair Rozier Lisa Scrivani-Tidd Jeremy David Tarrant Organist Organist/Harpsichordist/Lecturer Organist/Workshop Leader Organist/Lecturer Organist College Organist and Instructor of Organ Director of Music Assistant Professor of Music Organist and Choirmaster Assistant Professor of Music Western CT State University St. David’s Episcopal Church SUNY at Jefferson The Cathedral Church of St. Paul Luther College Director of Music Wayne, Pennsylvania Watertown, New York Detroit, Michigan Decorah, Iowa St. Peter Church University Organist Danbury, Connecticut St. Lawrence University Canton, New York Also: Colin Andrews Cristina Garcia Banegas Emanuele Cardi Maurice Clerc Joan DeVee Dixon Laura Ellis Janette Fishell Heinrich Walther Jane Watts Brador Brass Quintet Duo Majoya Faythe Freese Organist/Clavichordist/Virginalist/ Organist International Touring Ensemble Organ and Piano Michael Gailit Recording Artist Exclusive Recording Artist Christopher Marsden Recording Artists Johan Hermans Faculty, University of Music Priory Records Artistic Director Marnie Giesbrecht and Joachim Segger Michael Kaminski Freiburg, Germany First RCO Performer of the Year Resident Ensemble Professors of Music Faculties, Church Music Schools Organist of the Bach Choir San Diego State University University of Alberta Angela Kraft Cross Heidelberg and Rottenburg London, England San Diego, California The King’s University College William Kuhlman Germany Edmonton, Alberta, Canada Tong-Soon Kwak Bach Babes ConcertArtistCooperative Beth Zucchino, Director 7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956 [email protected] www.ConcertArtistCooperative.com
SEPTEMBER, 2006 5 Here & There
Erich Balling Lynne Davis Delbert Disselhorst preparatory choir program for young Chartres” and the Festival d’Orgue in elementary students. Christ Church Chartres. Since 1997, she has been pro- Delbert Disselhorst, professor of Cathedral has a long and distinguished fessor of organ at the French National organ and chairman of the organ history of choral music in the Anglican Regional Conservatory in Caen, France. Jonathan Clinch and John Caldwell department at the University of Iowa, tradition beginning with the leadership presented an organ recital and master- of Robert Quade who founded the John Caldwell’s Sacra Mysteria, a classes in Anyang, Korea, May 16–18. Choir of Men and Boys. large-scale organ work lasting around an On May 16, he presented a recital at Balling leaves a position as director of hour, has been premiered at the Kathari- Sumung Presbyterian Church, and on music at St. Luke’s Parish (Episcopal) in nenkirche, Brandenburg, Germany. The May 17 and 18 lectures and master- Darien, Connecticut, where he served work is made up of a series of mediations classes at Sungkyul University and for ten years after building a large on the 15 traditional Mysteries of the Seirin Presbyterian Church. He was RSCM choral program for boys, girls, Holy Rosary. The performance was given hosted by Sungkyul University. Dr. teens and adults. Under his leadership, by Jonathan Clinch (Keble College, Disselhorst is represented by Phyllis the choirs of St. Luke’s sang two choral Oxford), who will be moving to the post of Stringham Concert Management. residencies at Canterbury Cathedral, as assistant organist at St. George’s Cathe- well as Royal Holloway University and dral, Perth, Australia, in September. Steve Gentile recently completed St. Albans Cathedral, UK. He served on John Caldwell taught in the Music 25 years as director of music/organist, the Diocese of Connecticut Commission Faculty at Oxford University from 1966 working with the same pastor, at the for Music and Liturgy and the Board of until his retirement in 2005. His publi- Church of St. Helena in Minneapolis, the Fairfield County AGO Chapter. In cations include several books, among Minnesota. He directs the adult and addition, he served for seven years as them The Oxford History of English children’s choirs and is responsible for adjunct music faculty in music history at Nigel Potts Music, in two volumes (1991, 1999), and the concert series. This past season, the Fairfield University. Balling received the a number of editions of early music, church’s Celebration Series included MMus degree from the University of Nigel Potts has been appointed notably Tudor Keyboard Music organ recitals by Frances Nobert, Mas- Michigan in organ performance as a stu- organist and choirmaster of Christ & St. c.1520–1580 (1995). His compositions simo Nosetti, Gail Archer, Andrew dent of Robert Glasgow and the BM Stephen’s Episcopal Church on Man- in recent years have included the dra- Tessman, and Steve Gentile. The degree in church music from Westmin- hattan’s Upper West Side, effective matic trilogy Paschale mysterium, con- church’s organ is a 3-manual Wicks in a ster Choir College where he was an September 1. There he will be responsi- sisting of The Word (2001), Good Fri- favorable acoustic. Gentile teaches, con- organ student of William Hays. A native ble for directing the eight-voice profes- day (1998, recorded on GMCD 7178), certizes, and is the sub-dean and pro- of Buffalo, New York, he began his sional choir for weekly services and and Pascha nostrum (2002); the one-act gram chair for the Twin Cities AGO. organ study with James Kosnik. establishing a series of Choral Even- opera Fabula di Orfeo (“The Story of songs and special services, as well as Orpheus,” 2004); and a choral cantata, Lynne Davis has been appointed founding a children’s choir. In addition, La Corona (2005), together with song- associate professor of organ and college he will join Artist-in-Residence Paul cycles, motets, and chamber music. organist at Wichita State University, Jacobs in overseeing the installation of a College of Fine Arts–School of Music, new Schoenstein organ to be delivered Robert Crowley is featured on a Wichita, Kansas, beginning in Septem- for Easter 2008, and thereafter they will new recording, Sounds Awesome, on ber 2006. Ms. Davis’s teaching duties create a concert series for the Lincoln the Lammas label (LAMM 183D). will include applied organ, courses in Center parish. Recorded on the Willis organ (rebuilt by organ literature, and development of Potts was organist and director of N. P. Mander in 1978) at Canterbury the organ curriculum for organ perfor- music of St. Peter’s by-the-Sea Episcopal Cathedral, the program includes five mance majors. Church in Bay Shore, New York, where works by Alan Ridout, notably The After having lived, studied and he served for four years since graduating Seven Last Words; Psalm Prelude and worked the last 35 years in France, from Yale University with his MM, hav- Symphony for Organ by Humphrey Lynne Davis is returning to her country ing studied with Thomas Murray. He Clucas, Pastorale and Fughetta by Peter of origin. Her late husband, Pierre continues his active schedule of organ Wishart, and Cyprus Dances, op. 76, by Firmin-Didot, founded the internation- recitals across country and abroad. For Humphrey Searle. For information: al organ competition “Grand Prix de information:
David Heller
David Heller, professor of music at Trinity University in San Antonio, Texas, played the dedication recital on the new Sharkey-Corrigan Pipe Organ at Texas A&M International Universi- ty, Laredo, Texas on July 23. The 69- rank organ was built by Kegg Organ Builders of Hartville, Ohio, and was donated by arts patron E. H. Corrigan and is named for his mother, Alice Anita Sharkey. A feature of the recital was a composition by Gerre Hancock, Laredo Fanfare, commissioned by Heller for this recital. David Heller is managed by Phyllis Stringham Con- cert Management. Dan Locklair’s Reynolda Reflections was performed by Ensemble Portique at Trinity Lutheran Church in Madison, Wisconsin, on April 21. Scored for flute, cello, and piano, the work’s five move- ments were inspired by paintings by Worthington Wittredge, Thomas Hart Benton, Georgia O’Keefe, Charles Sheeler, and Elliott Daingerfield. Locklair’s DuBose Heyward Triptych was performed by the Piedmont Cham- ber Singers, William Osborne, director, on May 6 at St. Timothy’s Episcopal Church, Winston-Salem, North Caroli- na. Written for SSAATTBB chorus, a cappella, the 15-minute work is in three movements.
6 THE DIAPASON
organbuilders Paul Fritts, Taylor & Boody, John Brombaugh, Martin Pasi, and C. B. Fisk at (respectively) Pacific Lutheran University, Tacoma, Washing- ton (1998); Holy Cross College, Worcester, Massachusetts (1985); Southern Adventist University, Col- legedale, Tennessee (1986); St. Cecilia Cathedral, Omaha, Nebraska (2003), and House of Hope Presbyterian Church, St. Paul, Minnesota (1979). Other organs include the 1992 Taylor & Boody at Christ Church Cathedral, Indianapolis, Indiana; 1984 Fritts- Richards at St. Alphonsus Church, Seat- tle, Washington; 1990 Yokota at Califor- nia State University, Chico; and 1995 Noack at Christ the King Ev. Lutheran Church, Houston, Texas.
Daniel Pinkham William Picher and the Mary, Queen of the Universe Shrine Choir Missa Brevis, for unaccompanied A new compact disc recording enti- Petersburg, Florida), and as a member of choir, was composed in recognition of tled Hail Holy Queen featuring the the United States Navy Band in Wash- the 30th anniversary of Edith Ho as Mary, Queen of the Universe Shrine ington DC. In 2000, Dr. Picher was organist and music director of the Choir, directed by William Picher, has awarded the St. Jude Medal by Bishop Church of the Advent in Boston. The been recently released by Stemik Music Robert Lynch in recognition of his ser- date of the premiere will be announced of Windermere, Florida. Featured are vice to the Cathedral of St. Jude the later. works by composers Gallus, Handel, Apostle and the Diocese of St. Peters- A Cradle Hymn, on a poem by Isaac Beck, Franck, Willcocks, Mozart, burg. Picher currently serves as director Watts, was composed for the 97th annu- Chenokov, and others. Also featured are of music/organist and artistic director of al Christmas carol services of the original compositions and arrangements the Shrine Concert Series at Mary, Memorial Church, Harvard University, by Dr. Picher. Queen of the Universe Shrine. Addition- of December 17 and 19, 2006. Commis- The ensemble is the resident profes- ally, he is on the music faculty of Florida sioned by Edward Elwyn Jones and the sional choir-in-residence at Mary, Southern College in Lakeland, Florida. Harvard University Choir, it is scored Queen of the Universe Shrine, which Hail Holy Queen is available online at for SATB choir and string quartet. opened in 1993 in Orlando, Florida. The
8 THE DIAPASON
Three new works for harpsichord by Organ and Flute, and Pinkham’s Mira- degree in library science from Simmons Chicago composer Norman D. cles for Flute and Organ. Vander wrote College. A longtime resident of Rodger—Prelude and Fugue in C for the Powwow Suite for Thoene and was Waltham, Massachusetts, he worked at Harpsichord, Sonata for Treble in attendance at the recital. Thoene was the Watertown Library until retirement Recorder and Harpsichord, and Death joined by flutist Anne Chabreck and in 2003. A member of the Organ His- Be Not Proud (for soloist and harpsi- percussionist Kaan Yayman. torical Society, Mack was also a hiker chord or other keyboard instrument)— and a member of the Appalachian Club. were presented at Notre Dame Univer- James Welch has released a new A memorial service was held at Old sity on June 17 during the annual meet- CD, Celebration, recorded at the his- South United Presbyterian Church, ing of the Midwest Historical Keyboard toric Carmel Mission Basilica in Newburyport, on May 30. Society. Performing were Anita K. Carmel-by-the-Sea, California. The CD Smith, harpsichord; Mary Anne Wolff- marks the 20th anniversary of the Mis- William Heartt Reese died on Gardner, recorder; and Willard sion’s 34-rank Casavant organ (com- March 22 at St. Mary Home, West Hart- Thomen, baritone. plete with horizontal trumpet), which ford, Connecticut, at the age of 95. Born was dedicated in recital by Joyce Jones in New York State, he was a graduate of in September 1986. The 28 selections Amherst College, earned a master of comprise works by Bach, Stanley, Vival- music degree from Columbia Universi- Maxine Thevenot and Eric Plutz, princi- di, Handel, Charpentier, and Widor, ty, a doctorate from the University of pal university organist, Princeton Uni- plus several contemporary works, Berlin, and a degree in conducting from versity Chapel including Christopher Pardini’s Toccata the Berlin Hochschule für Musik. Dr. on ‘Amazing Grace,’ Richard Elliott’s Reese served as professor of music and new Improvisation on ‘Hymn to Joy,’ director of musical ensembles at Haver- John Behnke’s Aria on ‘My Hope Is ford College in Pennsylvania from Built on Nothing Less,’ Dale Wood’s 1947–75. During that time he founded The Gift to Be Simple, and Charles and conducted the Philadelphia Cham- Callahan’s Folk Tune. The CD is priced ber Chorus, directed the Bethlehem at $10. For further information or to Bach Choir in Bethlehem, Pennsylvania, order:
New Organs: First United Methodist Church (Atlanta): 5-manual, 120 stops Midway Presbyterian Church (Powder Springs, Ga.): 3-manual, 55 ranks First United Methodist Church (Carrollton, Ga.): 3-manual, 42 ranks New Orleans Baptist Theological Seminary (New Orleans): 3-manual, 33 ranks (new & existing pipework) Newberry A.R.P. (Newberry, S.C.): 2-manual, 13 ranks (new & existing pipework) Rebuilds: St. John’s Church (Savannah, Ga.) 4-manual, 76 rank Wicks - additions, tonal revisions & revoicing John Wesley United Methodist Church (Charleston, S.C.) 3-manual, 36 rank M.P. Moller - complete rebuild Selwyn Avenue Presbyterian Church (Charlotte, N.C.) 3-manual, 22 rank M.P. Moller - complete rebuild with additions Royster Memorial Presbyterian Church (Norfolk, Va.) 3-manual, 45 rank M.P. Moller - complete rebuild with additions Cumberland United Methodist Church (Florence, S.C.) 2-manual, 10 rank M.P. Moller - complete rebuild with additions 800-836-2726 y www.pipe-organ.com
10 THE DIAPASON ALLEN PIPE AND DIGITAL COMBINATION INSTRUMENTS: ELEGANT SOLUTIONS FOR UNIQUE NEEDS
St. Joseph’s Catholic Church in Biddeford, Maine faced the challenge of coordinating a cantor located in the front of the church with the organist and choir in the rear balcony. Utilizing fiber optic technology, Allen designed a state-of-the-art pipe/digital organ and interface. Consoles and tonal resources in both of these locations can be played simultaneously or independently. The organist, choir and cantor now enjoy the versatility of performing from diverse locations without distracting sound delays. Organists have the added luxury of using both consoles at the same time to play duets.
Allen is pleased to have served the music ministry of St. Joseph’s Church and looks forward to meeting your church’s unique needs.
Photo by Amber Gormley
ST. JOSEPH’S 50 STOP THREE-MANUAL RENAISSANCE QUANTUM™ PIPE AND DIGITAL SPECIFICATION
GREAT (Unexpressed) PIPES SWELL PIPES PEDAL (Unexpressed) PIPES 16 Bourdon 16 Bourdon 8 Stopped Diapason 8 Stopped Diapason 32 Contre Bourdon 8 Open Diapason 8 Open Diapason 8 Bourdon 16 Diapason 8 Harmonic Flute 8 Salicional 16 Soubasse 16 Soubasse 8 Gedeckt 8 Gedeckt 8 Voix Celeste 8 Voix Celeste 16 Lieblichgedeckt 16 Lieblichgedeckt 8 Salicional (Sw) 4 Principal 4 Principal 16 Contra Viole (Ch) 4 Octave 4 Octave 4 Harmonic Flute 4 Harmonic Flute 8 Octave 4 Spitzflute 4 Spitzflute 2 2/3 Nazard 2 2/3 Nazard 8 Bourdon 2 2/3 Twelfth 2 2/3 Twelfth 2 Octavin 2 Octavin 4 Choralbass 2 Fifteenth 2 Fifteenth 13/5 Tierce Mixture IV Fourniture IV Mixture III 32 Contre Posaune 8 Trumpet 16 Basson 16 Posaune (Pipes only) 4 Great 8 Cornopean 8 Cornopean 16 Basson (Sw) Chimes Peterson Chimes 8 Trumpet 8 Trumpet MIDI on Great 8 Hautbois 8 Hautbois 4 Clarion Bass Coupler 4 Chalumeau 4 Chalumeau MIDI on Pedal Melody Coupler CH>GT (Pipes only) 16 Swell GT-CH Manual Transfer Swell Unison Off Swell Unison Off COUPLERS (Pipes only) 4 Swell Swell Tremulant MIDI on Swell CHOIR 8 Great to Pedal (All Digital) 8 Swell to Pedal 16 Contra Viole 8 Choir to Pedal 8 Holzgedeckt (Pipes only) 16 Swell to Great 8 Erzähler Celeste II 8 Swell to Great 4 Prinzipal (Pipes only) 4 Swell to Great 4 Koppelflöte 8 Choir to Great www.allenorgan.com 2 Octav 8 Swell to Choir 11/3 Quintflöte Choir Unison Off Mixture III MIDI on Choir 150 Locust Street, P.O. Box 36 8 Festival Trumpet Gallery Choir Off Macungie, PA 18062-0036 USA 8 Krummhorn Chancel Choir On Phone: 610-966-2202 Fax: 610-965-3098 Celesta (Sw) Gallery Gt/Sw/Pd Off E-mail: [email protected] Tremulant Chancel Gt/Sw/Pd On Buxtehude; the critical edition of Mem- organs were reconditioned and utilized bra Jesu Nostri will be issued in 2006. as available. All other components and Also in preparation is an edition of Louis pipework were new. The new mahogany Vierne’s complete organ works, in 13 console was custom crafted by Muller volumes. Carus has also released new and is a measured reproduction of a CDs: J. S. Bach’s Easter Oratorio (Carus Skinner four-manual console. The 83.212) and C. P. E. Bach’s harpsichord instrument will be formally rededicated concerti (Carus 83.212). For informa- in a recital by Todd Wilson on Saturday, tion:
12 THE DIAPASON WHY ®
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Rodgers Instruments LLC A Member of the Roland Group 1300 NE 25th Avenue • Hillsboro, Oregon 97124 503.648.4181 • fax: 503.681.0444 Email: [email protected] • www.rodgersinstruments.com America’s Most Respected Organ Builder A glimmer . . . My work frequently takes me to New In the wind . . . York, a city rich in great churches with by John Bishop wonderful organs and organists and out- standing music programs. The city is so crowded that outside the grand public From the ashes parks there are few places where the In the September 2005 issue of THE actual earth is apparent through the DIAPASON, I wrote about the destruction pavement. It’s something of a surprise of a venerable pipe organ in a Boston to see real dirt when walking past a church. E. & G. G. Hook’s Opus 253 of water-main repair in progress. As such, three manuals and 25 stops was built in there is precious little open land avail- 1859 and was destroyed on Tuesday, able in the city so real estate developers January 18, 2005, in a five-alarm fire that are perfecting the practice of adding gutted the First Baptist Church of high-rises on top of existing buildings. Jamaica Plain, Massachusetts. The An institution such as a church can real- response of firefighters was such that the ize a powerful economic boost by selling parsonage (just a few feet from the air rights above their building. church building) and the rest of the In August of 2005 I received a call close urban neighborhood were pre- from The Rev. Dr. Edward Earl John- served. But the church’s loss was deeply son, pastor of the Mt. Moriah Baptist felt in the community and in the wider Church in Harlem, on Fifth Avenue in world of those who appreciate historic New York City. His church was plan- organs. [See also “In Memoriam E. & G. ning a large-scale renovation project Photo 1: Hook factory G. Hook, Opus 253 (1859–2005),” by stemming from the sale of their air Leonardo Ciampa, in the March 2005 rights and plans for construction of a issue of THE DIAPASON.] large condominium development over- Many professional organists and head. The back wall of the sanctuary organbuilders will argue that E. & G. G. would be drastically rebuilt to provide Hook was among the finest organbuild- support for the new building—in the ing firms in the history of the art (See wall were the chambers that housed an Photo 1: Hook factory). Under three old pipe organ they weren’t using any different names (E. & G. G. Hook, E. & more. Could the Organ Clearing House G. G. Hook & Hastings, and Hook & help? The next time I was in the city, I Hastings) the firm produced over 2,600 visited Mt. Moriah, and what did I find instruments in its more than 100-year but a three-manual organ built by E. & history. The factory was located in Rox- G. G. Hook & Hastings in 1872—the bury (another of Boston’s neighbor- year that Frank Hastings was made a hoods) on a site now occupied by North- partner in the firm! (See Photo 3: Opus eastern University, about two miles 668, Mt. Moriah Baptist Church) from Jamaica Plain. Until the Jamaica Opus 668 was originally built for the Plain fire, three of the seven surviving Church of the Disciples on Madison pre-Civil War Hook organs were locat- Avenue in New York. It was moved to ed on Centre Street in Jamaica Plain Mt. Moriah by Hook & Hastings early in within easy walking distance of one the 20th century where it was installed another. George Greenleaf Hook, the in two chambers on either side of a Photo 2: First Baptist Church younger of the Hook brothers, lived less choir loft above the preacher’s plat- than two blocks up a side street from form—a very unusual installation for a the organ had been installed twice in 4v Flute d’Amour Centre Street. What a neighborhood! 19th-century tracker-action organ! divided configurations, why couldn’t it be 2v Piccolo Television news broadcasts carried Trackers assisted by a pneumatic Bark- reworked into a more common layout 8v Clarinet the story while the fire was burning and er-lever machine ran more than 30 feet and take its place in the neighborhood Pedal Boston’s organ community crowded the from the keydesk under the floor of the where it was built? 16v Open Diapason phone lines. The church’s pastor, the choir loft to the Swell division. A study 16v Bourdon Rev. Ashlee Wiest-Laird, was prominent of the organ’s building frames implies E. & G. G. Hook & Hastings, Opus 668 8v Violon Cello in both television and newspaper report- that the instrument was also originally ing, assuring the congregation and the installed in two locations—the free- Great It was a poignant moment, gathering 16v Open Diapason community that they would rebuild. The standing structure that supports the 8v Open Diapason with pastor, organist, moderator, and publicity surrounding the fire included remote Swell is “original equipment.” 8v Viola da Gamba parishioners in the temporary trailer in much information about the organ, mak- I must admit that because of the 8v Gemshorn the shadow of the burned church build- ing it clear that the church was well unusual configuration of this organ, I had 8v Doppel Flute ing to discuss this exciting possibility. In aware of its importance and the heritage some trouble imagining how it might be 4v Octave March 2006 an agreement was signed it represented. Mariko Irie, the church’s relocated. But I promised Dr. Johnson 3v Twelfth between the First Baptist Church of current organist, past organist Leonardo that I would try to find a new home for 2v Fifteenth Jamaica Plain and Mt. Moriah Baptist Ciampa, and local organist and friend of the organ, took photographs and mea- III Mixture Church of New York for the purchase the congregation Lois Regestein all surements, wrote down the stoplist, and 8v Trumpet and sale of the organ. On April 24, 2006, joined Pastor Wiest-Laird in asserting posted the organ on the Organ Clearing Swell the crew from the Organ Clearing the intention that the rebuilding of the House website as #2112. I gave it the 16v Bourdon House arrived in Harlem to dismantle church would include the acquisition of headline, “the wonders of technology,” 8v Open Diapason the organ. One important detail a comparable organ to replace the loss. reflecting the presence of the Barker- 8v Stopped Diapason remained. There were not even archi- The smoke cleared and the dust set- lever machine that allowed the split 8v Viola tectural plans for the rebuilding of the tled. A double-wide trailer was installed installation. Look at a photo of the instal- 4v Violina burned church. We needed a place to on the church yard providing space for lation and you would never recognize 4v Flauto Traverso store the dismantled organ. It was Pas- 2v Flautino worship and meetings. Committees this as a Hook organ. But glance at the 8v Cornopean tor Wiest-Laird who worked the magic. went to work to plan the rebuilding pro- stoplist and you’ll have no doubt. A call 8v Oboe Earlier in the year a large church build- ject. It became clear that the walls and from Lois Regestein suggested that a col- ing on Centre Street had been vacated steeple of the building could be league of hers had noticed the listing on Choir (the Casavant organ had been pur- retained, but the entire interior and roof the website and wondered if the organ 8v Geigen Principal chased by a parish in San Antonio, Texas would have to be replaced. (See Photo might be a candidate to replace Opus 8v Dulciana and dismantled and shipped by the 2: First Baptist Church) 253 in Jamaica Plain. What a thought. If 8v Melodia Organ Clearing House). While plans for
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14 THE DIAPASON Announcing... the exciting new series of recordings: “The Aeolian-Skinner Legacy”
Photo 3: Opus 668, Mt. Moriah Baptist Church the future use of the building were being developed, it would be available for the storage of the organ from Harlem. So just a few months after removing one organ, we placed another in storage in the same building! Construction is under way at Mt. Moriah Baptist Church. Opus 668 is safely in storage in Jamaica Plain. The First Baptist Church is proceeding with their planning process. Stay tuned for future developments. Send your dona- tions to: The Organ Fund Pastor Ashlee Wiest-Laird The First Baptist Church 633 Centre Street Jamaica Plain, MA 02130-2526 The Phoenix Project A year ago, Hurricane Katrina caused widespread destruction along the coast of the Gulf of Mexico, especially in Mis- sissippi and Louisiana. And in February of this year a series of fires, intentional- ly set, destroyed rural church buildings Photo 4: Bishop and Libin in Alabama. Laurence Libin, recently retired Curator of Musical Instruments There’s more than one way. at the Metropolitan Museum of Art in I believe that I am safe in saying that New York, and newly elected vice-pres- many readers of THE DIAPASON share a ident of the Organ Historical Society, concept of an effective church music responded by conceiving the Phoenix program. There is a choir of adults, per- Volumes 1, 2, and 3 are now available, Project, an initiative of the OHS sup- haps another of children, perhaps ported by the American Institute of another of teenagers. There is an organ, documenting some of the company’s finest instruments Organbuilders and the Associated Pipe a piano or two, a library of anthems. The Organ Builders of America. This excit- organist/music director plans program- in never-before-released material in this critically ing project is for the purpose of placing ming and rehearses the choirs. The con- acclaimed and historically significant new series. “redundant” pipe organs in churches gregation is used to singing three or four that have suffered such losses. If you hymns in the course of a service. Music know of such a church that needs a pipe is offered at regular worship services, organ, or of one that has an organ to festivals, funerals, and weddings. Get Volume I: Lorenz Maycher plays the 1962 give away, contact Laurence Libin at the picture?
SEPTEMBER, 2006 15 Der jungste Tag wird bald sein Ziel handbells (2 octaves), Choristers Music for Voices erreichen (The Last of Days Shall Guild, CGA 1040, $1.75 (E). Reach Its Destination), George This gentle setting uses only seven and Organ Philipp Telemann (1681–1757). handbells and always as single melodic CHANGE IS INEVITABLE. by James McCray SATB, strings, 2 oboes, continuo, half-notes; the flute part is doubled in and organ, Bärenreiter-Verlag, the keyboard and is very easy. There are 2006, vocal score BA 7671a, 6.95 refrains in one key, interspersed GROWTH IS OPTIONAL. Advent music: Magnificat and more euros; full score BA 7671, 12.95 between three verses that are in a dif- euros; strings 2.95 euros (M+). ferent key. The tuneful music is syllabic The Christmas season has come to mean This cantata is for the second Advent and memorable for use with young voic- the period when the public plays Santa Sunday and has seven relatively short es. A simple yet attractive easy setting. { Claus to the merchants. —Marceline Cox movements. Based on a text by Erd- Ladies Home Journal, December, 1950 mann Neumeister, it is somewhat Advent, Craig Courtney. TTBB, solo unusual in that the opening movement violin, and keyboard or orchestra, ARTISTRY IS CRITICAL. December in the church is the period is a dramatic accompanied recitative Beckenhorst Press, Inc., BP 1724, of Advent; outside the church it is the marked “Canto,” which probably could $1.95 (M+). period of shopping! In the church, the be sung by a tenor or soprano. There are Based on Veni Emmanuel, this opens { time before Christmas is a period of two other recitatives, an aria, and three with a long, free introductory passage for preparation. The four Advent Sundays movements for choir. The middle (fifth) the solo violin and unison men’s chorus, have specific texts, tasks, and traditions. movement is more elaborate with long, which eventually works into a faster INTEGRITY AND AN INFORMED Decorating the church is usually some- busy melismas for the chorus, especially tempo and four-part male chorus singing thing that unfolds slowly and adds to the for the basses. The oboes are insignifi- on a neutral syllable. The violin part is POINT OF VIEW,SINCE 1917 spirit of anticipation; each week the cant, usually doubling the strings or tricky with many double stops and busy, congregation notices new additional chorus, and could be eliminated to save soloistic passages. Later the choir sings items that help transform the church money. Both German and English texts the Advent melody in unison and in { into an even happier place than usual. are provided; this scholarly edition iden- Latin above pulsating keyboard chords. Advent music is often distorted by tifies editorial additions for dynamics, This is a dramatic work that requires a being post-birth rather than anticipating etc. This is a fine Baroque work that is good violinist. The choral parts are not it. Directors need to remind themselves not long and very suitable as special difficult, but require a sufficient number that the literature of these four Advent Advent music for a service. of men. Excellent repertoire for church Sundays should reflect a great sense of or concert performances for men’s expectation. Leonard Bernstein did that Nun komm der Heiden Heiland choir, and highly recommended. so well in the American musical West (Come, O Just One), Lynn Trapp. Side Story when early in the show he SATB, oboe, organ, and assembly, Nova, Nova, arr. Richard Proulx. included the text and music for “Some- GIA Publications, G-6194), $1.60 Unison choir, solo voices, assembly, thing’s Coming.” It is that kind of com- (M). organ, recorder, 3 handbells, and bustible excitement that church choir Subtitled “Introit Hymn,” it is percussion, GIA Publications, G- directors should seek in their choices. designed to be used as a procession but 6222, $1.50 (E). Clearly, one of the great texts associ- with a responsorial format so that the This medieval carol is set as a mini- ated with Advent is that of the Magnifi- congregation sings on the refrain with drama about the Annunciation. The cat. Mary’s words from Luke 1:46–55 the choir. There are three verses with original Latin burden (refrain) is a play Reuter Organ Co. have been a source of inspiration for the refrain sung four times. A separate on words: “Ave” Hail, Mary is because of composers throughout western history. oboe part and congregational music for “Eva” Eve’s action in the garden of 1220 Timberedge Road Although the church year does not call duplication are included at the end. Eden. There is an alternative English Lawrence, KS 66049 for its specific use each year, performing This work is especially appropriate for text for the refrain. Solo voices are to be a Magnificat as part of the Advent sea- the fourth Sunday in Advent, but could used for the Narrator, Gabriel, and Mary 785/843-2622 son seems very appropriate, especially be used throughout the season. The who sing the verses, which are very short www.reuterorgan.com when many choose to perform a Christ- third verse is a Gloria Patri and Amen. and easy. The assembly music is only mas cantata instead— a text that is post- Very pragmatic and useful music four measures in length and is on the birth. Christmas is the arrival, Advent is appropriate for most church choirs— back cover for duplication. Parts for the the coming, and that point should be highly recommended. percussion are also included on the back stressed in music choices. cover. Interesting and very accessible Other traditional texts that are appro- Magnificat, George Boziwick. music for small church choirs. RONALD CAMERON BISHOP priate to Advent include Veni SATB, organ, and congregational Consultant Emmanuel (O Come, O Come responses, C. F. Peters, #688055, Two Advent Introits, Thomas Bold. Emmanuel), Nun komm der Heiden $3.95 (M-). SATB unaccompanied, E. C. Pipe Organs Heiland (Savior of the Nations, Come), In this English Magnificat there is an Schirmer Co., #6331, $1.45 (M-). Digital Enhancements All-digital Instruments and Psalm 24 (Lift Up Your Heads, Ye antiphon sung first by the choir on the The titles are Prepare ye the way and Mighty Gates). These, too, have been opening verse of the St. Luke text; then Up, joyous raise your song; each is two 8608 RTE 20, Westfield, NY 14787-9728 Tel 716/326-6500 Fax 716/326-6595 set by many composers. We suggest that that is interspersed between several of pages in length. The music is not diffi- conductors choose musical arrange- the remaining verses as a choral cult, but does have mild dissonance and ments of these works for the anthem response from the congregation. Each wide range for the basses. The second and also use them as congregational time the antiphon is sung it may be Introit moves along quickly. Both are hymns. This connection reinforces the performed by all four voice parts of the syllabic with movements of divisi. message and gives a solid cohesion to choir together in support of the con- the tidings of Advent. gregation. The organ part, on three The music reviewed this month pro- staves, provides the somewhat melan- vides a variety of choral settings for choly background harmony of the pri- Book Reviews Advent. Next month’s column will focus marily diatonic lines of the choir, which on music for Christmas (post-birth). often sings in unison. Clearly designed Seeing these columns in your journal for small church choirs of limited abili- The Schulze Dynasty: Organ may seem early for many in the same ty, yet it is something they will find Builders 1688–1880, by Bryan THE DIAPASON has moved. Note way the store shelves often have Hal- very attractive. Hughes, forward by Dr. Francis our new address: loween and Christmas items side-by- Jackson. Musical Opinion ISBN 0- 3030 Salt Creek Lane, Suite 201 side, but music has to be evaluated, cho- Magnificat, Walter L. Pelz. SATB 9544074-1-5, paperback, 254 pp. Arlington Heights, IL 60005 sen, ordered, and learned by choirs, so it and organ, Augsburg Fortress, 0- £35;
Organ Recitals strings, Robertson Publication tinctive voice of Schulze” that com- (Theodore Presser), #3093, $4.95 bined English practice with German- (M+). inspired innovations, including those The soloist is used extensively of Willis, Schnitger and Silbermann, throughout this English setting. There contemporaries of Schulze. The pref- are long organ interludes between the ace defines areas of historical concern contrasting sections, which have numer- and clarifies the great impact Schulze
Workshops & Masterclasses ous tempo shifts. The choral parts are made in England: a “musical enlight- not difficult; they contain some divisi, enment” that led to many commis- unaccompanied passages, and some sions, including the huge five-manual, www.SusanJaneMatthews.com contrapuntal lines. This 12-minute set- 6,000-pipe organ in Doncaster Parish ting has the orchestral score and parts Church in 1862. available only on hire. The first chapter’s profile of the Schulze family outlines seven genera- Sing a Song of Advent, Hal Hopson. tions of organbuilding, with extensive Unison/two part, keyboard, congre- data on significant installations, includ- Photo: Lorraine Dotson gation, optional flute and optional ing the Church of the Immaculate Con-
16 THE DIAPASON ception in New Orleans, Louisiana, publishers have hit the mark with from several collectors—“copious from Estey and Story & Camp as well built in 1860. Beginning with Hans splendid interior typography, paper notes, catalog pages, patents, and other as six from Story & Clark itself. The Elias Schulze in 1688, followed by Hans and binding, 136 illustrations, 36 fig- research materials.” Although compris- many drawings and specifications will Heinrich, Johann Daniel, Johann ures, a stunning design that interoper- ing only 35 pages of primary text, the unquestionably be of use to those Andreas, Johann Friedrich, the famous ates with text, space, openness—a seven appendices are a mine of infor- attempting to trace or verify the date 1 Edmund (who at age 27 was invited by superb layout. Here then is an 8 ⁄4 x mation for those interested in the reed and style of surviving instruments. 1 Prince Albert to exhibit an organ at the 11 ⁄2 tome worthy of repeated explo- organ generally, and Story & Clark’s Appendix III presents a photographic Crystal Palace, Hyde Park, London), ration, a magnificent vademecum that history in particular. inventory of presently known Story & Oscar, Eduard, Herwert and Franz, displays the author’s love, intense The main text covers the company’s Clark instruments, but without owner- their individualistic and corporate prin- exploration and years of research, a predecessors and founding, the charac- ship or location information; Appendix ciples and social histories are thorough- profusely illustrated and documented ter and machinations of the principals IV shows examples of stop-board let- ly and meticulously recorded, gleaned Schulze Kritische Gesamtausgabe by and their various associates, the several tering. Appendices V and VI contain from diverse documents. the distinguished Bryan Hughes that buildings erected and/or occupied by almost 150 pages of legal documents: Continental organbuilding, with its will interest musicologists, scientists, the company during its history, sales various Story & Clark patent applica- equal temperament, concave pedal- organists, organbuilders, librarians and and marketing efforts (many of which tions and grants together with the boards, bright and silvery principals, historians for years to come. would certainly raise eyebrows at companies’ articles of incorporation and flue choruses of great brilliance —Peter J. Basch today’s Better Business Bureau and (App. V), and several court proceed- and power, lifted England’s spirits and Hoboken, New Jersey Federal Trade Commission), and the ings involving the company as well as inspired Victorian organists to visit company’s eventual decline and disso- property descriptions (App. VI). The France and Germany, where they This review will also appear in Musical lution. There are many gaps in and final appendix contains color repro- heard Cavaillé-Coll’s masterpieces at Opinion and The Organ. questions related to the history present- ductions of Story & Clark advertising St. Denis and The Madeleine, as well ed, but—the author has correctly or “trade” cards, designed to be as the Schulze organs in Weimar, noted—it is based on variable informa- removed and, presumably, cut out for Loitz, Lübeck, Halberstadt, Halle, The History of the Story & Clark tion from a wide group of sources, the mounting or display. Gotha, Heringen, Berlin, Wessenfels, Organ Co. by David M. Knowles reliability of which was not always with- The author and editors have clearly Verden, Westphalia, Bremen Cathe- [ed. Charles and Pamela Robison]; out question. In any case, there is abun- expended much effort to assemble dral, Düsseldorf, Alperbach-Dort- the Reed Organ Society, viii, 298 dant information here of interest to and reasonably order this material. mund, and Paulinzella with their char- pages, $34.95. Available from ROS reed organ aficionados, but it is the While this narrative is at times repet- acteristic stop nomenclature—Gedact- Treasurer James S. Quashnock, appendices that provide the more sig- itive and there is admitted uncertain- bass, Hohleflöte, Lieblich Gedact, 3575 State Highway 258E, Wichita nificant materials of interest. ty as to a number of facts, this volume Gambe, Geigenprincipal, Posaune, Falls, TX 76310-7037; Appendix I includes more than 30 is an important addition to the history Flauto traverso, 2v Mixture V, 2v Scharf
SEPTEMBER, 2006 17 tury was to avoid organ voluntaries, and churches—rather forthright in its voic- Cutler and Johnson’s American Church New Recordings the repertoire actually played on most ing, compared with the more lieblich Organ Voluntaries produced later in the Moravian organs would have consisted style of instrument that Tannenberg century. While far from being wildly almost entirely of hymns. Thus almost generally favored for Moravian church- exciting or original, they provide valu- Salem’s Large Tannenberg Organ no organ music by Moravian composers es. Some of this, however, may be due to able evidence of the kind of preludes Restored: The largest existing pipe has survived—the Nine Preludes of the lively acoustics of the hall in which that might have been played in many organ built by America’s first organ- Christian Latrobe (1758–1836) is practi- the organ has now been re-erected. I do American churches throughout the 19th builder, David Tannenberg cally the only exception, and naturally not believe that anyone could have done century. As has already been mentioned, (1728–1804). Peter Sykes, organist, these were included in the recital. Thus a more conscientious job of establishing they are particularly valuable for being plays the dedication recital. Raven “authentic” repertoire for the Tannen- the original voicing of this organ than practically the only organ music that has compact disc OAR 700, berg organ, apart from hymns, is unfor- Taylor & Boody appear to have done, survived to indicate the kind of thing
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18 THE DIAPASON three full-compass manuals, plus one for that of the autograph manuscript, not builder and the date of construction, but Represented are film music, electron- the Cornet from middle C to F only the printed edition of 1747, the final the notes on the composers and the ic music, concerto, solo piano, vocal, (there is also a Cornet on the printed variation (the fifth) being the pieces (apart from the error mentioned organ, and band music, all competently Hauptwerk). According to the accompa- third here, the printed third and fourth above) are very helpful. The CD is and lovingly performed. Much of it uti- nying booklet it was designed as a return becoming the fourth and fifth. One warmly recommended. lizes Jewish and/or Bulgarian folk tunes to the principles of 17th- and 18th-cen- problem in this recording is that while —John Collins for inspiration, and none is in a percus- tury construction, combining the charac- the balance between the two manuals is Sussex, England sive style. Of special interest to organists teristic tonal qualities of the North Ger- clear, the chorale in the pedal is not are the two organ chorale preludes man Baroque with a number of colors always easy to pick out on the quieter based upon a Sephardic song and per- from the French Baroque. There are 45 registration. Bowman finishes with a Sabin Levi, Music by Bulgarian Jew- formed by their composer Sabin Levi. stops and 3097 pipes. The Hauptwerk performance of the Pièce d’Orgue in G, ish Composers. CMP Studio N0065, Surprisingly and unfortunately, other contains 14 stops, with Praestant as a in which he uses an early manuscript TT: 73.68. Available from Sabin than pianist Mayer Frank and organist foundation at 8v, up to 2v, flutes from 16v version written by Bach’s cousin J. G. Levi,
poser’s grasp of the galant style, that on BUZARD CASAVANT DYER FISK GARLAND GOULDING FRERES DOBSON R. & WOOD Weg Mit? being a restrained yet charm- ing and predominantly simple harmo- nization. The four Inventions by the lit- tle-known Heinrich Gerber (who met Bach in Leipzig in 1724–27) are short trios for two manuals and pedal; their galant, lively style is interpreted here most effectively with some ear-catching gapped registration; especially notewor- thy is use of a reed in the A minor. The Partita on Morgen kommt der Weihnachtsmann by Johann Christoph Friedrich Bach, the older brother of Johann Christian (not, as the booklet states, the eldest surviving son of Johann Pipe Organs - Sebastian), is sheer joy as played here, the 18 variations covering the gamut of the stock clichés of the galant. The two minor-key variations breathe slightly more serious air, as does the one in a siciliano rhythm. The theme, known in Not English as “Twinkle, twinkle, little star,” was also used by Mozart under the title of “Ah, vous dirai-je maman.” After 12 Snob Appeal, minutes of exuberant fun, an air of solemnity is restored by the spacious set- ting by Johann Kellner of Herzlich thut mich verlangen, with the highly decorat- ed chorale in the right hand being given but out on a reed. The following six short chorale preludes are found in a 19th- century manuscript, and have been ten- Mass Appeal. tatively attributed to J. S. Bach. The first setting of Herr Jesu Christ, wahr Mensch und Gott presents the chorale in the pedal, while the second and that on Es spricht der unweisen Mund are simpler harmonizations. Der Tag der ist so freudenreich has the chorale given out in the pedal, underpinning manual leaps. The partita on Ach was ist doch unser Leben contains spirited figuration in both hands, the chorale melody being given a most florid treatment in the first verse, the second verse having the melody in the pedal (although this could Pipe Organs Are for Everyone! be more clearly defined), with sequences passed between the hands on two manu- als, and ending with a long held pedal- point beneath figuration. The partita on Ach was soll ich Sunder machen ends with the chorale growled out by the To receive information about pipe organs pedal reeds. The CD finishes with two major works A and recognized pipe organ builders by J. S. Bach himself, first of which is the P write or call toll free 1-800-473-5270 Canonic Variations on Vom Himmel hoch. Here Bowman’s playing captures O or on the web @ www.apoba.com the virtuosity of the writing, particularly B Associated Pipe Organ Builders of America in the imposing third variation with its A highly complex contrapuntal structure in P.O. Box 155 • Chicago Ridge, Illinois 60415 which all four phrases of the melody are combined, and the complex figurations BOODY & QUIMBY PARSONS OTT REDMAN SCHANTZ SCHOENSTEIN TAYLOR in the right hand in the final variation, played here on a reed. The order of the NOACK MURPHY KEGG JAECKEL HOLTKAMP HENDRICKSON variations followed in this recording is
SEPTEMBER, 2006 19 After a sweet, musing, reflective pre- to develop his material in an interesting Waly Waly, Victimae paschali, Gaudea- New Organ Music lude, the lovely theme appears in a set- fashion. Harmony and counterpoint are mus pariter. ting characterized by canonic imitation basically conservative, with frequent James Biery is director of music for between manual parts. Chains of parallel brief flashes of pungent dissonance the Cathedral of St. Paul in St. Paul, Wayne L. Wold, Harmonies of Liber- perfect fourths are featured here and adding harmonic color and contributing Minnesota, appointed there in 1996 ty: A Collection for Organ. Augsburg later. After this blissful consonant sec- to the scores’ modern, fresh flavor. after having served the Cathedral of St. Fortress, ISBN 0-8006-7575-4, tion, the mood becomes stormy. A strug- There is a wide contrast in moods and Joseph in Hartford, Connecticut. He $15.00. gle seems to build up, the texture thick- styles in the collection. The first piece, earned both his bachelor and master of Harmonies of Liberty is the fifteenth ens, the tempo quickens, and cluster for example, a lengthy chorale prelude music degrees in organ performance at volume of organ music of Wayne Wold chords and chains of parallel augmented titled “A Mighty Fortress Is Our God,” Northwestern University in Evanston, (born 1954). In this troubled post 9/11 triads pervade the score. The storm is captures beautifully the jubilant spirit of Illinois. As a composer, he writes choral era, music like this—on the themes of violent, but it ends abruptly at its height. the Ein’ feste Burg melody and the and organ music, and he has transcribed liberty, justice, democracy, and Chris- Now, in the second half of the piece, the words’ confident proclamation of faith in a great deal of orchestral literature for tianity—is timely. The six short pieces in theme returns in a canon between two God. Phrases of Martin Luther’s hymn organ duet and solo organ. the collection are based on hymn tunes ethereal high voices, one in the right tune, played in the manner of fanfares Herzliebster Jesu, often used in Holy and traditional American and English hand part, the other in the feet at the top by the left hand in three-part harmony Week, is a beautifully written chorale melodies: King’s Lynn, Detroit, Lift of the pedalboard, accompanied by short on the solo reed or reed chorus, period- prelude. The pictorial writing sets the Every Voice, Nun danket alle Gott, undulating ostinato motifs. The end ically interrupt a flowing, motoric, right- angst of the text in minor seconds, tri- Materna, and We Shall Overcome. Wold glows with warm, gentle nostalgia. Many hand sixteenth-note moto perpetuo in tones, and other close harmonies in is himself a very fine organist—he is church organists and recitalists will mostly conjunct motion, supported by three and four parts. When the texture organist at the chapel at Camp David, probably find Harmonies of Liberty grat- slower moving left-hand chords and a thins, the chorale melody is presented the presidential retreat, and college ifying to play and enjoyed by audiences. leaping eighth-note bass. At the end, the at 4v pitch in the pedal (an option is organist and music professor at Hood undulating sixteenth-note obbligato given that it might be sung by women College, Frederick, Maryland—and his Wayne L. Wold, Water, Word, Meal: gives way to a heavier, majestic, full- or a soloist). The dark and ominous col- writing is eminently idiomatic. For each Preludes on Hymns for Baptism, organ chordal presentation of the ors of the beginning recur, and the work, he provides helpful registration Proclamation, and Communion. chorale’s last phrase, in which simulta- piece ends quietly. suggestions for a large three-manual Augsburg Fortress, ISBN 0-8006- neous seconds add a metallic, glinting Trumpet Tune in C (Easter Hymn) organ. The works are technically easy or 7755-2, $13.00. dissonant steeliness to the otherwise might find its way into the wedding moderately easy. His Lutheran back- Water, Word, Meal is the most recent consonant style. repertory and would make a good pro- ground is suggested in the scores by a of Wayne Wold’s collections of pieces In contrast, the second prelude is a cession. The pedal line is repeated and leaning towards neo-Baroque style, written principally for church organists. gem of hedonistic delight. Short, suave, then presented up a third, so the learn- which he melds with a taste for warm In Light on Your Feet: A Collection for and to be played “Freely, warmly,” it ing curve is quite low. The manuals have romantic harmonies. Organ with Minimal Pedal (2000), works begins with an extended newly com- similar material, but the second occur- The melody on which the first piece is by Wold and others are linked by the posed, unaccompanied, undulating, rence is filled in harmonically. The mid- based is associated with the hymn texts requirement of a moderate to advanced right-hand lyrical line played on a Great dle section is in G major and cadences “By All Your Saints in Warfare” and “O manual technique but a very modest solo flute stop with tremulant. Then, the back in C major. At that point, there is God of Earth and Altar.” It is a briskly pedal technique. His Harmonies of Lib- James Spilman melody associated with an option: one may choose to play the paced, vigorous chorale prelude for full erty: A Collection for Organ (2003) is Robert Burns’ poem Flow Gently, included Easter Hymn in its original organ based on the English traditional based on hymn tunes associated with the Sweet Afton is enunciated in the left form from the 1708 Lyra Davidica, or Dorian-mode hymn tune, King’s Lynn. themes of freedom, justice, and Chris- hand in two- and three-part harmony on another section, newly composed, in A- Sporadic chains of fanfare-like parallel tianity. This new collection consists of the swell, with a registration of 8v strings flat major, followed by a da capo. major triads, mainly in the right hand preludes selected from the Draft List of and celestes, while the flowing obbliga- For the improvisation on O Waly, part, provide a bright, sparkling counter- Proposed Hymns and Tunes for a New to continues in the right hand on the Waly, a quiet and flowing traditional point against which the phrases of the Book of Worship, submitted to the Great manual. English tune, Biery adds some lovely forthright pre-existent melody are heard Evangelical Lutheran Church of Ameri- In the fifth piece, a chorale prelude coloring in the accompaniment that in the tenor register, while the pedal ca’s Council in November 2004. The based on Johann Löhner’s chorale tune offers a fresh setting. The final two periodically fills out the texture with tunes and the hymn words (in parenthe- Alles ist an Gottes Segen, there is some- pieces in the collection are for manuals phrases in quarter notes. ses) are 1) Ein’ feste Burg (A Mighty thing of a return to the strong Lutheran only: Prelude on Victimae paschali from The third piece, “Lift Every Voice and Fortress Is Our God), 2) Afton Water mood of the opening prelude, but this the Katholisches Gesangbuch, 1859, Sing” (known as the Negro National (As Rain from the Clouds), 3) Liebster piece is lighter in texture and registra- and a Prelude on Gaudeamus pariter. Anthem), is energetic and majestic. The Jesu, wir sind hier (Dearest Jesus, at tion. Phrases of Löhner’s lively hymn The Victimae paschali is very rhythmic longest of the collection, it is technically Your Word, or Word of God, Come tune, soloed on a light reed or cornet and syncopated, and the joyous sense of the most challenging. Based on John R. Down on Earth), 4) Yisrael V’oraita stop, are presented periodically against a the hymn on which it is based, “Christ Johnson’s lilting 12/8 hymn tune of 1899, (Open Your Ears, O Faithful People), late Baroque trio sonata texture consist- the Lord Is Risen Today,” is keenly felt. the general musical ambiance is Victori- and 5) Alles ist an Gottes Segen (Praise ing of a sprightly, leaping motif that is Gaudeamus pariter (“Come, You Faith- an. However, the music is spiced with the Lord, Rise up Rejoicing, or All developed imitatively by the hands on ful, Raise the Strain”) is a little dance in dissonances, ranging from freely used Depends on Our Possessing). another manual, supported by a bass line varying meters: 6/8, 7/8, 9/8. The regis- transient non-harmonic tones in the A two-manual instrument is indicated in quarter notes in the pedal. tration requires only a Gedackt 8v and a voice leading, to bold occasional cluster in Wold’s registrations for preludes 1, 2, Many church organists will find the 2v stop. chords; these features give the composi- 3 and 5, and, although the fourth is pieces in Water, Word, Meal: Preludes —Sharon L. Hettinger tion an unmistakably modern flavor. scored for a three-manual organ, the on Hymns for Baptism, Proclamation, Lawrence, Kansas Vivacity and happiness bubble over in composer suggests playing the third and Communion a delight to play as ser- this setting of Johnson’s sentimental manual part on the Great if only two are vice voluntaries. Highly recommended. melody, and it is arguably one of Wold’s available. The duration of the pieces —Peter Hardwick THE DIAPASON has moved. Note 1 1 our new address: most inspired compositions. range from 2 ⁄2 to 5 ⁄2 minutes, and each Brechin, Ontario Harmonies of Liberty ends with a set- imaginatively captures the mood of the 3030 Salt Creek Lane, Suite 201 ting of the pre-Civil War spiritual that is music and words upon which it is based. Arlington Heights, IL 60005 now known as We Shall Overcome, the Technically, all are only moderately dif- Reflections of Christ, James Biery. Phone, fax, e-mail, and web song that was strongly associated with ficult. Wold has a gift for lyricism, he CPH 97-6534, 1996. $7.50. remain the same. the civil rights movement of the 1960s. avoids sentimentality, and he knows how Herzliebster Jesu, Easter Hymn, O Hupalo & Repasky Pipe Organs MMORAVIAN MMUSIC FFOUNDATION 1785 Timothy Dr. Unit 4 San Leandro, Calif. 94577-2313 50 Years of Preserving, Sharing, and Celebrating the Musical Culture of Moravians and Early America 510 483 6905 www.hupalorepasky.com
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27 Marlboro Lane • Eugene, OR 97405 (541) 521-7348 [email protected] By Dr. Albert H. Frank Illustrated, indexed, 67 pages, spiral-bound soft cover with companion CD. A collection of hymns used by Moravian congregations during the Advent and Christmas seasons. History of the texts and tunes is included.
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20 THE DIAPASON E. Power Biggs in Mozart Country Part 3 Anton Warde
Parts 1 and 2 of this series appeared Mozart’s complete works for solo organ in the July and August issues of THE played on 14 organs in Austria and DIAPASON, respectively. southern Germany.3 ooray, hooray for the Mozart trip— A neglected dimension of Mozart Hwe are delighted at the prospect of Biggs would find it easy enough, in another race through Europe with you!” the essay he wrote for the Mozart So began the aerogram from E. Power album, to formulate a high-minded jus- Biggs that Georg Steinmeyer opened in tification for the project: Oettingen, Bavaria, one day in May, 1955. Biggs had sent it in quick An anniversary should serve to enlarge our response to Steinmeyer’s letter to him knowledge of a composer’s work. If Mozart of May 20, in which he must have com- the organist is a figure not too well remem- bered by us today, then his aspect of his mitted himself—at least in principle— genius should become better known. to helping Biggs with a second expedi- tion through his native countryside, this time with Mozart’s music, Mozart sites, Biggs himself had recorded six of the 17 and Mozart organs as its focus. sonatas for organ and orchestra in 1945 Steinmeyer’s first trip with the (78 rpm RCA Victor M 1019), and had Biggses, one year earlier, had indeed played various solo works of Mozart turned into something of a white-knuck- from time to time in his weekly broad- led road race. Piloting the overloaded casts from Harvard. But neither he nor Mercedes 180 he had rented for them anyone else had yet gathered so much of (overloaded only because the “amateur Mozart’s music for the instrument into a tape recorder” promised by Biggs had single release for record buyers. In an strangely metamorphosed—with the Somewhere on the Mozart trail essay he prepared for High Fidelity bank of automotive batteries needed to Magazine, he added this further justifi- operate it—into hundreds of pounds of this could be given under [U. S. Informa- composers as well—played on 21 differ- cation for the enterprise: gear), Steinmeyer had managed to keep tion Service] or Amerika-Haus sponsor- ent organs. The venture would advance Biggs on time for every one of his ship, and, if the cost of the small orchestra by two more albums the paradigm Biggs For about 150 of the 165 years that have (perhaps 20 to 25 players) were an obsta- elapsed since Mozart’s lifetime,” the only engagements, but the pace of the nine- cle, we’d be glad to take care of this. had established with the pair of releases day trip had meant skipping a few born of the 1954 expedition.2 These had possible commentary on [Mozart’s letters Steinmeyer: “The experience of a about his travels] would have been further important stops—like a pause even to already begun to spin on turntables writing, in book or essay. Today, to our see, much less to play, the Riepp organs lifetime” across America as he and Peggy good fortune, we have other documentary at Ottobeuren. For Steinmeyer, the second coming of “enplaned” once more for Europe to means!4 the Biggses, like their first (which had produce the first of many sequels: Bach: “300 years ago, a fine perfection” coincided with his honeymoon!), was Eight Little Preludes and Fugues He meant, of course, that modern tape- The zigzag course they had traced going to compete with another major “played on eight famous European clas- recording (which he liked to call “the from Frankfurt to Munich the previous transition in his life: emigration to Amer- sic organs,” a single LP (ML 5078, to be photography of sound”) enabled a new spring constituted only one short seg- ica with his young family. He knew he released on April 2, 1956); and A dimension of biographical documenta- ment of the 75-day concert tour that had would soon be accepting a job at the Mozart Organ Tour (K3L 231, which tion. Furthermore, the essay continued, carried Biggs through some twelve Estey Organ Company of Brattleboro, would be released on July 16, 1956), a 3- “. . . if an anniversary observance is to be countries from Portugal to Norway. That Vermont. Quietly foundering in the mid LP album containing the 17 “Festival worthwhile, it should serve to broaden eleven-week journey had introduced 1950s, Estey was hoping to reverse its Sonatas” for organ and orchestra and our knowledge of a composer’s art, and him to musical glories of the instrument fortunes by adding this young German he had never known before; and an builder to its staff, who would bring with Ampex 403 had helped him “bring ’em him the bonus of a prestigious name. back aloud” (as he shamelessly quipped) Steinmeyer could see that time for per- for an American audience whose ears sonal projects that summer (like helping were ready to listen. It had been Biggs’s Biggs with his) could grow short, espe- well-known “tour of revelation,” the trip cially since Estey seemed to want him to that changed not only his own life but come as soon as possible. Furthermore, the life of the pipe organ in North Amer- he knew that travel time with the ica, when it launched him on his mission Biggses would in some ways amount to to center the organ once more on what “the least of it.” In advance of their com- he perceived to be its most essential, yet ing, he would have to help research long lost, character as a musical instru- organs, lay out the route, time all dis- ment. Upon his return to Boston, Biggs tances, contact responsible persons, coax had begun immediately to communicate them into granting access to record, what the European instruments had schedule overnights, book accommoda- taught him, publishing by the spring of tions, procure a vehicle, and so on. But 1955 no fewer than three perceptively Georg and Hanne Steinmeyer had detailed—and persuasively argued— grown very fond of the Biggses (20 years articles about the musical excellence of their senior) during that first “race.” And classic European organs.1 “Three hun- Steinmeyer respected—because he so dred years ago,” he liked to declare, “the completely shared—Biggs’s unfailingly organ had reached a fine perfection!” upbeat resilience as a traveler. He liked For the rest of his life, Biggs celebrated the notion that his freedom to shape the the qualities of organs built like those new plan would indeed give Biggs a that had inspired Bach and other great chance to discover some of the treasures composers of the past, among them—he they had neglected on the 1954 tour. would soon argue—Mozart, despite the And last but not least (Steinmeyer may paucity of music Mozart had actually have reasoned), a young organ builder penned for the instrument. moving to America could do worse than Although much of their 1955 corre- to earn the advocacy of America’s best spondence is lost, we know that Biggs known organist! Thus, despite his own must have invited Steinmeyer to help uncertain agenda for the coming sum- with some version of a Mozart project mer, he put aside all concerns and even before the end of March, for in a signed on for what he can term today letter to his chief State Department “the experience of a lifetime.” contact in Washington, Mary Stewart In the months that followed, Stein- French, dated March 29, he refers to meyer would first help Biggs lay out a Steinmeyer in the warmest terms and complex plan, then make all the logisti- outlines an early conception of the plan: cal arrangements for it to succeed, and finally work at his side for five weeks to We intend [in late summer] to visit Aus- help him fulfill it. At the end of the tria, and particularly Salzburg and Vienna undertaking, with all the notes sounded for their Mozart associations. We’re in and captured “before they could melt touch with Georg Steinmeyer, the organ builder of Bavaria, who proved such an into thin air,” as Biggs liked to put it (in excellent friend and guide last year. . . . reference to Prospero’s words in Shake- There’s one event that we’d particularly speare’s The Tempest), a pleased Biggs like to give—namely to play the three (and Peggy) flew home with 84 half- Mozart Fantasias and the seventeen short hour reels of tape imprinted at 15 inch- sonatas for small orchestra and organ in es per second with 942 “takes” and 612 Salzburg Cathedral, where Mozart was “inserts” of music—music not only by once organist! It would be wonderful if Mozart but by some two dozen other
SEPTEMBER, 2006 21 Another repair 1 Another repair 2 not merely to prompt further recordings he could not fail to note the logical next The more he read the letters of the would be to retrace the routes traveled by of already well-roasted chestnuts.” If extension of the concept he had invent- Mozart family, the better he saw that he Mozart, to visit towns and if possible to find the organs he once played. . . . There the two exciting Fantasias in F minor ed on his tour-with-an-Ampex the previ- would be able to contribute his own won’t be any concerts during this period, have in the meantime become their own ous spring. If he could find enough small (but for the organ world surely so we could give full time to the instru- version of old chestnuts in the organ extant instruments to justify it, he would welcome) revision to the conventional ments to record a short piece or two on repertory, they have done so in part undertake a new tour of European image of Mozart. He discovered that each, much as we did last year. because Biggs put them on the map, lit- organs, a “trail” of ones that Mozart had Mozart had frequently improvised on Then, at the beginning of September, erally as well as figuratively. played or “might have played.” organs for the sheer pleasure of it, that we’d like to arrive in Salzburg, for a peri- Today, thanks to the personal recol- At first he imagined that these would he had sought them out wherever he od of about two weeks. It’s possible that lections of Steinmeyer and the abundant be confined mainly to the cities of went, and that his hosts had often there might be concerts here, but in any case we would hope to do the same sort of “retentions” of Biggs himself (“the man Salzburg and Vienna. Although expressed amazement at his skill not thing as on the trip in and around who never threw anything away”—in the Salzburg’s cathedral enclosed a grand only as a “clavierist” but as a “fuguer Salzburg. . . . The general interest of the not unappreciative words of Joseph Mozartean space, its 1914 Mauracher with pedals.” Best of all, Biggs liked the trip is of course to learn about instru- Dyer, Chairman of the Organ Library of organ preserved only a few ranks from enthusiasm in Mozart’s surprisingly fre- ments, the old, the restored, and some the Boston Chapter of the AGO), we can an organ of Mozart’s day. Beyond these quent remarks about the instrument— newer ones, and to play the music that relive—in our 250th year of Mozart, ranks, set now on an electro-pneumatic utterances like, “To my eyes and my belongs on them—some other composers, 100th year of Biggs, and 50th anniver- windchest, Salzburg housed only one ears, the organ is the king of instru- as well as Mozart. For we realize from last sary of these two albums—the making of reasonably authentic “Mozart organ,” ments.”8 To the editor of the American year’s visit what an enormous amount 5 there is to learn, and we’d like to visit rep- those memorable recordings. the 1696 Egedacher instrument in the Guild of Organists Quarterly, Biggs resentative instruments in southern Ger- Chapel of St. Cajetan. And if Salzburg eventually remarked, “It would seem to many, Austria, etc., as we did in the north- More than one Mozart project for offered little, Vienna would offer noth- me that organists may as well ‘claim’ ern spots. Biggs ing. The Austrian capital disappointed Mozart, who today would practically Do you think you could once again help By the winter of 1955, as the Mozart Biggs again and again! One year earlier, have been an A.G.O. member.”9 us by choosing the best places and routes year of 1956 beckoned ever more while on his grand tour, he had obtained and making some preliminary enquiries urgently for projects, Biggs had already no invitation to play a recital there; now “The whole thing has suddenly about the use of the instruments? Also, in begun to plan a wildly original one. he could come up with no playable—or become clear” renting a car and coming with us as before, in any case, for the first two weeks and if Since that year would also mark the at least accessible—organ of Mozart- In a letter dated May 1, it was time possible for the Salzburg visit as well. 250th anniversary of the birth of Ben- vintage; and a few years later, when he for Biggs to share his growing excite- If it is possible for you to take these four jamin Franklin, his favorite American sought an authentic instrument for his ment with Columbia Masterworks exec- weeks, we would very much like to have hero, Biggs wanted to link Mozart’s plan to record the Haydn organ concer- utive David Oppenheim: you come, and to ask you to do the pre- music and Franklin’s invention of the tos and redo the Mozart “seventeen” in liminary work of arrangements for record- glass harmonica. If Corning Glass could stereo, Vienna would send him 30 miles Our Mozart plans have suddenly come into ing sessions, car rental, and planning the just blow harmonica glasses that would to the south, to the Haydn-town of focus. A reading of Jahn’s volumes on schedule. Also, this time we should prac- not keep breaking, and if Buffalo organ- Eisenstadt, to find the right (actually Mozart, and the composer’s own letters did tice what we preach and put the arrange- 7 the trick! Now we know just where Mozart ments on a firm business basis—that is— builder Hermann Schlicker could some- perfect) instrument. went on his concert trips and what organs all your expenses and the car costs, and in how devise a reliable playing mecha- The one bona fide “Mozart Organ” to he played, and it’s interesting to find that he addition a weekly payment of say, $100 nism for a replica of Franklin’s instru- which Biggs had already been intro- always asked to play the organ, and his play- [perhaps the equivalent of a thousand dol- ment, the whole endeavor could culmi- duced stood not in Austria at all, but 600 ing absolutely fascinated people. . . . lars in 2006]. That is a total of $400.00 nate, Biggs hoped (as indeed it did, kilometers west of Salzburg in the Mozart writes of his great love for the organ which we would be glad to deposit in an more or less), with a long-planned con- Rheinland-Pfalz region of Germany. It (he said, “the instrument is my passion”) account here for you, with your family, or cert in MIT’s Kresge auditorium in the was the 1745 instrument by Michael but evidently he just played music out of his in Germany, since it might be useful for spring of 1956.6 Stumm in the castle church of Kirch- head and didn’t write too much down for your westward journey. publication, for the simple reason that But Biggs had also begun to nurse the heimbolanden. Steinmeyer had brought there wasn’t a great demand for it at that idea of a more grandiose project: a plan Biggs to see it for a few minutes on the period. Anyway, he wrote down just the The offer to remunerate Steinmeyer for to record Mozart’s seventeen sonatas for first afternoon of their 1954 trip. When right amount for our purposes! . . . We’re the time he would spend traveling with organ and orchestra at no less a venue his long hours of research at Harvard’s going over August 15, via TWA, and with them (but not, it seems, for all the time than the cathedral in Salzburg, the Houghton Library in the winter of 1955 Georg Steinmeyer, the organ builder, will spent planning!) may have come partly space in which a teen-aged Mozart had confirmed that Kirchheimbolanden follow the “Mozart trail” and play and in response to signals Steinmeyer had composed and performed them. But would serve, in fact, as the perfect west- record instruments Mozart played, ending given about other approaching demands there was more. Still aglow with the suc- ern terminus of a Mozart tour from the in Salzburg. More details later—but the on his time. Or perhaps Biggs felt a cess of his 1954 odyssey linking com- Rhineland to Salzburg, Biggs moved whole thing has suddenly become clear. twinge of guilt for having compensated posers and the territory of their Wirken, quickly to make plans. his friend too meagerly (for nothing Now, too, he could send Georg Stein- more than expenses) on the 1954 trip. meyer a more detailed proposal (we have no surviving letter, only these The trail lengthens scraps of a draft): By May, Steinmeyer had accepted the job at Estey and could see that the Here are some plans, which will give mid-August date proposed by Biggs for you an idea of the time involved. . . The starting the Mozart trip would present a object of the visit [to begin on August 17] problem. Better to begin sooner, he
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22 THE DIAPASON Repairs completed 1
watch their power begin to fade almost opening that thing up again!” (See series immediately. This year they would sim- of photos: Another repair 1, 2, and 3, ply test the nature of the local current, and Repairs completed 1 and 2) Last but and, provided it was indeed alternating not least, the equipment would need to Another repair 3 current, “re-cycle” it with their oscillator be grounded; they would have to carry a to feed the new professional-grade long coil of wire to reach the nearest out- thought. And, given the ground to be the cathedral, a first step in rewarding Ampex 350 the 117-volt 60-cycle current door, cable-to-earth from a lightning covered, Steinmeyer wanted, if possi- the optimism he had expressed to David it required. The new hardware, with its rod. In one of his personal jottings, ble, “to do it right”; and so, before he Oppenheim, two weeks earlier, in a let- oscillator in two heavy units, actually Franklin fan Biggs wrote: “Greatly knew it, and almost in spite of himself, ter of June 4: weighed three times as much as the pre- indebted to Ben Franklin throughout he was soon encouraging Biggs to dou- vious year’s less sophisticated gear if one tour, since usually used lightning rod as ble the time allotted to the pre-Salzburg We are asking permission for the use of discounted the batteries. And at $4500 it ground.” And he could not resist bring- Salzburg Cathedral, for our recording, 10 portion of the journey from two weeks through no less an avenue than the Amer- also cost three times as much. More- ing Franklin into his more formal to four weeks. Always ready for more ican embassy in Vienna. So I think we’ll over, its delicacy would lead to repeated account of recording Mozart at Salzburg adventure, of course, Biggs welcomed take this little hurdle along the Mozart repairs in the field. Steinmeyer remem- Cathedral: “Even Benjamin Franklin the expansion. trail in good style! bers well the number of times he found entered the picture, for the huge light- On July 3, only one month before the Biggs, to his horror, once more taking ning rod of the Cathedral (Franklin’s Biggses would arrive, Steinmeyer sent Better than batteries? the back off of one unit or the other to fix invention) afforded a solid and perfect his first rough plan for the tour and And then there was the matter of bet- its latest malfunction: “Oh no, he’s not ‘ground’ for all electrical equipment.”11 expressed his belief that, with luck, he ter equipment. Long before commit- would be able to travel with them for ments for the Mozart trip were made in the whole month of August, breaking any quarter, Biggs had broached the away once they “settled” in Salzburg for notion of upgrading the recording the longer recording session. Perhaps in equipment they had used in 1954. On a subconscious effort to keep Biggs’s April 13, he wrote these lines to Colum- Refinement, Grandeur, expectations somewhat in check, Stein- bia engineer Vincent Liebler: meyer let himself complete the letter of July 3 with, “We are terribly busy in the I believe in the fall we’re to make a foray Delicacy, & Grace office at the moment. In the evenings to another section of Europe, and this of we pack our trunks since we cannot course brings up the idea of taking along the Ampex. . . . Perhaps we could improve pack in August.” the results a good deal by better equip- On his side of the Atlantic, Biggs was ment, either the machine itself or the busy too, of course, corresponding with microphone or in the matter of cycle con- his diplomatic contacts in Vienna, trol. Or, for that matter, in having expert Salzburg, and Washington with the aim technical assistance on the spot! . . . It of securing 1) Salzburg Cathedral as a would be fun to discuss ideas with you, recording venue for five days in early and I’ll phone Monday to see what time September, 2) an orchestra and conduc- might be convenient. tor for recording the Mozart sonatas with him there, and 3) as many Austrian Ever a master of the kind of diplomacy recital invitations as he could garner for that bends people to one’s will yet the days just before and just after the leaves them grateful for it afterwards, recording sessions in Salzburg. Angelo Biggs had soon won the promise of elab- Eagon, “Theater and Music Officer” at orate new equipment from Columbia. the American embassy in Vienna, was As before, however, it would not arrive proving more helpful than he had the until virtually the eve of his departure. previous year, when he had in effect To accompany the new gear, Columbia turned away Biggs’s solicitation of engineers had prepared an eight-page, engagements to perform. single-spaced document of almost hilar- Between June 6 and 17, Biggs inter- iously complex instructions, binding it rupted all correspondence to take him- into a folio with the title, “PROCE- self, and as many members of the DURE FOR ASSEMBLY AND Boston Symphony Orchestra as he OPERATIONS OF MR. E. POWER could recruit (seven), away to Iceland to BIGGS [sic] 1955 RECORDING carry out another of his projects of 1955: EQUIPMENT.” The cover bears the a ten-day series of concerts in Reykjavik date, July 29, the Friday before the and elsewhere that he had persuaded Monday on which the Biggses would the U.S. State Department to sponsor as wing away from Boston. That weekend, a counter-move to the Soviets’ own cul- one of them (most likely Peggy, since tural courting of the small Scandinavian she would be the one to operate the St. Bede Catholic Church, Williamsburg, VA nation he had come to love on his 1954 equipment most of the time) sat down Neil Kraft, Music Director tour. Upon returning to Cambridge, he at a typewriter to attempt to distill the found that Eagon had risen nicely to the essence of the instructions onto one Member, Associated Pipe Organ challenge of opening doors in Salzburg clear page. Halfway down it, two lines of John-Paul and booking engagements for him else- strike-outs are followed by, “(I just blew Builders of America where in Austria—none in Vienna, of everything up).” Buzard 112 West Hill Street course! One of the five bookings gave The new equipment would bring, if Pipe Organ Builders Champaign, Illinois 61820 him special satisfaction: a concert with by no means simplicity, at least freedom orchestra at the Mozarteum in Salzburg, from dependency on batteries. They 800.397.3103 • www.Buzardorgans.com scheduled for August 25. He saw it as a would no longer need to rent and renew foot-in-the-door to winning access to a brace of heavy car batteries, only to
SEPTEMBER, 2006 23 1955 equipment
“On the trail” at last Biggs on the Mozart Fantasias Steinmeyer stresses that travel by The two great Fantasias, Biggs decid- Repairs completed 2 automobile in postwar Germany and ed, must have had their musical origin Austria was mostly a miserable business. in the organ improvisations that Mozart For the electrical technician in Biggs voltages will have to be reduced by a trans- Roads were poor, narrow, and much had played “spontaneously, out of his (his original field of training), the com- former. Can you arrange for this, and let us under repair. Usable Autobahn, at least imagination,” for many years. In his know in confirmation? . . . And if you can plexity of the equipment was a major borrow a little porter’s cart, we can in this on the routes they would take, remained essay for the album, as well as in an arti- part of the fun. In a note for the Mozart way move stuff very easily. . . . In writing to essentially non-existent. The VW bus, cle he wrote for the AGO Quarterly, he album about the session in Absam, a the various churches for permission, would while spacious, whirred along noisily supplemented common knowledge small town near Innsbruck where he you enquire about the line and current at and punished its passengers on the about the mercenary origin of this hair- recorded the third of “Bach’s little pre- each place? As far as we know, we will not rough roads. Air conditioning was raising funerary music—in a cheap ludes and fugues,” BWV 555, Biggs be able to do any recording in places where unknown. Accommodations and food commission by Count Müller-Deym, wrote, “Electric current here was 165 only direct current is available. And thus we were plain. (See photo: Somewhere on the proprietor of a Viennese wax muse- volts and 50 cycles. We boosted this to may find that some of the places will be the Mozart trail, page 21.) um—with his own cogently argued impossible. . . . Also, could you let us know 230 volts, then halved it to 115, then how you think we should go about making But the Biggses knew what they were speculation about their artistic roots: again transformed it to 117 and 60 hotel reservations? I believe you mentioned in for and loved it. They had done it all cycles.” How he enjoyed the sheer some way of making arrangements through before! Off they sped from Flughafen That some of the extraordinary music that “electrical-ness” of it all despite his well- suggestions of ESSO travel bureau. We will Frankfurt on Tuesday, August 2, per- flowed fluently enough in improvisation known remark about current as “a per- have to stay somewhere!—and of course it fectly on schedule and, within a day, from Mozart’s fingers is preserved at all on fect way to ring a doorbell, but a poor will be wonderful if you have already made were recording Mozart in the castle paper is due to the rather curious commis- these arrangements. sion offered him . . . in what was to prove way to open a pipe valve”! On the day church at Kirchheimbolanden. In his to be the final year of his life, pieces to be they picked up the equipment, it was essay for the Mozart album, Biggs would played by a little flute organ that func- surely his idea to lay it all out on the On July 27, 1955—the day the Allies later paint this picture of the composer’s tioned as part of a musical clock. . . . He floor of a studio at Columbia to be for- agreed to end their four-way occupation music-making visit and, through “the chafed at the piping limitations of the toy mally documented by a professional of Austria and partition of Vienna— magic of recording,” our own aural one: organ, but he also completely disregarded photographer. (See photo: 1955 equip- Steinmeyer cabled Biggs, “TRANS- them. . . . From the memory of years, ment.12) A few days later, on August 2, FORMER IS RENTED CAR ARRANGEMENT The church . . . today is just about as it was Mozart set down music of matchless when Mozart climbed the organ stairs. The grandeur. The Fantasias, so fortunately he would just as proudly pose beside it WILL BE SETTLED THURSDAY.” preserved by this chance commission . . . stacked on an industrial scale at the air- The vehicle Steinmeyer had rented original organ, on one side, faces a gallery where the noblemen listened that cold Jan- afford us an image of Mozart’s own extem- port in Frankfurt, while the meter regis- for them this time was a deluxe Volkswa- pore organ playing style.15 13 uary [day in 1778] to young Wolfgang and tered 310 kg. (680 pounds). gen Microbus, the passenger version of Maria von Weber. A great fireplace, still in VW’s “Type 2” or “Transporter,” which, this gallery, was the only source of heat for Biggs went on to advance an even more New tasks for the Reiseleiter as long as one were in no hurry, would the whole building. Mozart must have intriguing theory about Mozart’s own As Steinmeyer had expected, the tasks cope more easily with the 1200 pounds been cold on the organ side. . . . Naturally, likely performance of the two works, crowded in as the day of departure of passengers and baggage than last in this gallery—opposite the organ—we set once he had put them on paper: approached. On July 14, barely two year’s sedan had. With its row of sky- our microphone. By the magic of record- weeks before the trip was to begin, Biggs lights to left and right of the sliding fab- ing, we may all crowd into the same gallery On his way south from Frankfurt, after sent this list of wishes and requirements: ric sunroof and the “deluxe” color to listen to the sounds that Mozart heard. setting these Fantasias to paper, Mozart scheme of black-on-red divided by a Biggs judged the 1745 instrument by stopped at Ulm and again played the Dimensions of the equipment are enclosed. wide strip of chrome, it was the fanciest Michael Stumm to have remained rea- organ. Who can doubt that this noble One thing that we must be careful to watch Cathedral echoed that day to the stirring version of the classic Microbus. The sonably true to its Mozart-era sonorities strains of these Fantasias, set down for a is that no tapes should ever be kept near the nimbleness with which the vehicle despite the replacement of its trackers oscillator, and when the oscillator is in oper- clock to play, but conceived for just such a moved its load despite a piddling 36 (in 1935) with an electric playing grand place? If only Count von Deym had ation no tapes should come within six feet of 14 it, or they will be magnetically affected. . . . horsepower (upgraded that model-year action. (In the album notes, he asked for more! We do need to rent or borrow a transformer from 25, as if just for the Mozart tour) so declined, of course, to mention the (200–110 volt step-down transformer) capa- impressed Biggs that he would soon pur- instrument’s electrification.) And “Why not just one more?” ble of handling a load of approximately 1000 chase his own more spartan version of indeed it sets forth the first of Mozart’s The great number of takes and inserts watts. The oscillator can handle voltages of the VW bus for use in future recording two F-minor Fantasias (K. 594) with sat- in the recording sessions at Kirchheim- 100 to 150 A.C., 45 to 90 cycles, so higher expeditions on both sides of the Atlantic. isfying pungency, more successfully, bolanden reflect the typical tally for any one can argue, than the gigantic Stein- stop on the trip—in total, more than meyer in Passau (“the world’s largest 1500 separate segments and snippets church-organ”) renders the second (K. amassed by the time Biggs flew home. 608)—at least in Biggs’s over-large reg- At Kirchheimbolanden they consumed THE DIAPASON istration of it. On the other hand, it is six reels of tape with 84 takes and 13 hard to fault Biggs for wanting to give shorter inserts, most of them represent- listeners their money’s worth in Passau, ed by the 68 takes of various sections of even if it meant taking the drama of the the F-Minor Fantasia, K. 594: four for 2007 Resource Directory already wild K. 608 over the top. The the opening adagio, 50 for the allegro, performance of K. 608 became the only and 14 for the concluding adagio. Biggs • The only comprehensive directory of the organ and point of disagreement in otherwise would play a piece all the way through church music fields glowing reviews of the Mozart album. once or twice, and then systematically THE DIAPASON’s reviewer wrote, “The work his way through it again, making • Includes listings of associations, suppliers, and the only disappointment . . . is the big Fan- several takes of each section. Then, hav- products and services they provide tasia recorded at the Cathedral of Pas- ing sprung from the bench to listen to sau. The rather sluggish-sounding organ parts of the recording, he would return and the overly resonant acoustics to play a few additional inserts, some- Reserve advertising space now. remove much of the excitement from times of only a few bars, to have avail- this brilliant piece.” In The American able if he should decide he preferred Deadline: November 1 Organist, however, the reviewer wrote, them when the time came to edit. Aside “K. 608 is recorded . . . in Passau Cathe- from extraneous noises, most of the dral [on] an impressive sounding Stein- takes would have nothing “wrong” with To reserve advertising space, contact Jerome Butera meyer installed in 1928. To my ears this them. It is just that the advent of mag- 847/391-1045; [email protected] is the most exciting overall combination netic tape recording (still an exciting of music, instrument, and performance novelty in the early 1950s) enabled the on the album.” luxury of so many easy takes that Biggs
24 THE DIAPASON Thursday morning, August 11. Biggs’s ington and Indianapolis: Indiana University Press, 1987), pp. 106–111. choice of music to record on the visual- 7. See Columbia Masterworks Director John ly stunning instrument (the first to be McClure’s entertaining account of his travels with built by Joseph Gabler, in 1738, and his Biggs in Austria as they go in quest of a suitable site for recording the organ concertos of Haydn: “The chief credential for earning the com- Cheerful Ghost of Eisenstadt,” High Fidelity Maga- mission for his magnum opus at Wein- zine, January 1965, pp. 56ff. garten), as colorful to the eye as to the 8. Letter to his father of October 18, 1777. ear, was the fifth of “Bach’s eight little 9. Quoted in an editor’s note following Biggs, “Mozart and the Organ,” American Guild of Organ- preludes and fugues,” BWV 557, in G ists Quarterly, 1, No. 4 (October, 1956), 133. major. “Steinmeyer’s” microphone (see 10. In a letter to Liebler dated October 15, Biggs photo: Hanging the mike at Ochsen- wrote, “. . . before we mortgage the Old Homestead to pay the $4500 equipment bill, . . . I assume the hausen, in Part 1) captured the clatter tape (for which we needed the bill for customs) is, as of the worn pedal trackers as faithfully last year, not to be charged against our account, as any lover of organ antiquity could since the substance of all the tapes ends up in your have wished.17 I vault. The tapes do not appear on the $4500 state- ment, and I assume in paying this that we are all square.” (To be continued) 11. Unpublished essay. 12. From left to right, E. Power Biggs, Robert The author can be reached at Liesenberg, Mrs. E. Power Biggs, Vincent Liebler, and S. E. Sorensen. Even here, Biggs entertains.
SEPTEMBER, 2006 25 A London Musical Journal Holy Week and Easter 2006 Joel H. Kuznik
ne advantage of retirement is hav- broadcast on BBC Radio 3; Oing the luxury of hearing colleagues
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26 THE DIAPASON watch, but was drawn into the moment sharing of the bread and wine in union The liturgy took place, not in the Motet: Sicut cervus, Palestrina and left with an inner tranquility that with the community of faithful. grand Quire, but “in the round” under Hymn: “Here, risen Christ, we gather spoke the essence of Maundy Thursday. In London there could be no more the dome with a free-standing altar at at your word” (Woodlands) fitting place to celebrate the Vigil than one axis and the choir (with a small Sanctus, Langlais Good Friday the regal diocesan St. Paul’s Cathedral, organ) to the left on risers, surrounded Agnus Dei, Langlais The weather was London: wet, dank, founded some 1500 years ago in 604 by by the congregation. Surrexit Christus hodie, alleluia!, chilly and bleak—so fitting for the day. Mellitus, a follower of St. Augustine Upon entry one received an impres- Samuel Scheidt (arr. Rutter) The Temple Church was recommend- who was sent to convert the Anglo-Sax- sive 28-page service booklet. One could Hymn: “Shine, Jesus, Shine” ed, not because of its recent attention ons. It has been rebuilt a number of only wonder “O Lord, how long?” But Hymn: “Christ is risen, Alleluia!” due to the “The Da Vinci Code,” but times with the most recent version the service moved right along in two (Battle Hymn of the Republic) primarily for its most traditional liturgy begun in 1633 with a neo-classical porti- hours, including baptisms and confirma- Toccata, Symphonie No. 5, Widor and excellence in music. The “Round co or façade. The current design by tions. The service began in darkness; Church” dates from 1185 and was the Christopher Wren received royal only with the procession to the dome by The impact of this service was pro- London headquarters of the Knights approval in 1675, but was not finished the participants did light begin to dawn found and intensely extraordinary, not Templar. Their churches were “built to until 1710. Later came the woodwork by as candles were shared. The Vigil had as formal as Westminster Abbey, but a circular design to remind them of the Grinling Gibbons for the huge Quire only one lesson instead of the usual nine with no less sincerity. The Langlais set- Church of the Holy Sepulchre at and Great Organ, and in the 19th–20th readings. Then—the dramatic Easter ting with the punctuating fortissimo Jerusalem, a round, domed building century the glittering mosaics in the Greeting by the bishop, “Alleluia! Christ chords from organ was overwhelming. raised over the site of the sepulchre dome, envisioned by Wren. Most will is risen,” followed by bells and a thun- The hymn singing, fueled by the organ’s where Jesus was buried.” The elongated remember St. Paul’s as the site of Prince derous fanfare from the organ—with a energy, was similarly dynamic and choir was added by Henry III and con- Charles’s wedding to Diana. It has just sudden blaze of almost blinding light as enthusiastic, and the final hymn sung to secrated on Ascension Day, 1240. The undergone a complete renovation at a all the cathedral and the dome with its the “Battle Hymn of the Republic” went website provides an intriguing history of cost of £40 million in anticipation of its glittering mosaics lit up. at such an exuberant clip that one had to this unique church with directions and a 300th anniversary in 2008; conduct beats to keep up. How could much-needed map;
SEPTEMBER, 2006 27 Easter Sunday to say that this Vespers, largely a One would have thought the reform of and sprightly tempos are in. I found that Sunday was another day, and, thank- chanted service and because of that, chant in the Catholic Church and after to be the case with the Bach St. John fully, the sun shone. I arrived at 9:15 was an unexpected disappointment, Vatican II would have had greater Passion and here in the quick-paced am for Westminster Abbey’s 10:30 ser- especially since I had read such admir- impact and changed practice. Messiah, which came in at under two vice to an already long queue. Had I ing CD reviews. Martin Baker is the master of music hours performance time—something of arrived fifteen minutes earlier, I might The cathedral, its striking architectur- and the assistant organist is Thomas a record, I think. have sat in the desirable rectangle al style from “Byzantine style of the Wilson. The Grand Organ is hidden by The crackerjack orchestra and youth- framed by the choir screen and the eastern Roman Empire,” was designed a nondescript screen in a chamber ful soloists were on board, but the tal- chancel. But sitting just a few rows by the Victorian architect John Francis above the narthex and was only revealed ented choir, perhaps under-rehearsed into the transept the sound was less Bentley on a site originally owned by the in the Langlais Fête at the end—like an and lacking experience with this lively immediate and gripping, and the hymn Abbey, but sold to the Catholics in anomaly, but played with fire and conductor, struggled to keep up, espe- singing less compelling. 1884. The foundation was laid in 1895, aplomb. The organ was built by Henry cially in Part I. “For unto us a child is and the structure of the building was Willis III (1922–1932, four manuals, 78 born” proved that at these tempos “His Sung Eucharist completed eight years later. The interi- stops) and was restored by Harrison & yoke is easy” was not easy at all! Pre-service: Toccata in F Major, Bach or with its impressive mosaics and mar- Harrison in 1984. The soloists all did fine work, but the Setting: Messe solennelle [with brass bles is said to be incomplete, but the tenor and baritone in particular distin- quartet], Langlais cathedral is certainly a visual tableau Did I have one more service in me? guished themselves with eloquent Hymn: “Jesus Christ is risen today,
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28 THE DIAPASON University of Iowa Institute for Sacred Music 2006 William Dickinson
he 2006 Institute for Sacred Music Tsponsored by the University of Iowa was held January 26–28 in Iowa City. This year’s presenters included Don Saliers, who is the William R. Cannon Distinguished Professor of Theology and Worship at Emory University; Car- ole Terry, Professor of Organ and Harp- sichord at the University of Washington; and Thomas H. Troeger, who is cur- rently the J. Edward and Ruth Cox Lantz Professor of Christian Communi- cation at the Yale Divinity School. 2006 University of Iowa Institute for Sacred Music Thursday Don Saliers opened the conference on Thursday afternoon with his lecture “Singing Our Lives to God: Exploring the Assembly’s Sung Prayer,” in which he developed five theses. Thesis number one is that “Text depends radically on that which is not verbal.” Saliers feels that some liturgies are too verbal and asks the question, “How shall these texts sing?” His second thesis explains that words or text well set, whether in hymns or psalms, become more than just Don Saliers, Carole Terry, Thomas sounds—they invite one to see and taste. Troeger Thesis number three involved producing an ‘ordered’ sound that acts upon our to probe how nature is designed senses. In worship, when the ear starts to and bring new worlds to be. Created to create, we ask, see and the eye begins to hear, music O God, before we start will open all the senses (thesis number that you will join us in our task four). Finally, thesis five states that most by moving in our heart crucial theology is understood in singing. so everything that we create, Because music lies so close to the soul, compose, produce, invent when we sing the prayer is formed not will help the earth to celebrate only in music but also in theology. and honor your intent. Saliers feels that shared music making in Text: Thomas H. Troeger (born 1945), a gathered assembly helps the body to from Borrowed Light, ©1994 Oxford Uni- come to life and to receive life back from versity Press, Inc. Used by permission. All one another. Worship requires music rights reserved. that sees, hears, gestures and inhabits space. Yet music is not just performed Carole Terry, Michael Davidson, Julia Howell, Erin MacGorman, Aaron Sunstein, Carole Terry’s recital in Clapp for the assembly but must involve the Tom Hamilton, Jin-Ah Yoo Recital Hall on Friday evening was an assembly in active participation in eclectic program ranging from Sweel- prayer. We cannot assume that the con- service, entitled “Lost in Wonder, Awe feels that ‘good’ liturgy requires our inck, Mendelssohn, Bach, Bolcom to gregation does not hear or participate, and Praise,” followed the dinner. The humanity to be stretched to the fullest. Reger, Messiaen and finally to a and should begin to think about various homilist was Thomas Troeger, the His thesis is that one must know the thrilling presentation of three move- levels of participation that will provoke liturgist Don Saliers, and Carole Terry psalms to know scripture; to illustrate ments of the Vierne Symphony No. the assembly to realize the joys of was the organist. A special schola was this thesis, he made five points: one, III. The entire recital reflected an singing, which should extend beyond the arranged for and directed by T. that psalms are language of the human intense personal involvement in each sanctuary to everyday outside activities Andrew Hicks. heart and are a rigorous reminder of life piece on the program and was enthusi- such as fellowship. Finally, Saliers feels on earth; two, that psalms are addressed astically received by a large and very that the ecology of singing is missing in Friday to God; three, psalms are integral to our receptive audience. many assemblies, and he recommends Friday morning was devoted to a mas- movement through time; four, psalms quarterly hymn sings to give new life to terclass led by Carole Terry and includ- are the crucible of encounter (through Saturday’s conclusion congregational participation. ed a recital by the undergraduate and the psalms we hear God speaking to us); The 2006 Institute for Sacred Music Thomas Troeger completed the graduate organ students at the Universi- and five, singing the psalms requires concluded with a roundtable discussion Thursday afternoon session with his ty of Iowa. The masterclass in the Krapf that the assembly is aware of and on Saturday morning. All three presen- presentation “God Made All Things for Organ Studio demonstrated why Carole accepts the double message that the ters discussed books that they have Singing: how music and worship form Terry has such national and internation- psalms impart in terms of the mystery of either published or that are in the our identities as creatures.” Dr. Troeger al acclaim as a lecturer and pedagogue. God and the depth of humanity. works. The conference attendees and began by stating that we are all ‘mud Participating in the masterclass and the Thomas Troeger completed the con- presenters discussed the need to (1) creatures’ who have had life breathed following recital held in Clapp Recital ference lecture series on Friday after- prepare the assembly so that they can into us by God and who are inherently Hall were Jin-Ah Yoo, Erin MacGor- noon with his presentation “Created to better accept liturgy and music; (2) train musical. We have a drum (heart) that man, Tom Hamilton, Julia Howell, Create: how music and worship form seminarians in their role to properly beats 40 million times a year. We are all Michael Davidson and Aaron Sunstein. our identities as creators.” He noted lead the assembly; and (3) to continue ‘orchestras’ and to know that one is Friday afternoon opened with a lec- that when one delves into the whole with development of interaction musical is to be “Lost in Wonder, Love, ture by Dr. Saliers entitled “Humanity notion of creativity, there lies a great between different religious organiza- and Praise.” But he warns that if we at Full Strength: Doxology and Lament danger that there are many things cre- tions. In discussing ways to help in the human beings forget our primordial in Christian Worship.” In this lecture, ated by humanity that are perverse— formation of the assembly’s capabilities, identity, we are apt to sponsor some Saliers tells us that music has the power war, torture, etc. However, to move it was noted that the use of children to dangerous illusions—my group is better to touch into the deepest places in our into the depths of what is beautiful and lead the assembly in accepting various than yours or my race is better, etc. lives. It touches even those souls who good is the only direction that should liturgical and musical paths should be Who, then, will call us back to our pri- can’t sing well—music takes them to be strived for in creation. Troeger feels considered and encouraged. Suggested mordial identity? Troeger feels that no places for which they have no words. that God took a great risk in creating reading on these subjects included one is better equipped to remind people Texted music can create sensations—a those (we musicians included) who cre- Composing Music for Worship by who they are and to lead them back to way of understanding the world through ate. Troeger’s presentation can best be Steven Darlington (Canterbury Press), their essential identity than the church deep affections. In the context of the summed up by the following hymn and Music in Christian Worship by musician. Because the church musician Judeo/Christian traditions, those affec- text, The Crickets Chanting through Charlotte Kroeker. has the ability to provide the medium tions conjure up a very special object— the Night: The planning committee for this (music) to bring people back to God, God. Text and music allow for the pos- 2006 Institute for Sacred Music Troeger feels that the School of Music is sibility of joy with tribulation. The The crickets chanting through the night, included Delbert Disselhorst, Brett The windswept, whistling trees, perhaps the most important school at Christian assembly must develop a the birds that welcome morning light, Wolgast, Wallace Bubar and T. the University of Iowa. The church capacity for experiencing joy, delight, the humming, roaring seas Andrew Hicks. Congratulations to this musician’s role is to try to put people and praise as well as the capacity for are each assigned the notes they sing group for providing a most enlighten- into harmony with basic life by teaching grieving. In fact, the capacity to grieve is while we make up our part ing and engaging conference. And, of that to love God is to sing. “Hit the first the most basic and most profound thing and fashion God an offering course, this not would have been pos- note of a hymn and all disparate groups that a person can experience. In through our creative art. sible without the talents of Drs. hit the same note.” responding to a joyful or grieving song, Saliers, Terry and Troeger. I The budding wood, the flowered field, On Thursday evening, the River Val- we experience how music has the ability the mountain robed in snow, ley AGO Chapter hosted a dinner for to shape and give meaning to a deep the burrow and the nest that shield William Dickinson is a board member and area clergy and conference attendees appreciation and to serve as a represen- the beasts from winds that blow past Dean of the River Valley AGO Chapter. at First United Methodist Church in tation of the manner in which we take in are from the same inventive mind He has written a number of articles for THE Iowa City. The conference worship the world. In discussing liturgy, Saliers that dared to set us free DIAPASON and The American Organist.
SEPTEMBER, 2006 29 Cover feature
Kegg Pipe Organ Builders, Principal chorus, softer flue stops, string Hartville, Ohio stops to support the orchestral strings of The Sharkey-Corrigan Organ, the Solo division, and a full reed chorus Texas A&M International based on 32v pitch. Judicious duplexing University, Laredo, Texas of manual stops to the pedal provides even greater tonal flexibility for the per- From the President of the University former. Like a birth in the family, a new organ As an artist, I can honestly state that fills the community with expectation, this organ is one of the most flexible and optimism, and joy. Our experience of musically satisfying instruments I have imagining an organ for Laredo very ever played. Each stop carries its much mirrored a family’s strategy for weight, and each stop does what the acquiring progeny: plan and hope. In drawknob tells you. The balance August 2003, at Texas A&M Interna- between the divisions is so finely honed tional University we opened and dedi- that one can select registrations with cated to the people of South Texas our complete ease. It was a joy to conceive new fine and performing arts center. and put together an inaugural recital Conceived to offer the best possible that combined the works of Hancock, venues for music, dance, and drama, the Bach, Franck, Duruflé, and Phillips university planners insisted upon includ- with more non-traditional repertoire by ing both a recital hall and a theater. Lefébure-Wely, Ramón Noble, and From the very first discussions, the Edward Elgar. And if all of that were recital hall was to have generously live not enough, the design of the console acoustics to ensure that music played in and the operating system for the combi- that room, regardless of dynamic, envel- nation action (one of the most user- op both player and listener in that three- friendly systems I have seen to date) dimensional experience we all cherish in made the entire experience of recital great halls. A large expanse behind and preparation and performance a breeze. above the stage in the recital hall, con- Texas A&M International University, Laredo, Texas Texas A&M International University spicuously vacant at the completion of and the city of Laredo have a musical the building, was simply marked “organ” instrument in which they can take great on the architect’s rendering. pride. It will serve them well in the years A few days after the gala opening of to come and help cultivate future gener- the new center, E. H. Corrigan, native ations of organists and organ aficionados. Laredoan and longtime patron of the Dr. David A. Heller arts in Santa Fe, New York, Washing- Trinity University ton, San Antonio, and Laredo, called San Antonio, Texas and asked that we talk about how to fill that space. Mr. Corrigan’s generous From the Builder determination to bring to Laredo and The new Texas A&M International South Texas a world-class instrument University organ was at once a formida- led first to a national call for proposals, ble challenge and a golden opportunity. then a contract with Kegg Pipe Organ The challenges were many: to build into Builders to build the instrument. a reasonable size instrument a tonal Our vaunted expectations for the design that could play with conviction organ, both our needs and our wants, organ literature of all styles, accompany established clear indications for design. great choral works, and also crown the Since the organ is to inspire and under- resident Laredo Philharmonic Orchestra gird an academic program, we asked that in romantic splendor. Dr. Ray Keck, uni- it accommodate repertoire of all periods. versity president, organist, project light- Placement in a concert hall would allow ning rod, and Bach aficionado, also made for an intimate relationship between the known his desire for accurate renderings organ and programs of great diversity— of Bach. All this was to be done with an choral, band, orchestral. The instrument Dr. David A. Heller (consultant and artist), Dr. Ray M. Keck III (university presi- instrument that is not exceptionally large must be adequate to support a full range dent), Charles Kegg, and E. H. Corrigan (donor) (photo credit: Ana Clamont) and with some significant space limita- orchestral repertoire. While a tracker tions. We are delighted to have been would be ideal for organ recitals, we the following criteria were established in front of the main case of the organ, is chosen for this landmark instrument. asked for the flexibility of a movable con- for the new organ: 1) It should have the a perfect foil to the Great division with Our tonal design was based on the sole on the stage below the pipes. A ability to perform a wide range of the its Principal chorus based on 8v pitch simple fact that this was to be the only plethora of reeds and solo stops, a solo solo repertoire for organ; 2) It should (and of a different tonal character from instrument on campus (indeed the only division under expression, and a full pos- work effectively with an orchestra, both the Great). Completing the Positiv are concert-size organ in a large geographi- itiv division in the forward position rück as soloist and as a member of the ensem- two marvelous Baroque style reeds— cal area), and needed to be used for style provide a variety normally only ble; 3) It should possess the capability the Holz Regal 16v (with a darker char- teaching, practice, recital, and with found on a much larger instrument. for effective collaborative performances acter, perfect for running bass lines), orchestra. It needed to have a full spec- Today, like a family grateful for a with soloists and vocal and instrumental and a brighter Krummhorn. trum of dynamic range from very deli- trouble-free birth, we recognize that ensembles; and 4) It should serve effec- The Swell division has a complete cate to confronting a full orchestra— this project was from the first somehow tively as a teaching instrument. array of tonal resources for both the solo and win. For practice and teaching, the marvelously blessed to be in the hands Recognizing that this new installation literature as well as the accompaniment majority of voices needed to speak at of Kegg Pipe Organ Builders. “I will be was for a concert hall and not a church, of vocal and instrumental ensembles, comfortable volume levels that would in Laredo on April 24, 2006. The organ the desire was expressed for a flexibility capped off by a powerful reed chorus at focus on color and deliberately counter- will be done by late June,” Charles Kegg that would allow for the performance of 16v-8v-4v pitches. Of special note here is act aural fatigue. promised the anxious organ committee non-traditional literature, such as tran- the Vox Humana 8v that makes the per- In addressing these needs, we started in the fall of 2003. And it was. Voicing is scriptions and literature from the “con- formance of Franck’s organ works an with four independent Principal chorus- rich and full, a strategy to exploit the cert hall” era of the pipe organ in the absolute joy for both the performer as es, each with its own character and pur- marvelous acoustics in the hall. Visually, earlier 20th century. After careful study well as the listener. pose that provide proper polyphonic the organ is nothing short of spectacu- and analysis of the proposals submitted, The Solo division gives this new organ clarity. The articulation is not pro- lar, the first instrument of its kind built TAMIU awarded the contract to Kegg its truly distinctive character with its nounced, but precise speech is always in South Texas and on the Texas-Mexi- Pipe Organ Builders of Ohio because of combination of solo and ensemble regis- apparent. The Great chorus is full and co border. the firm’s innovative tonal design, the ters. The Diapason 8v is especially effec- noble. The Positiv is light and delightful, The dedication recital, by Dr. David manner in which the proposal met our tive when all of the divisions are cou- equal in impact to the Great. The Swell Heller of Trinity University, San Anto- criteria, and the potential impact that pled together, by reinforcing that par- is richer than the Great with its slotted 8v nio, did, in Dr. Heller’s words, “put the such an instrument would have on the ticular pitch line. The Tromba chorus at and deeply textured Plein Jeu. The glory organ through its paces.” A capacity public. The end result has surpassed our 16v-8v-4v works extremely well in a full- of these choruses is that Bach, Buxte- crowd listened attentively and roared to expectations! organ registration much like the Bom- hude and Bruhns are sheer delight, and its feet on the last note of Craig Phillips’ Each division of the Sharkey-Corrigan barde division of a 19th-century French it is not until six or seven preludes and Fantasy Toccata. In addition to numer- organ has a highly distinctive character. organ. The dark and haunting Clarinet fugues later that the organist realizes ous solo recitals and concerts with the The Great Principal chorus is an evenly- along with the piquant English Horn that not even a single unison coupler has Laredo Philharmonic Orchestra for this voiced plenum based on 16v pitch and provide the performer with greater been touched! When the couplers are year, we are at present planning an crowned by the Sharp Mixture III. This opportunities for solo voices, particular- engaged, the new organ at TAMIU organ symposium for the summer of main body of the division is enhanced ly in transcription literature. One of the begins a remarkable transformation. The 2007; the topic: “The Concert Organ: with a full complement of 8v registers (in unique features of this instrument is the same stops that gave such clear distinc- Its Music and Its Performers.” the manner of 19th-century French Solo Tuba, which is housed in its own tion to divisions in the Baroque litera- Ray M. Keck, III, PhD organ building) and completed with a expression box, making it useful not ture now become contributors to a more reed chorus that blends richly into the only as a solo stop but as an ensemble global full organ sound. Beginning with From the Consultant and Artist ensemble. One of the most beautifully register as well, particularly in building the softest Flauto Dolce it is possible to Selecting a builder for a new organ in voiced stops in the organ is the Harmon- up a crescendo to imitate the brass sec- build a seamless crescendo to full organ a new concert hall is a rare opportunity ic Flute 8v, which soars in the upper tion of an orchestra. that is an intricate fabric of sound, at for any consultant—and it poses a differ- octaves, making it one of the most effec- And finally, the Pedal division pro- once cohesive and fabulously rich in tex- ent set of questions with regard to its tive solo stops in the entire organ. vides effective support for the entire ture and color. tonal design. At the onset of the project, The Positiv division, cantilevered out instrument, featuring an independent Each stop in the organ does exactly
30 THE DIAPASON the full ensemble or with shade control CONTINUO manual II can be subtly brought into the full (duplexed from Positiv) ensemble, blending easily with it and 8v Gedeckt expanding it horizontally. 4v Koppelflute The case design here presented a 2v Flute 2v Principal particular challenge. The TAMIU 1 1 ⁄3v Quinte organ is located in a low balcony above This division also has its own small one-man- the hall stage. There is not a lot of ual console including blower control and height to allow the organ to visually transposer switch that will lower the played soar. The solution was to build a Rück- pitch by one half-step for use with historical positiv that is lowered into the back instruments. This console may be used in stage wall. This has the visual effect of place of the large main console for chamber anchoring the organ to the stage in work. addition to providing the classical for- SWELL Manual III (4w wp) ward position for the division. The main 16v Bourdon (metal) case is considerably wider than it is 8v Principal high. Organ cases are happiest when 8v Bourdon (ext) their proportions are as pipes: tall and 8v Salicional slender. This was not possible here, and 8v Voix Celeste much care was taken to give the case as 8v Flauto Dolce (Solo) much verticality as possible. The low- 8v Flute Celeste (Solo) ered Positiv case helps with this. The 4v Octave 4v Flute center three towers of the main case 2 2 ⁄3v Nazard stand forward of the side Pedal towers. 2v Piccolo 3 The change of depth is accomplished as 1 ⁄5v Tierce the outside pipe flats curve. The result 2v Plein Jeu V is very satisfying in the room. 16v Basson I approach every organ in a compre- 8v Trompette hensive manner. Placement of divisions 8v Hautbois (ext) within the room and in relation to each 8v Vox Humana Console 4v Clairon other is as important as scaling and voic- Tremulant ing. The case design is a classic five Swell 16-UO-4 tower design plus Positiv with a contem- porary flair. The gilded pipe shades are POSITIV Manual I (2.75w wp) a stylized interpretation of the universi- 8v Principal ty seal, which includes a globe showing 8v Gedeckt (wood) the Western hemisphere. The internal 4v Octave 4v Koppelflute layout has the Great high and in the 2 1 center. The Swell is behind it. The 2 ⁄3v Quinte TC (from 1 ⁄3v) 2v Octave Pedal upper work is below the Great. 1 1 ⁄3v Quinte The Positiv is below and forward of the Sesquialtera II–III Great. Thus the main manual divisions 1v Mixture IV are centered in the hall with their phys- 16v Holz Regal ical relationship matching their musical 8v Krummhorn relationship. This enhances polyphonic Tremulant music when the organ is played uncou- Positiv 16-UO-4 pled and blends the divisions together when the divisions are combined. The SOLO Manual IV (5w wp) 8v Solo Diapason IV* Solo division is in the right side of the 8v Gamba case and the Pedal basses are in the left 8v Gamba Celeste side. For those that are interested in 8v Flauto Dolce unusual pipe design, the 32v Trombone 8v Flute Celeste TC is large scale and is built with Haskell 8v Clarinet bass pipes, which are not common when 8v English Horn used with reeds. They save considerable Tremulant lateral space over mitering when height 16v Tuba TC (ext) 8v Tuba (18w wp, separate enclosure) is severely restricted. 4v Tuba (ext) Working with the TAMIU staff could 16v Tromba Continuo console not have been easier or more delightful. 8v Tromba (ext) We are indebted to Dr. Ray Keck, uni- 4v Clarion versity president, who envisioned the *From Great 8v Principal, 4v Octave, Pedal 8v instrument from the start and drove the Octave, 4v Choralbass project; Dr. David Heller, consultant and artist of the opening concert, for his PEDAL (5w wp) thoughtful help and encouragement; 32v Subbass (56 pipes) 16v Open Diapason (wood) physical plant manager Richard Gentry 16v Violone (Gt) for his instant and complete help during 16v Subbass (ext) installation; and of course to E. H. Cor- 16v Viole (44 pipes) rigan for his generous funding of the 16v Bourdon (Sw) entire project. The organ bears the 8v Octave name of Sharkey-Corrigan in memory 8v Violone (Gt) of Mr. Corrigan’s mother. 8v Subbass (ext) My personal thanks also to the Kegg 8v Viole (ext) 8v Bourdon (Sw) staff including Fred Bahr, Phil Brown, 4v Choralbass Joyce Harper, Mike Carden, Phil Laak- 4v Cantus Flute (Gt Harm Fl) 2 so, Walt Schwabe, Rick Schwabe, and 2 ⁄3v Mixture IV Tom McKnight. In addition to these 32v Trombone (full length, 68 pipes) people being the finest craftspeople I 32v Harmonics (derived) know, they are also the finest friends. 16v Trombone (ext) Charles Kegg 16v Trompete (Gt) Kegg Pipe Organ Builders 16v Basson (Sw) 8v Trombone (ext) Kegg Pipe Organ Builders 8v Trompete (Gt) Texas A&M International University, 4v Clarion (ext) Laredo, Texas 4v Clarinet (Solo) 52 stops, 69 ranks, 4003 pipes 4v Krummhorn (Pos)
Continuo console GREAT Manual II (3.5w wp) Inter-manual couplers 16v Violone Great to Pedal 8, 4 what one would expect and need it to tailored. The Positiv Cornet is of lighter 8v Principal Swell to Pedal 8, 4 do, but there are several specific tonal principal character and has a flatted sev- 8v Violone (ext) Positiv to Pedal 8, 4 features that will enjoy further explo- enth added to the normal third and 8v Rohrflute Solo to Pedal 8, 4 ration here. The Great has two reed fifth, giving the stop a lovely edge that is 8v Harmonic Flute 4v Octave Swell to Great 16, 8, 4 choruses. The Trompetes are light and very distinct. The Swell Cornet is of 4v Spitzflute Positiv to Great 8 2 are intended for early works where the flutes and is serenely gentle. 2 ⁄3v Twelfth Solo to Great 16, 8, 4 chorus reeds are subordinate to the The Solo Diapason IV 8v is a collec- 2v Fifteenth 3 flues. The Tromba chorus is intended tion of unenclosed principal stops from 1 ⁄5v Seventeenth Solo to Swell 8 1 for those works where the reeds must the Great and Pedal, all playing at 8v 1 ⁄3v Full Mixture IV 2 command the respect of the principals pitch. This quartet of 8v principals gives ⁄3v Sharp Mixture III Swell to Positiv 16, 8, 4 and dominate them. For those in- the organ a velvet Diapason line. The 16v Contra Trompete Solo to Positiv 8 between works, the Tromba chorus is stops are drawn from the Great Princi- 8v Trompete (ext) Tremulant Great / Positiv Transfer (including keys, pis- located in the Solo box such that they pal, Great Octave, Pedal Octave and 16v Tromba (Solo) tons and couplers) can be reined in as required. Pedal Choralbass. 8v Tromba (Solo) All Swells to Swell There are three Cornets in the organ. The Tuba is located in the very heart 4v Clarion (Solo) The Great has a Principal Cornet that is of the organ case, in its own swell box. Zimbelstern (5 handbells, adjust- Photos by Charles Kegg unless otherwise commanding. Built décomposé, it can be On 18w wind, this stop can solo above able speed, volume and delay) indicated.
SEPTEMBER, 2006 31 New Organs
Gober Organs, Inc., Elora, with rhythmical underpinning given by Ontario, Canada the pedal 16v. The Oratory, St. Benedict’s The case functions as a swell box that Monastery, St. Joseph, Minnesota encloses all the manual pipes; a swell This one-manual organ was conceived pedal operates the end panels of the expressly for gentle support of singing in case. In the spirit of the austere simplic- the daily prayer services of this Benedic- ity of the community’s buildings and tine womens’ community. The services their furnishings, the solid white oak involve the whole community and take case’s only adornment is a shallow scal- place in complete silence except for the loping given to the quarter-sawn end readings, the chanting and singing of panels by the carver’s gouge, creating an psalms and hymns. In this setting an undulating effect in the grain. organ of normal softness would still be —Halbert Gober too loud. For portions of the service, psalms are chanted in alternatim Manual C–f3 (54 notes) between the leader and the people. The 8v Gedackt 8v Gamba (C–A with Gedackt) very sweet Gedackt 8v contrasts with a 4v Recorder Gamba 8v whose complex overtones give 2v Fife it great pitch definition, useful for accompanying lay singers. These two Pedal C–d1 (27 notes) stops can be switched between psalm 16v Subbass verses using the reversible pedal. The 4v and 2v flutes, both conical, give combina- Manual-Pedal coupler tions in the nature of a flute consort,
Orgues Létourneau Limitée, Saint- Hyacinthe, Québec, Canada The Church of Christ at Dartmouth College, Hanover, New Hampshire Following a complete reconstruction of the church’s chancel area, Létourneau’s Opus 83 was completed in March 2005. The organ was formally dedicated by Peter Sykes a month later in two recitals featuring works by Mendelssohn, Mozart, Tunder, Bach and Vierne. The concerts were high- lighted by the world premiere of a com- missioned work by Joel Martinson enti- tled Out of the Depths: Three Essays on a Chorale. The organ’s stoplist was prepared in Façades collaboration with the church’s director of music, Ernest Drown, and reflects a classical disposition that pairs well with Consoles the instrument’s suspended mechanical key action. The organ has proven itself to be equally adept at supporting the Control church’s worship services and in the Systems words of Mr. Drown, “has an uncanny sensitivity to the player’s intentions or lack of same . . . I get off the bench a better player every time.” Digital The organ features a two-manual and Extension pedal console built into the organ case (en fenêtre); manuals have bone natu- Voices rals and ebony accidentals, while the pedalboard features maple naturals with ebony accidentals. The stop action is Sounds like art electric, permitting a complete system of pistons with 64 levels of memory. R.A. Colby, Inc. —Andrew Forrest Post Office Box 4058 GREAT Johnson City, TN 37602 16v Bourdon 8v Open Diapason Photo credit:
32 THE DIAPASON Bert Adams, FAGO Calendar Park Ridge Presbyterian Church Park Ridge, IL Pickle Piano & Church Organs Alan Morrison; Forrest Burdette Memorial This calendar runs from the 15th of the month United Methodist, Hurricane, WV 3 pm Bloomingdale, IL of issue through the following month. The deadline Stephen Tharp; First Congregational, is the first of the preceding month (Jan. 1 for Columbus, OH 4 pm Feb. issue). All events are assumed to be organ Paul Jacobs; First United Methodist, Grand recitals unless otherwise indicated and are grouped Rapids, MI 7 pm Christopher Babcock within each date north-south and east-west. •=AGO Tom Trenney, silent film accompaniment; chapter event, • •=RCCO centre event, +=new First United Methodist, Mount Clemens, MI 7 St. Andrew’s by the Sea, organ dedication, ++= OHS event. pm Information cannot be accepted unless it spec- Hyannis Port ifies artist name, date, location, and hour in writ- 25 SEPTEMBER ing. Multiple listings should be in chronological Margaret Chen; Presbyterian Homes, Elliott Christ the King, Mashpee order; please do not send duplicate listings. THE Chapel, Evanston, IL 1:30 pm DIAPASON regrets that it cannot assume responsi- bility for the accuracy of calendar entries. 26 SEPTEMBER Stephen Hamilton; LeFrak Concert Hall, Queens College, Flushing, NY 11 am Dean Billmeyer; Church of St. Louis, King of UNITED STATES France, St. Paul, MN 12:35 pm East of the Mississippi 27 SEPTEMBER 15 SEPTEMBER Stephen Hamilton; LeFrak Concert Hall, Chandler Noyes, silent film accompaniment; Queens College, Flushing, NY 12:15 pm Methuen Memorial Music Hall, Methuen, MA 8 Amy Greipentrog; Cathedral of St. John the pm Evangelist, Milwaukee, WI 12:15 pm Larry Palmer, organ/harpsichord; Christ Lutheran, York, PA 8 pm 29 SEPTEMBER Robert Parris; Christ Episcopal, Macon, GA Angela Kraft Cross; Trinity Church, Boston, 7:30 pm MA 12:15 pm Mary Preston; Christ Church, Episcopal, 16 SEPTEMBER Cambridge, MA 7:30 pm Joan DeVee Dixon; First Methodist, Bedford, Paul Bisaccia, piano; The Gables, Farming- PA 7:30 pm ton, CT 2 pm Frederick Burgomaster; Christ Church 17 SEPTEMBER Cathedral, Indianapolis, IN 12:05 pm Chandler Noyes, with soprano; Methuen Memorial Music Hall, Methuen, MA 3 pm 30 SEPTEMBER Fauré, Messe Basse; St. Bartholomew’s, New John Gouwens, carillon; The Culver Acade- York, NY 11 am mies, Culver, IN 4 pm Huw Williams; St. Thomas Church Fifth Avenue, New York, NY 5:15 pm 1 OCTOBER Mark Trautman; Christ Church, New Felix Hell; First Baptist, Brattleboro, VT 3 pm Brunswick, NJ 6:30 pm, Vespers at 6 pm Paul Bisaccia, piano; The Arbors, Manches- James Smith, carillon; Longwood Gardens, ter, CT 2:45 pm Kennett Square, PA 2:30 pm Andrew Senn; St. Thomas Church Fifth Larry Palmer, organ/harpsichord; Lebanon Avenue, New York, NY 5:15 pm Valley College, Annville, PA 3 pm Jared Johnson; Christ Church, New Martin Jean; Lutheran Church of the Good Brunswick, NJ 6:30 pm, Vespers at 6 pm Shepherd, Lancaster, PA 4 pm Johannes Unger; Grace Lutheran, Lancast- Paul Jacobs; Wallace Memorial Presbyter- er, PA 4 pm ian, Pittsburgh, PA 4:30 pm Paul Jacobs; St. Paul’s Lutheran, Washing- Nigel Potts; Washington National Cathedral, ton, DC 3 pm Washington, DC 5 pm Alan Morrison & Jeannine Morrison, piano Craig Cramer; Holy Trinity Lutheran, Hickory, and organ; Roswell United Methodist, Roswell, NC 3 pm GA 4 pm Felix Hell; Fort Johnson Baptist, Charleston Craig Cramer; St. Peter’s in the Loop (James Island), SC 6 pm Catholic Church, Chicago, IL 3 pm E. Ray Peebles; First United Methodist, Choral Evensong, with blessing of the ani- Ocala, FL 3 pm mals; St. James Cathedral, Chicago, IL 4 pm Tom Trenney, hymn festival; First United Methodist, Birmingham, MI 7:30 pm 2 OCTOBER Stephen Tharp; St. James Episcopal Cathe- Brennan Szafron; Turner Chapel, North dral, Chicago, IL 4 pm Greenville University, North Greenville, SC 7 pm
19 SEPTEMBER 3 OCTOBER David Lamb; Asbury College, Wilmore, KY Stephen Hamilton; Virginia Intermont Col- 12:10 pm lege, Bristol, VA 8 pm Diana Lee Lucker; Church of St. Louis, King Steinbach and Helvey Piano Duo; St. Simons of France, St. Paul, MN 12:35 pm Presbyterian, St. Simons Island, GA 8 pm Marie-Claire Alain; First Congregational, 20 SEPTEMBER Ann Arbor, MI 8 pm Harold Vetter; Cathedral of St. John the Tim Strand; Church of St. Louis, King of Evangelist, Milwaukee, WI 12:15 pm France, St. Paul, MN 12:35 pm
21 SEPTEMBER 4 OCTOBER Leo Abbott; Church of the Holy Family, New Thomas Koester; Cathedral of St. John the York, NY 12:45 pm Evangelist, Milwaukee, WI 12:15 pm
22 SEPTEMBER 5 OCTOBER James Guyer; Christ Church Cathedral, Indi- Paul Bisaccia, piano; Christ Church Cathe- anapolis, IN 12:05 pm dral, Episcopal, Hartford, CT 12 noon
23 SEPTEMBER 6 OCTOBER Edward Alan Moore; Franciscan Monastery, Paul Bisaccia, piano; Pomperaug Woods, Washington, DC 12 noon Pomperaug, CT 7 pm Erik Suter; Grace Evangelical Lutheran, Win- Olivier Latry; Crescent Avenue Presbyterian, chester, VA 7:30 pm Plainfield, NJ 8 pm Andrew Peters; The Church Gathered at Thomas Murray; Peristyle Theater, Toledo, Antone Godding Antone Godding Calvin, Louisville, KY 7 pm OH 7:30 pm Paul Jacobs; Piedmont College, Demorest, Nichols Hills Nichols Hills 24 SEPTEMBER GA 7:30 pm United Methodist Church United Methodist Church John Connor; Cathedral of St. Patrick, New Ken Cowan; Benson Great Hall, Bethel Uni- Oklahoma City Oklahoma City York, NY 4:45 pm versity, St. Paul, MN 7:30 pm Stefan Bleicher & Mario Hospach-Martini; St. Thomas Church Fifth Avenue, New York, NY 7 OCTOBER 5:15 pm Todd Wilson; Morley Music Hall, Lake Erie LORRAINELORRAINE BRUGH, BRUGH, Ph.D.Ph.D. Peter Sykes; Our Lady of Sorrows, South College, Painesville, OH 4 pm A two-inch Orange, NJ 3 pm Stephen Schreiber, carillon; Longwood Gar- 8 OCTOBER Associate Professor Professional Card Paul Bisaccia, piano; Museum of American dens, Kennett Square, PA 2:30 pm University Organist Robert Sutherland Lord, with Ensemble Art, New Britain, CT 2 pm HE IAPASON Misericordia Domini; Heinz Memorial Chapel, Richard Benefield; St. Thomas Church Fifth in T D Pittsburgh, PA 3 pm Avenue, New York, NY 5:15 pm Valparaiso University For information on rates and Rastrelli Cello Quartet; Holy Trinity Lutheran, Horace Boyer, workshop; Christ Church, Valparaiso, IN specifications, contact: Greenville, PA 3:30 pm New Brunswick, NJ 9 am www.valpo.edu David Higgs; Trinity Episcopal, Solebury, PA Gordon Turk; Church of the Advent, Cape Jerome Butera 4 pm May, NJ 4 pm Carol Williams; Trinity Lutheran, Camp Hill, Alan Morrison; Peace-Tohickon Lutheran, [email protected] 219-464-5084 PA 4 pm Perkasie, PA 2 pm 847/391-1045 Ralph Tilden; Boone United Methodist, Paul Jacobs; St. Timothy’s, Roxborough, [email protected] Boone, NC 4 pm Philadelphia, PA 7:30 pm
SEPTEMBER, 2006 33 David Arcus; Gray Auditorium, Old Salem, Organized Rhythm; Church of Christ, Norfolk, Winston-Salem, NC 3 pm CT 4 pm Andrew Peters; Brentwood United Paul Jacobs; Helen M. Hosmer Concert Hall, Methodist, Brentwood, TN 4 pm Potsdam, NY 3 pm Johannes Unger; First Presbyterian, Thomas Murray; Rye Presbyterian, Rye, NY Nashville, TN 4 pm 4 pm Thomas Murray; First United Methodist, Oak Olivier Eisenmann; Cathedral of St. Patrick, Park, IL 4 pm New York, NY 4:45 pm Mary Preston; Augustana Lutheran, West St. Andrew Sheranian; St. Thomas Church Fifth Paul, MN 7 pm Avenue, New York, NY 5:15 pm Thomas Spacht; Christ Church, New 9 OCTOBER Brunswick, NJ 6:30 pm, Vespers at 6 pm Brian Jones Stephen Hamilton; St. Anne Episcopal, James Welch; Heinz Chapel, University of Director of Music Emeritus Atlanta, GA 8:15 pm Pittsburgh, Pittsburgh, PA 4 pm Rastrelli Cello Quartet; Abingdon Episcopal, TRINITY CHURCH 10 OCTOBER White Marsh, VA 5 pm Carolyn Diamond; Church of St. Louis, King Stephen Tharp; Chapel, Duke University, BOSTON of France, St. Paul, MN 12:35 pm Durham, NC 5 pm Susan Ferré; St. John Church, West Chester, 11 OCTOBER OH 4 pm Alan Hommerding; Cathedral of St. John the Onyx Brass; First Presbyterian, Yellow Evangelist, Milwaukee, WI 12:15 pm Springs, OH 7:30 pm Brian Jones Istvan Ruppert; Kenilworth Union Church, Director of Music Emeritus 12 OCTOBER Kenilworth, IL 5 pm Andrew Dewar; Peachtree Road United Brett Zumsteg; First United Methodist, Park TRINITY CHURCH Methodist, Atlanta, GA 7:30 pm Ridge, IL 3 pm Gillian Weir, masterclass; Trinity United BOSTON Methodist, Huntsville, AL 5 pm 23 OCTOBER Istvan Ruppert; Presbyterian Homes, Elliott 13 OCTOBER Chapel, Evanston, IL 1:30 pm Paul Bisaccia, piano; Chester Village, West DAVID K. LAMB, D.MUS. DDAVIDAVID K.K. LLAMBAMB,, D.MD.MUSUS.. Chester, CT 7:30 pm 24 OCTOBER Paul Jacobs; Williamsburg Presbyterian, Westminster Cathedral Choir London; Cathe- Director of Music/Organist Director of Music/Organist Williamsburg, VA 7:30 pm dral of St. John the Evangelist, Cleveland, OH Director of Music/Organist Carolina Baroque; St. John’s Lutheran, Salis- First United Methodist Church First United Methodist Church 7:30 pm First United Methodist Church bury, NC 7:30 pm Clive Driskill-Smith; St. Paul’s Episcopal, Columbus, Indiana Columbus,Columbus, IndianaIndiana Mary Preston; Christ Episcopal, Warren, OH Chattanooga, TN 7 pm 812/372-2851 812/372-2851 7 pm Istvan Ruppert; Church of St. Louis, King of 812/372-2851 Aaron David Miller; Holy Trinity Lutheran, France, St. Paul, MN 12:35 pm Akron, OH 8 pm Westminster Cathedral Choir London; Cathe- 25 OCTOBER dral of Christ the King, Atlanta, GA 7:30 pm Westminster Cathedral Choir London; First Gillian Weir; Trinity United Methodist, United Methodist, Birmingham, MI 7:30 pm JAMES R. METZLER Huntsville, AL 7:30 pm 26 OCTOBER TRINITY CATHEDRAL 15 OCTOBER Alan Morrison; Thomson Alumnae Chapel, Paul Bisaccia, music conference; University LITTLE ROCK Wilson College, Chambersburg, PA 8 pm of Connecticut, Storrs, CT 1 pm Onyx Brass; St. Barnabas Apartments, Chat- Andrew Dewar; St. Barnabas Episcopal, tanooga, TN 7 pm Greenwich, CT 5:30 pm Stephen Hamilton; The Church of the Holy 27 OCTOBER Trinity (Episcopal), New York NY 4 pm Scott Foppiano, silent film accompaniment; John Scott; St. Thomas Church Fifth Merrill Auditorium, Portland, ME 7:30 pm JJAMES R. METZLER Avenue, New York, NY 5:15 pm Chandler Noyes, silent film accompaniment; Matthew Lewis; Christ Church, New PARKTCRINITYONGREGATIONALCATHEDRALCHURCH Brunswick, NJ 6:30 pm, Vespers at 6 pm Methuen Memorial Music Hall, Methuen, MA 8 Westminster Cathedral Choir London; Wash- pm GRANDLITTLERAPIDSR, OCKMICHIGAN ington National Cathedral, Washington, DC 4 Pierre Pincemaille; Vassar College Chapel, pm Poughkeepsie, NY 3 pm Paul Jacobs; First Presbyterian, Roswell, GA Nigel Potts; St. Stephen’s Episcopal, Rich- 5 pm mond, VA 7:30 pm Choral Evensong; Cathedral Church of the Vincent Dubois; Trinity Episcopal, St. Advent, Birmingham, AL 4 pm Augustine, FL 7:30 pm Felix Hell; Christ Church Cathedral, Nashvlle, TN 4 pm 28 OCTOBER Gerre Hancock, masterclass; Christ Church 16 OCTOBER Episcopal, Exeter, NH 1 pm Nigel Potts; St. Peter’s Episcopal, Morris- Onyx Brass; All Saints Episcopal, Wolfeboro, town, NJ 7:30 pm NH 7:30 pm Mozart, Vesperae solennes de Confessore; Bruce Neswick; Chevy Chase United St. James Cathedral, Chicago IL 4 pm Methodist, Chevy Chase, MD 4 pm
17 OCTOBER 29 OCTOBER Westminster Cathedral Choir London; St. Gerre Hancock; Christ Church Episcopal, Thomas Fifth Avenue, New York, NY 7:30 pm Exeter, NH 3 pm Ensemble Amarcord; St. Thomas Episcopal, Paul Jacobs; Assumption College, Worces- Coral Gables, FL ter, MA 3 pm Ray Johnston; Church of St. Louis, King of Paul Bisaccia, piano; East Lyme Library, France, St. Paul, MN 12:35 pm East Lyme, CT 3 pm James Dorroh; St. Thomas Church Fifth 19 OCTOBER Avenue, New York, NY 5:15 pm Justin Hartz; Christ Church, New Brunswick, Cathedral Church of St. John Stephen Roberts; Church of the Holy Fami- q q x ly, New York, NY 12:45 pm NJ 6:30 pm, Vespers at 6 pm Mary Mozelle Albu uer ue, New Me ico Andrew Scanlon; National City Christian Rastrelli Cello Quartet; Shadyside Presbyter- www.stjohnsabq.org Associate Organist 505-247-1581 Church, Washington, DC 12:15 pm ian Church, Pittsburgh, PA 4 pm James David Christie; St. Peter’s Catholic Organized Rhythm; First Congregational, Cathedral, Jackson, MS 7:30 pm Sarasota, FL 4 pm The National Westminster Cathedral Choir London; Cathe- Vincent Dubois; Hyde Park Community Unit- Presbyterian Church dral of St. Paul, St. Paul, MN 8 pm ed Methodist Church, Cincinnati, OH 4 pm Washington, DC David Lamb; First United Methodist, Colum- 20 OCTOBER bus, IN 6:30 pm 703.898.9609 Philip Scriven; Methuen Memorial Music Hall, Methuen, MA 8 pm 31 OCTOBER www.PipeOrganPro.com Mozart, Requiem and Exsultate Jubilate; First Dennis James; Indiana University Auditori- Presbyterian, Birmingham, MI 7:30 pm um, Bloomington, IN 8 pm “The Sights and Sounds Q x of the Pipe Organ” Iain uinn Ma ine Thevenot The Chenaults; La Grave Christian Director of Associate Organist- Reformed Church, Grand Rapids, MI 8 pm Cathedral Music Choir Director Presidio Saxophone Quartet; First Baptist UNITED STATES Church, Worcester, MA 8 pm West of the Mississippi
21 OCTOBER 15 SEPTEMBER Cathedral Church of St. John James O’Donnell, lecture; Christ Church David Pickering; Graceland University, Lam- Albuquerque, New MeAxico four-inch Christiana Hundred, Greenville, DE 11 am oni, IA 7:30 pm www.stjohnsabq.org A two-inch James O’Donnell, open rehearsal with Christ Mary Preston, workshop; St. John Lutheran, 505-247-1581Professional Card Church Choir; Christ Church Christiana Hun- Beatrice, NE 9:30 am Professional Card dred, Greenville, DE 1 pm in THE DIAPASON Paul Jacobs, workshop; State University of 17 SEPTEMBER in THE DIAPASON New York, Potsdam, NY 3 pm Jan Kraybill, John Obetz, David Pickering; John Weaver; St. Norbert Abbey, DePere, Community of Christ Auditorium, Independence, For information on rates and WI 2 pm MO 3 pm No additional charge forspecifications, photos contact: George Baker; University Christian Church, 22 OCTOBER Austin, TX 1:30 pm For information on rates and specifications,Jerome Butera contact James O’Donnell, conducting choral Anthony & Beard; Chapelwood United Eucharist; Christ Church Christiana Hundred, Methodist, Houston, TX 7 pm [email protected] Greenville, DE 11:15 am Iain Quinn JeromeMaxine Thevenot Butera, 847/391-1045 Robert McCormick; Cathedral Church of St. Director of Associate Organist- 847/391-1045 James O’Donnell, Evensong and recital; John, Albuquerque, NM 4 pm Cathedral Music [email protected] Director Christ Church Christiana Hundred, Greenville, David Brock; Cathedral of St. Mary of the DE 5 pm Assumption, San Francisco, CA 3:30 pm
34 THE DIAPASON •Ken Cowan; Grace Cathedral, San Francis- 10 OCTOBER co, CA 4 pm Andrew Dewar; First Presbyterian Church of Midland, Midland, TX 7:30 pm RICHARD M. PEEK 18 SEPTEMBER Charles Huddleston Heaton; Second Pres- 11 OCTOBER IN MEMORIAM byterian, St. Louis, MO 7 pm Albuquerque Academy Upper School Chorus; Cathedral Church of St. John, Albuquerque, NM May 17, 1927–November 28, 2005 19 SEPTEMBER 12:30 pm Jeremy Bruns; Wichita State University, Wichita, KS 7:30 pm 15 OCTOBER Cameron Carpenter; First United Methodist, 22 SEPTEMBER Shreveport, LA 2:30 pm David Pickering; Iowa State University, Gerre Hancock, conducting Festival Service; Ames, IA 7:30 pm Christ Church Cathedral, Houston, TX 7 pm Westminster Cathedral Choir London; Visita- Anthony & Beard; Chapelwood United tion Catholic Church, Kansas City, MO 7 pm Methodist, Houston, TX 7 pm Jeremy Bruns; St. John’s Cathedral, Denver, Paul Tegels; Pacific Lutheran University, CO 7:30 pm Tacoma, WA 3 pm Alan Blasdale; Cathedral of St. Mary of the 24 SEPTEMBER Assumption, San Francisco, CA 3:30 pm Gregory Peterson; Union Sunday School, Robert Bates; St. John’s Presbyterian, Clermont, IA 2:30 pm Berkeley, CA 4 pm Ken Cowan; First Baptist, St. Joseph, MO 4 pm Joe Utterback Johannes Unger; Christ the King Lutheran, 16 OCTOBER Houston, TX 5 pm Robert Bates; All Soul’s Episcopal, San COMMISSIONS & CONCERTS Linda Margetts; Cathedral of the Madeleine, Diego, CA 7:30 pm Salt Lake City, UT 8 pm 732 . 747 . 5227 Mel Butler, with accordion; St. Mark’s Cathe- 17 OCTOBER dral, Seattle, WA 2 pm Maxine Thevenot; St. Paul’s Episcopal John Schwandt; Campbell United Methodist, Cathedral, Oklahoma City, OK 8 pm Campbell, CA 3 pm James Welch; First United Methodist, Pacific 18 OCTOBER Grove, CA 3 pm Arlene Ward; Cathedral Church of St. John, Albuquerque, NM 12:30 pm 29 SEPTEMBER Rastrelli Cello Quartet; Marymount College, 19 OCTOBER Rancho Palos Verdes, CA 7 pm Onyx Brass; The University of Idaho, Moscow, ID 7:30 pm 1 OCTOBER VocalEssence; Orchestra Hall, Minneapolis, 20 OCTOBER MN 4 pm Westminster Cathedral Choir London; St. Andrew Dewar; Luther College, Center for Louis Cathedral, St. Louis, MO 8 pm Faith and Life, Decorah, IA 2 pm Onyx Brass, masterclass; The University of DONALD W. WILLIAMS David Heller; North Park Presbyterian, Dal- Idaho, Moscow, ID las, TX 2 pm Ensemble Amarcord; Glaser Center, Santa IN MEMORIAM David Higgs & Todd Wilson; Broadway Rosa, CA 8 pm Baptist Church, Fort Worth, TX 7 pm August 5, 1939–September 22, 2005 Choral Evensong; Cathedral Church of St. 21 OCTOBER John, Albuquerque, NM 4 pm Carol Williams; Cathedral of Our Lady of the Christoph Keggenhoff; Grace Lutheran Angels, Los Angeles, CA 7:30 pm Church, Tacoma, WA 3 pm 22 OCTOBER 4 OCTOBER Gregory Peterson; Luther College, Decorah, Davis Wortman RONALD WYATT Linda Raney; Cathedral Church of St. John, IA 4 pm Albuquerque, NM 12:30 pm Westminster Cathedral Choir, London; Visita- St. James’ Church Trinity Church tion Catholic Church, Kansas City, MO 7 pm 5 OCTOBER Joan Lippincott; Cathedral of the Madeleine, New York Galveston Andrew Dewar; Trinity Chapel, Mankato, MN Salt Lake City, UT 8 pm 7 pm Choral concert; Cathedral Church of St. John, Albuquerque, NM 4 pm 8 OCTOBER Leslie Martin, with baroque violin; St. Mark’s Peter Richard Conte; Christ the King Luther- Cathedral, Seattle, WA 2 pm an, Mankato, MN 3 pm Christoph Tietze; Cathedral of St. Mary of Olivier Latry; First United Methodist, Beau- the Assumption, San Francisco, CA 3:30 pm Marcia van Oyen mvanoyen..com mont, TX 3 pm Ensemble Amarcord; Episcopal Church of St. Samuel Kummer; Cathedral of the John the Baptist, Lodi, CA 3 pm Madeleine, Salt Lake City, UT 8 pm Fabio Ciofini, with Camerata Hermans; Trin- Johannes Unger; First Congregational, Los Plymouth First United Methodist Church,,Plymouth,,Michigan ity Lutheran, Lynnwood, WA 7 pm Angeles, CA 4 pm James Welch; Grace Cathedral, San Fran- cisco, CA 4 pm 23 OCTOBER Andrew Dewar; St. James Episcopal, Los Ensemble Amarcord; St. Edward Catholic Angeles, CA 5:50 pm Church, Newark, CA 7:30 pm
9 OCTOBER 24 OCTOBER Douglas Cleveland; St. Mark’s Episcopal Ensemble Amarcord; California Lutheran Uni- Cathedral, Seattle, WA 8 pm versity, Thousand Oaks, CA 8 pm
Cathedral Church of St. John Albuquerque, New Mexico www.stjohnsabq.org 505-247-1581
S From Buxheim to Buxtehude - #0636...amiscellanyof'early E music' from the fifteenth through the early 18th centuries. P T Getting a Handel On It - #0637. . . the German-born English E celebrity, George Frideric Handel, knew how to entrance audiences M Iain Quinn Maxine Thevenot and generate publicity, as his Opus 4 organ concertos prove. Director of Associate Organist- B Cathedral Music Choir Director E From Russia With Love - #0638...recitalistDanielZaretsky R introduces some superb music from a surprising source, and we pay centenary tribute to Dmitri Shostakovich (1906-1975). 2 0 The Year of the Jaeckel - #0639. ..inAtlanta,TimothyAlbrechtand Carol Williams 0 colleagues celebrate the new Daniel Jaeckel Opus 45 pipe organ at 6 Emory University. San Diego Civic Organist
Website: www.melcot.com E-mail: [email protected]
SEPTEMBER, 2006 35 25 OCTOBER Gillian Weir; St. Lawrence Jewry, London, 7 OCTOBER Maxine Thevenot; Cathedral Church of St. UK 6:30 pm Jonathan & Tom Scott; Victoria Hall, Han- John, Albuquerque, NM 12:30 pm ley, Stoke-on-Trent, UK 12 noon Organ Recitals 21 SEPTEMBER Jeremy Filsell; Beverley Minster, Beverley, 27 OCTOBER Geraint Bowen; Hereford Cathedral, Here- UK 6 pm ford, UK 7:30 pm John Scott Whiteley; Canterbury Cathedral, GAIL ARCHER, Cathedral of St. John Clive Driskill-Smith; Westlake Hills Presby- the Baptist, Charleston, SC, May 31: Prae- terian, Austin, TX 7:30 pm Canterbury, UK 7:30 pm 23 SEPTEMBER ludium in g, BuxWV 149, Buxtehude; Kyrie, James O’Donnell; Trinity Cathedral, Port- Heiliger Geist, Bach; Sonata III, land, OR 5 pm Anthony Norcliffe; Beverley Minster, Bever- 9 OCTOBER ley, UK 6 pm Gerard Brooks & Daniel Moult; All Souls, Mendelssohn; Joie et Clarté des Corps Glo- Gillian Weir; Bath Abbey, Bath, UK 7:30 pm Langham Place, London, UK 7:30 pm rieux, Le Mystère de la Sainte Trinité (Les 28 OCTOBER Corps Glorieux), Messiaen; Choral in E, Welch-Hancock Duo; St. Mark’s Episcopal, Franck. Palo Alto, CA 8 pm 24 SEPTEMBER 10 OCTOBER Ralf Bibiella, with orchestra; St. Katharinen, Olivier Latry; Lundy’s Lane United Church, 29 OCTOBER Oppenheim, Germany 7 pm Niagara Falls, ON, Canada 7:30 pm MARK BANI, St. Thomas Church Fifth VocalEssence; Orchestra Hall, Minneapolis, Avenue, New York, NY, May 21: Voluntary MN 4 pm 27 SEPTEMBER 11 OCTOBER No. 1 in D, Boyce, arr. Butcher; Prelude and Stephen Hamilton; First United Methodist, Junko Ito; Minato Mirai Hall, Yokohama, Irena Budryte-Kummer; Frauenkirche, Dres- Fugue in D, BWV 532, Bach; Offertoire (Ten Clear Lake, IA 4 pm Japan 12:10 pm den, Germany 8 pm Pieces for Organ), Dubois; Sonata II for James O’Donnell; Mount Angel Abbey, St. Joseph Sluys; Kathedrale, Dresden, Ger- Organ, Hindemith; Contemplation, Rowley; Benedict, OR 3 pm many 8 pm 14 OCTOBER Carillon de Westminster (Pièces de Fantaisie, Ken Cowan; First Presbyterian, Salem, OR 7 John Scott; St. Nom-de-Jésus, Montréal, QC Olivier Latry; Saints-Martyrs Canadiens, Suite III, op. 54), Vierne. pm 8 pm Quebec City, QC, Canada 8 pm John Hirten; Cathedral of St. Mary of the PETER RICHARD CONTE, Shadyside 29 SEPTEMBER Assumption, San Francisco, CA 3:30 pm 15 OCTOBER Presbyterian Church, Pittsburgh, PA, April Gillian Weir; Collegiate Church, Neuchâtel, Olivier Latry; Paroisse des Saints-Anges 23: Empire March, Elgar, transcr. Conte; Switzerland 7:30 pm 30 OCTOBER Gardiens, Lachine, QC, Canada 3 pm Variations on a Theme of Arcangelo Corelli, Emanuele Cardi; Lausanne Cathedral, Lau- John Scott; All Saints Episcopal, Fort Worth, Kreisler, transcr. Conte; Marche Religieuse, sanne, Switzerland 8 pm TX 7:30 pm 16 OCTOBER Guilmant; Nocturne (Shylock), Fauré, Olivier Latry; Notre-Dame Cathedral-Basili- transcr. Hebble; Cortège et Litanie, Dupré, 30 SEPTEMBER ca, Ottawa, ON, Canada 8 pm transcribed from Dupré’s orchestral score by Ton van Eck, with Haarlem Voices; St. Bavo INTERNATIONAL Conte; Variations on a Theme of Joseph Cathedral, Haarlem, Netherlands 3 pm 18 OCTOBER Haydn, Brahms, transcr. Conte; Fountain Michael Smith; Bridlington Priory, Bridling- 15 SEPTEMBER Matthias Jacob; Kathedrale, Dresden, Ger- Reverie, Fletcher; Final, Franck. ton, UK 6 pm Emanuele Cardi; Lausanne Cathedral, Lau- many 8 pm sanne, Switzerland 8 pm 1 OCTOBER ANGELA KRAFT CROSS, The Congre- 21 OCTOBER Gerhard Weinberger, with choir; St. Kathari- gational Church of San Mateo, San Mateo, 16 SEPTEMBER +Gillian Weir; Høj e Kolstrup Kirke, Aaben- nen, Oppenheim, Germany 6 pm CA, May 7: Grand Choeur Dialogué, David Briggs; Stadpfarrkirche Mariä Him- raa, Denmark 8 pm David Butterworth; Albert Hall, Nottingham, Gigout; Majesté du Christ demandant sa melfahrt, Landsberg am Lech, Germany 11:15 Ian Tracey; Liverpool Cathedral, Liverpool, UK 2:45 pm gloire à son Père (L’Ascension), Messiaen; am UK 3 pm Prélude, Fugue et Variation, Franck; Choral- Mark Batten; St. James the Greater, Leices- 4 OCTOBER Improvisation sur le Victimae Paschali, 22 OCTOBER ter, UK 7:30 pm Holger Gehring, with orchestra; Kreuzkirche, Tournemire; Allegro, Finale (Symphonie Josef Sluys; Cathedral of SS. Michael and Dresden, Germany 8 pm VIII), Widor; Symphonie III, Vierne. 17 SEPTEMBER Gudula, Brussels, Belgium 4 pm Hans-Ola Ericsson; St. Katharinen, Oppen- 5 OCTOBER Katrin & Ralf Bibiella; St. Katharinen, WILLIAM CROUCH, Congregational heim, Germany 7 pm Gillian Weir, with orchestra; The Guildhall, Oppenheim, Germany 5 pm United Church of Christ, Iowa City, IA, May François Espinasse; St. Sulpice, Paris, Londonderry, UK 8 pm Bernhard Haas, with choir; St. Nikolaus, 21: Praeludium in a, BuxWV 153, Buxte- Bensberg, Germany 8:30 pm France 4 pm hude; Wenn wir in höchsten Nöten sein, Pre- 6 OCTOBER Michel Bourcier, with brass; St. Sulpice, Paris, France 4 pm lude and Fugue in C, BWV 547, Bach; Bene- 20 SEPTEMBER Jean-Christophe Geiser, with Chorale du dictus, op. 59, no. 9, Reger; Scherzo, Gigout; Matthias Grünert; Frauenkirche, Dresden, Brassus; Cathédrale de Lausanne, Lausanne, 23 OCTOBER Postlude pour l’office de complies, Alain; Germany 8 pm Switzerland 8 pm Prélude et fugue sur le nom d’Alain, Duruflé. David Briggs; St. Katharinen, Oppenheim, Gillian Weir; The Ulster Hall, Belfast, UK Olivier Vernet; Cathedral of SS. Michael and Gudula, Brussels, Belgium 8 pm Germany 8 pm 7:45 pm GEORGE EDWARD DAMP, with 24 OCTOBER Christina Espey-Sundt, flute, and Staci Ton Van Eck, with piano; Saint-Agathe, Brus- Chen, clarinet, First Presbyterian Church, sels, Belgium 8 pm Ithaca, NY, May 7: Praeludium in C, BuxWV 137, Buxtehude; Rhapsody on English Hymn 25 OCTOBER Tunes, Callahan; Nun komm, der Heiden Hansjürgen Scholze & Holger Gehring; Heiland, Buxtehude, BWV 659, Bach; Der Kreuzkirche, Dresden, Germany 8 pm Tag, der ist so Freudenreich, Manz, BWV Klemens Schnorr; Cathedral of SS. Michael 605, Bach; O Lamm Gottes, unschuldig, and Gudula, Brussels, Belgium 8 pm Pachelbel, BWV 618, Bach; Christ lag in Todesbanden, Scheidemann, BWV 625, 624, 26 OCTOBER Bach; Psalm Prelude, op. 32, no. 1, Howells; Rotislaw Wygranienko; Church of the Choral No. 3 in a, Franck; Litanies, Alain; Carmelites, Brussels, Belgium 8 pm Adagio for Strings, op. 11, Barber, arr. Strickland; How great Thou art, arr. Linker; 27 OCTOBER Sonata No. 1, op. 65, Mendelssohn. Guy Van Waas, with violin and bass; Protes- tant Church, Brussels, Belgium 12:30 pm RODNEY GEHRKE, Grace Cathedral, San Francisco, CA, March 19: Fantasy in g, 28 OCTOBER BWV 542a, Bach; Sonata II in c, Eric Mairlot; SS-Jean et Etienne aux Min- Mendelssohn; Kyrie, Gott Vater in Ewigkeit, imes, Brussels, Belgium 10:30 am BWV 669, Christe, aller Welt Trost, BWV Maurice Clement; Church of Notre-Dame de 670, Kyrie, Gott heiliger Geist, BWV 671, la Chapelle, Brussels, Belgium 11:30 am NEW INSTRUMENTS Dies sind die heilgen zehen Gebot, BWV 678, Edward De Geest; Church of Notre-Dame Aus tiefer Not schrei ich zu dir, BWV 686, MAINTENANCE Immaculée, Brussels, Belgium 12:30 pm RESTORATIONS Bach; Two Fantasies, Alain; Fugue in g, BWV Susan Woodson; Church of Finistère, Brus- 542b, Bach. 974 AUTUMN DRIVE sels, Belgium 3 pm ANTIOCH, ILLINOIS 60002 Marcel Verheggen; Protestant Church, Brus- ABR 847-395-1919 sels, Belgium 4 pm DAVID A. GELL & CHARLES TAL- F INCY PIPE ORGANS FAX 847-395-1991 Gillian Weir; St. Michael’s, Croydon, Surrey, MADGE, St. Mark United Methodist www.fabryinc.com UK 12 noon Church, Santa Barbara, CA, May 7: Varia- tions on Under the Linden Tree Green, 29 OCTOBER Sweelinck; Toccata sexta, Muffat; The Cuck- Gillian Weir; Cathedral of SS. Michael and oo, Daquin; Prelude and Fugue in g, C. Wes- Gudula, Brussels, Belgium 4 pm ley; Prelude and Fugue in b, BWV 544, Bach; David Hill; Albert Hall, Nottingham, UK 2:45 Holsworthy Church Bells, S. S. Wesley; Toc- pm cata, Dubois; Suite on Aurelia, Hobby; Johannes Unger; Westminster United Trumpet Tune in F, Rohlig; Prelude on Church, Winnipeg, MB, Canada 8 pm Toplady, Partita on Old 100th, Gell.
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36 THE DIAPASON STEPHEN HAMILTON, Phillips Memo- D, Buxtehude; Chorale Fantasy on Lasst uns rial Baptist Church, Providence, RI, May 7: erfreuen, Peeters; Reflection, Watson; 1º Partitas sopra la Aria della Folia de Espagne, Concierto für zwei Orgeln, Blanco. CLASSIFIED ADVERTISING Pasquini; La Romanesca con Cingue Mutange, Valente; Pastorale, op. 20, Franck; ALAN MORRISON, Benaroya Hall, Seat- Sonata VI, op. 65, no. 6, Mendelssohn; Pre- tle, WA, May 1: Prelude and Fugue in C, lude and Fugue in c, BWV 546, Bach; BWV 547, Concerto in a, BWV 593, Bach; POSITIONS POSITIONS Hymne d’action de Grâces “Te Deum” Scherzo, op. 2, Duruflé; Andante sostenuto AVAILABLE AVAILABLE (Trois Paraphrases Gregoriennes), Langlais; (Symphonie Gothique, op. 70), Widor; Finale Choral No. 1 in E, Franck; Final (Symphony (Symphony VI, op. 59), Vierne; Mountain I), Vierne. Music, Stover; Cantilena, Crozier; Pageant, The Episcopal Parish of Saint Barnabas on Seeking experienced woodworker, organ tech- Sowerby. the Desert, 6715 N. Mockingbird Lane, Scotts- nician with supervisory experience, non-smoker. BOYD JONES, Jacoby Symphony Hall, dale, AZ 85253-4344. Full-time Choirmaster and Generous benefit package, salary commensurate Jacksonville, FL, May 7: A Trumpet Minuet, BRUCE NESWICK, St. John’s Cathedral, Organist (separate positions also considered) for with experience; company will pay relocation Hollins; Toccata and Fugue in d, BWV 538, Denver, CO, April 21: Improvisation on a 2000-member church. Two Sunday services plus expenses. Serious inquiries only; kept confidential. Bach; Apparition de l’Eglise éternelle, Messi- special services and weddings and funerals. Thir- Contact Arthur Schlueter, III at A. E. Schlueter submitted theme; Praeludium und Fuge in ty-five member volunteer adult choir with addi- Pipe Organ Co., Atlanta, GA. 770/482-4845 or fax aen; Humoresque L’organo primitivo, Yon; E-Moll, BWV 548, Bach; Sonata I, op. 2, tional 11 paid soloists. Adult handbell choir with résumés 770/484-1906; www.pipe-organ.com. On hearing the first cuckoo in spring, Delius, Howells; Fanfares to the Tongues of Fire, director and youth/children’s choir with director transcr. Fenby; Variations on America, Ives; King; Evening Song, Hurd; Two Chorale- and other ensembles to be under the supervision Reed Voicer Wanted: Organ Supply Industries, Choral No. 1 in E, Franck; Fugue and Choral, Preludes on O Welt, ich muss dich lassen, of the Choirmaster/Organist. Three-manual North America’s leading full-service provider of Honegger; Improvisation, op. 150, no. 7, Brahms; Suite, op. 5, Duruflé; improvisation Casavant organ. Candidates will show expertise pipe organ components, is seeking an experi- Saint-Saëns; Consolation in D-flat, Prelude on a submitted theme. in all styles of church music. Familiarity with Epis- enced reed pipe voicer. Qualifications include and Fugue on the Name B-A-C-H, Liszt. copal liturgy preferred. Salary and benefits previous general organ building or service expe- beyond AGO guidelines, commensurate with rience with an emphasis on reed voicing and fin- JANE PARKER-SMITH, Brick Presby- experience and accomplishment. Graduate ishing. Skills in flue voicing a plus. Will consider CHRISTIAN LANE, with Geoffrey terian Church, New York, NY, May 8: Tocca- degree or equivalent with emphasis on church an apprentice with previous pipe organ construc- Williams, alto, Oliver Brewer, tenor, and ta Von Himmel hoch, Edmundson; Varia- music preferred. Applications will be received tion or maintenance experience. Organ Supply Steve Herring, bass, St. Thomas Church until November 1st and sent to Music Search Industries, Inc. is an employee-owned company tions on an American Air, Flagler; Symphon- Committee at above address. Position descrip- Fifth Avenue, New York, NY, May 14: The ic Poem Orpheus, Liszt, transcr. Guillou; located in Erie, PA. We offer an excellent com- tion and further information available at pensation package, including medical insurance, Place of Understanding, Muhly; Sacred Intermezzo, Lanquetuit; Symphony No. 1, www.saintbarnabas.org, or at 480/948-5560. Sounds from George Shearing, Shearing; paid vacation, life insurance and participation in Weitz; Pomp and Circumstance Military our employee stock ownership plan. For addi- Allegro (Symphony VI, op. 42), Widor. March, op. 39, no. 4, Elgar, transcr. Sinclair; Berghaus Organ Company, 2151 Madison tional information about our company or to apply Boléro sur un thème de Charles Racquet, Street, Bellwood, IL 60104 is accepting applica- for this position, please visit our web site at OLIVIER LATRY, Church of St. Ignatius Cochereau; Elegiac Romance, Ireland; Final tions for the position of Service Manager. Qualified www.organsupply.com and download our appli- Loyola, New York, NY, May 7: Fugue sur le (Symphonie No. 5 in a, op. 47) Vierne. candidates will have strong skills in interpersonal cation. Applications and résumés may be e- carillon des heures de la Cathédrale de Sois- relations, correspondence and organization, as mailed to [email protected], faxed well as extensive experience in pipe organ tuning, or mailed to the address below. No phone calls sons, op. 12, Prélude, Adagio et Choral varié BRADLEY HUNTER WELCH, Boone maintenance, and restoration. Ten years experi- please. Organ Supply industries, 2320 West 50th sur le Veni Creator, op. 4, Prélude sur l’In- United Methodist Church, Boone, NC, May ence required; AIO certification preferred. This is a Street, Erie, PA 16506. Fax: 814/838-0349. troit de l’Epiphanie, op. 13, Prélude et fugue 11: Prelude and Fugue in g, op. 7, no. 3, growing department. The Service Manager will sur le nom d’Alain, op. 7, Scherzo, op. 2, Dupré; Variations on “O Run, Ye Shep- work closely with the President, Service Coordina- Méditation; Suite, op. 5, Duruflé. herds,” Drischner; Jig for the Feet (“Toten- tor and Sales Director in developing business. He THE DIAPASON has moved! or she will also work closely with technicians and tanz”) (Organbook III), Albright; Aria on a tuners in project management, quality assurance Our new address is: C. RALPH MILLS & BRIAN CASH, St. Chaconne, Martinson; Prelude and Fugue in and training and development. Salary commensu- 3030 Salt Creek Lane Paul’s Lutheran Church, Charlottesville, VA, D, BWV 532, Bach; Serene Alleluias, Out- rate with experience and demonstrated skills. Ben- May 12: Echo, Scheidt; Trumpet Tune, bursts of Joy (L’Ascension), Messiaen; efits include health insurance, paid vacation, and Suite 201 Swann; A Mighty Fortress, Buxtehude; Andante sostenuto (Symphonie Gothique, company matched retirement program. Interested Arlington Heights, IL 60005 Blessed Jesus, at Thy Word, Bach; Praise to op. 70), Finale (Symphony VI in G, op. 42), parties should post or e-mail a résumé and cover Phone and fax numbers, e-mail, and the Lord, Drischner; Prelude and Fugue in letter to the attention of Brian Berghaus at Widor. [email protected]. web will remain the same.
Visit THE DIAPASON website www.TheDiapason.com
SEPTEMBER, 2006 37 Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 37.
POSITIONS PUBLICATIONS/ HARPSICHORDS/ PIPE ORGANS WANTED RECORDINGS CLAVICHORDS FOR SALE
All around, experienced organ builder desires Harpsichords from the workshop of Knight position with well-established firm for the final Harpsichord Technique: A Guide to Vernon. Authentic replicas of historic instru- Reuter Opus #83 in residence music room; 10–12 years of his career. Exceptional breadth of Expressivity, 2nd edition with CDs, by 4 manuals, 39 ranks. Solo division and ments carefully made and elegantly decorated. Moeller 4-manual console added in 1985. experience encompasses projects ranging from Nancy Metzger. Still available and still 8201 Keystone, Skokie, IL 60076. Telephone the restoration of organs from the 17th through New drawknobs, coupler tabs, and toe the practical hands-on choice! 847/679-2809. Web site: studs 1989. Ivory keyboards. Excellent 20th centuries as well as rebuilds and the design www.rcip.com/musicadulce. www.vernonharpsichords.mykeyboard.com. and construction of new organs. Experience with playing condition. Residence also for sale. all major action types from push pallet chamber For information, stoplist, photo: organs through Wurlitzer. Recent work includes Have a 19th c. Romantic Christmas this year! PIPE ORGANS 405/378-0175 (after 5 pm CST); tonal finishing of Austin organ in Grace Church, “The Holy Night! (Noël)” by Dudley Buck, one of
Attention Organbuilders For information on sponsoring a color cover for THE DIAPASON, contact editor Jerome Butera, 847/391-1045 [email protected]
3030 Salt Creek Lane ph 847/391-1045 Suite 201 fax 847/390-0408 THE DIAPASON e-mail [email protected] Arlington Heights, IL 60005 web www.TheDiapason.com
38 THE DIAPASON Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 37.
THEATRE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
Wurlitzer 215 with 9 ranks, toys, extra parts, 2 Organ windchest for sale by Herb Huestis, Highest quality organ control systems since Top Quality Releathering. Pouch rails, pri- HP blower, playing, easy removal. $18,000 or #1502—1574 Gulf Road, Point Roberts, WA 1989. Whether just a pipe relay, combination maries, reservoirs and any other pneumatic make offer; [email protected]. 98281, phone 604/946-3952, e-mail: action or complete control system, all parts are action. Removal and installation service avail- [email protected]. Shipping extra to U.S. or compatible. Intelligent design, competitive pric- able. Full warranty. Skinner, Casavant and Canada—no overseas. Casavant offset pedal ing, custom software to meet all of your require- Kimball specialty. Spencer Organ Company, REED ORGANS chest 48w x 9.5w x 9w, 8 notes only, no rack- ments. For more information call Westacott Inc. Call, Fax or visit our website for quotation FOR SALE board. 6-1/2w spacing for 16v pedal reed. Price Organ Systems, 215/353-0286, or e-mail and information. 781/893-7624 Voice/Fax, $275, includes shipping. [email protected]. www.spencerorgan.com. Estey Type T reed organ, two manuals, pedal, self-contained quiet vacuum motor. Ten stops plus full couplers. Recently repaired and Tune historical temperaments—software and RELEATHERING: also Pipe Organ Rebuild- laptops for sale. Tutorial info for harpsichord and Consoles elegantly and reliably built and restored. Beautiful oak case and bench. Best rebuilt. Newly designed by a degreed architect ing, Repair and Maintenance Service in New offer. Buyer to pay for shipping. Call 973/761- organ tuning and temperaments. 8x10x2 small England area. Years of experience, fine work- Toshiba laptop used for shop tuning: $285 and organist, or expertly refurbished and retro- 4540 or e-mail at [email protected]. fitted using reliable technology from established manship. Reading Organ Works, A. Richard w/shipping. Send your old laptop for recondition- Hunter, P.O. Box 267, 1324 Vermont Route ing and installation of tuning software to make it suppliers. Prestigious references. Available Oak pump organ (W.W. Putman Co. #47256, nationwide. Glück New York. Telephone 106, Reading, VT 05062. 802/484-1275. one of the best musical tools in your kit! I will load E-mail [email protected]. dated Feb. 4, 1910). Hand-carved front and Tunelab97 Software, road test it, and return your 212/608-5651 (office) or 917/903-8281 (general back, church organ. Excellent condition. $3500. manager). 715/542-2253. laptop for $135 including shipping, plus any parts. Any repairs or replacements, hard drive, etc are Austin actions recovered. Over 30 years extra. Hard drive contents saved, erased, tuning experience. Units thoroughly tested and fully Mason and Hamlin reed organ, 10 stops plus software installed. Programmable temperaments Columbia Organ Leathers sells the finest guaranteed. Please call or e-mail for quotes. forte stop and octave coupler, with bench. Excel- for harpsichords, organs and pianos. Options: leathers available for organ use. We sell pre- Technical assistance available. Foley-Baker, lent condition. Best offer. Nelson, 847/367-5102 Register your software—$35; spreadsheets of punched pouches and pre-assembled pouches, Inc., 42 N. River Road, Tolland, CT 06084. or 312/304-5287. historical tunings—no charge; manual—no and we specialize in custom releathering ser- Phone 1-800/621-2624. FAX 860/870-7571. charge. Send your old laptop for evaluation only: vices. Call today for a catalogue. 800/423-7003 [email protected]. MISCELLANEOUS $85 (with return shipping). Nylon case—$20; or e-mail: [email protected]. mouse—$12; 56k modem—$35; network card— FOR SALE $35. Sensitive stem mike, hooks over case near Need help with your re-leathering soundboard—$45. E-mail: [email protected]; project? All pneumatics including Flue pipes in metal and wood–Mixtures 1991 Peterson 40-ohm relay, 3 units, 73, 61, www.mdi.ca/hhuestis. Austin. Over 45 years experience and upperwork are available from stock or 61, built-in key inverter, $300. Compact Klann (on the job assistance available). specify custom orders to meet your exact pedal relay, 4 units, 16, 10-2/3, 8, 4 & 2—16 & 615/274-6400. requirements. Tuning Sleeves with 8—8, 4 & 2—16 & 4, $150. Reisner C5 relays in SERVICES/ flare–Order complete sets ready to install pristine condition, in original cabinets with original SUPPLIES or bulk quantities in each diameter. These shop specifications: Gt 61, 85, 73, 61, 73, 25, sleeves are guaranteed to fit and will not Ped 56, 68, 32, 56, 44, Sw 61, 61, 61, 80, 70, tarnish or corrode. For excellent quality, $200. Inquiries: e-mail [email protected] The Whistle Shop repairs and rebuilds pipe ALL REPLIES great pricing and timely delivery contact: (not comcast), phone 215/353-0286 or organs. Southwestern U.S. Also, maintenance International Organ Supply, P.O. Box 401, 215/788-3423. and tonal work. Finest materials, expert work- TO BOX NUMBERS Riverside, IL 60546. 800/660-6360. FAX manship. K.E.M. Pipe Organ Builders, Austin, that appear 708/447-0702. Atlantic City Pipe Organ—Tellers 5-rank unit TX. 512/252-2212. chest, regulator, $900 or best offer; C.S. without an address Haskell—4-rank slider chest with 16v Bourdon, should be sent to: Postal regulations require that mail 16v Lieblich, 10-2/3v Quint, 5-1/3v Quint (pre- Pneumatic restoration available through our pared), $1,200 or best offer. Moller 3-rank unit full-service releathering and conservation to THE DIAPASON include a suite num- “Sputnik”: direct electric action, principal, rohr department. Meticulous work, quality hides, THE DIAPASON ber to assure delivery. Please send parts duplication, spring replication, special ser- flute, larigot, detached console, very good con- 3030 Salt Creek Lane, Suite 201 all correspondence to: THE DIAPA- dition. Harp, capped oboes, more. Visit vices. Removal and reinstallation anywhere in http://mywebpages.comcast.net/acorgan. the nation. Glück New York. Telephone Arlington Heights, IL 60005 SON, 3030 Salt Creek Lane, Suite E-mail: [email protected]. Phone 212/608-5651 (office) or 917/903-8281 (general 201, Arlington Heights, IL 60005. 609/641-9422. manager).
SEPTEMBER, 2006 39 KKararenen McFMcFarlanearlane ArArtististsts 2385 Fenwood Road, Cleveland, OH 44118 Toll Free: 1-866-721-9095 Phone: 216-397-3345 Fax: 216-397-7716 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
2006 Winner AGO National Competition George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Available 2006-2008
Vincent Dubois* Stefan Engels Thierry Escaich* László Fassang* David Goode* Gerre Hancock
CHOIRS AVAILABLE The Choir of Westminster Cathedral, UK Martin Baker, Director October 2006 SOLD OUT
Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* Olivier Latry* The Choir of Saint Thomas Church, NYC John Scott, Director Spring 2007 SOLD OUT
The Choir of Winchester Cathedral, UK Andrew Lumsden, Director October 17-29, 2007
The Choir of St. John’s College Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jane Parker-Smith* Peter Planyavsky* Cambridge, UK David Hill, Director West Coast USA Tour Spring 2009
*=European artists available 2006-2007
Simon Preston Daniel Roth* Ann Elise Smoot* Erik Wm. Suter Donald Sutherland Thomas Trotter*
WEB SITE: www.concertorganists.com.concertorganists.com
John Weaver Gillian Weir* Todd Wilson Christopher Young