MARCH 2016 Church of the Incarnation Dallas, Texas Cover ...

MARCH 2016

T H E D I A PA S O N

Church of the IncarnationDallas, Texas

Cover feature on pages 26–28

“Perfect clarity and virtuosity. The Bach chorales were a highly emotional moment, with notes like tears and the soul of the audience totally at peace. This concert was synonymous with perfection.” (Le Figaro, Paris)

“A brilliant performer and a composer of

virtuosity and creative musicianship.” (The American Organist)

“To hear a well-preserved E.M. Skinner in a

of Frenchman Jean-Baptiste Robin we are deal-ing with the truly extraordinary. Robin plays with

colouristic detail. The result is a triumph.”(Chris Bragg, July/August 2015 Choir & Organ Magazine)

[email protected]

Jean-BaptisteRobin

Organist of the Royal ChapelPalace of Versailles

North American Recital Tour

October 16-30, 2016

WWW.THEDIAPASON.COM THE DIAPASON MARCH 2016 3

Editor’s Notebook

Joyce Robinson847/391-1044; [email protected]

www.TheDiapason.com

THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. Phone 847/391-1044. Fax 847/390-0408. E-mail: [email protected]. Subscriptions: 1 yr. $40; 2 yr. $64; 3 yr. $88 (United States and U.S. Possessions). Foreign subscriptions: 1 yr. $50; 2 yr. $80; 3 yr. $99. Single copies $6 (U.S.A.); $8 (foreign). Periodical postage paid at Pontiac, IL and at additional mailing offices. POSTMASTER: Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. Routine items for publication must be received six weeks in advance of the month of issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles should request a style sheet. Unsolicited reviews cannot be accepted.

This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. Copyright ©2016. Printed in the U.S.A.

No portion of the contents of this issue may be reproduced in any form without the specifi c written permission of the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for other courses or for the same course offered subsequently.

THE DIAPASON accepts no responsibility or liability for the validity of information supplied by contributors, vendors, advertisers or advertising agencies.

THE DIAPASONScranton Gillette Communications

One Hundred Seventh Year: No. 3, Whole No. 1276MARCH 2016

Established in 1909ISSN 0012-2378

An International Monthly Devoted to the Organ, the Harpsichord, Carillon, and Church Music

CONTENTS

FEATURES

Scott Smith Pipe Organs Opus 3Re-creating Skinner Organ Company Opus 751 by Joe Granger 20

2015 Indiana University Fall Organ Conference and Alumni Reunion by W. Michael Brittenback and Michael Boney 23

2015 Netherlands Organ AcademiesAlkmaar and Amsterdam by Martin Goldray 24

Ernest M. Skinner Sesquicentennial Conference April 24–25, 2016, Evanston, Illinois by Stephen Schnurr 25

NEWS & DEPARTMENTSEditor’s Notebook 3Letters to the Editor 3Here & There 3Nunc Dimittis 8Appointments 10Harpsichord News by Larry Palmer 12In the wind . . . by John Bishop 16On Teaching by Gavin Black 18

REVIEWSMusic for Voices and Organ 13Book Reviews 13New Recordings 14New Organ Music 14

NEW ORGANS 28

CALENDAR 29

ORGAN RECITALS 33

CLASSIFIED ADVERTISING 34

MARCH 2016

T H E D I A PA S O N

Church of the IncarnationDallas, Texas

Cover feature on pages 26–28

COVER Noack Organ Company, Georgetown, Massachusetts; Church of the Incarnation, Dallas, Texas 26

Editorial Director JOYCE ROBINSONand Publisher [email protected] 847/391-1044

Sr. Vice President RICK SCHWER [email protected] 847/391-1048

Editor-at-Large STEPHEN SCHNURR [email protected] 219/531-0922

Sales Director JEROME BUTERA [email protected] 608/634-6253Circulation/Subscriptions DONNA HEUBERGER [email protected] 847/954-7986

Designer CATHY LEPENSKE [email protected] 847/954-7964

Contributing Editors LARRY PALMER Harpsichord

JAMES MCCRAY Choral Music

BRIAN SWAGER Carillon

JOHN BISHOP In the wind . . .

GAVIN BLACK On Teaching

Reviewers Mark Konewko

Steven Young

John Collins

EventsLongwood Gardens, Kennett

Square, Pennsylvania, continues organ recitals: March 6, Jackson Borges; 3/20, Neil Harmon; April 2, Paul Jacobs; 4/17, Rebecca Kleintop Owens; 4/24, Eric Plutz. In addition, Longwood Gardens offers its Open Organ Console Day on April 23. For further information: www.longwoodgardens.org.

Marble Collegiate Church, New York, New York, continues organ recit-als: March 10, Richard Elliott, principal organist of the Mormon Tabernacle Choir in Salt Lake City; April 29, Diane Bish. More information on the concerts is avail-able at www.marblechurch.org.

Our Saviour’s Lutheran Church, Arlington Heights, Illinois, is celebrating the 20th anniversary of the installation of their Gabriel Kney organ, Opus 127. Bruce Neswick will present an organ con-cert on March 11 at 7:30 p.m. (free-will offering). On March 12 at 9 a.m., Neswick will lead a workshop, which is sponsored by the Fox Valley Chapter of the Ameri-can Guild of Organists. For information: Barbara Kudirka, [email protected], 847/255-8700.

St. Peter in Chains Cathedral, Cincinnati, Ohio, continues its concerts: March 23, Ancient Offi ce of Tenebrae;

April 13, Tallis Scholars. For information: www.stpeterinchainscathedral.org.

The organists of Christ Church Anglican Cathedral, Montreal, Canada, Patrick Wedd and his assistants Adrian Foster and Alex Ross, played an all-night concert of John Cage’s ORGAN2/ASLSP from 6:30 p.m. on September 4 until 6:30 a.m. on September 5, Cage’s birthday. The concert was preceded by a lecture in which Foster outlined the details of the piece and the other music that would be heard. Both Foster and Ross are McGill University students of Hans-Ola Erics-son, founding member of the Halberstadt Cage project, which is performing the piece over 639 years.

The cathedral’s 63-rank Karl Wilhelm tracker was “prepared” for the concert by removing many weights from the reser-voir, to provide already denatured sounds. The work’s eight movements each lasted one and a half hours, sometimes played by one performer alone, sometimes with all three organists at the console. Sounds ranged from Ross’s presentation of the fi fth movement (the most sparse) in sounds barely audible, to the most dense seventh movement, in which full organ was reached with hair-raising intensity.

In keeping with Cage’s hope that any of his pieces would be performed simul-taneously, Wedd also played Sonatas and Interludes (1948) for prepared piano.

Mark Morton played Improvisation for Snare Drum Alone (1987–90) and Impro-visation for One-Sided Drums with or without Jangles (1987–90), Suzu Enns played Sonata for clarinet (1933), Kimber-ley Lynch sang Aria (1958) and The Won-derful Widow of Eighteen Springs (1942), and Kimberley Lynch, Ann Elbourne, Christopher Moore, and Adrian Foster read from Writing for the Second Time through Finnegans Wake (1977).

Gerhard Brunzema

The Organ Historical Society Library and Archives has acquired the organbuilding documents of Gerhard Brunzema (1927–92), which Brunzema’s

In this issueThis year marks the sesquicentennial of the birth of Ernest

M. Skinner. The Diapason will celebrate the anniversary with a conference on Skinner (see below), which Stephen Schnurr describes. We also present Joe Granger’s narrative of an organ project that gave new life to Skinner Organ Company’s Opus 751. W. Michael Brittenback and Michael Boney report on the 2015 Indiana University Fall Organ Conference, and Martin Goldray reports on two organ academies held this past sum-mer in the Netherlands. One, the International Bach Organ Academy, was led by the late Jacques van Oortmerssen, who died in November (see “Nunc Dimittis” on page 8).

In his column this month, John Bishop compares the funda-mentals of sailing to the foundation of organ building—namely, controlling the wind. Gavin Black continues his discussion of velocity and how to attain it in a relaxed manner. Larry Palmer discusses William Bolcom’s works for harpsichord, especially Le Fantôme du Claveçin.

Our cover feature this month presents a revitalized Aeolian-Skinner instrument at the Church of the Incarnation in Dallas, Texas, by the Noack Organ Company and Richard Houghten.

In preparation

We remind you of the upcoming E. M. Skinner Sesquicen-tennial Conference, to be held April 24 and 25 in Evanston, Illinois. Co-sponsored with the Chicago, Fox Valley, and

North Shore chapters of the American Guild of Organists, the Chicago-Midwest Chapter of the Organ Historical Soci-ety, and the Music Institute of Chicago, the conference will feature instruments designed by Ernest Skinner, at St. Luke’s Episcopal Church, First Congregational Church, and the Music Institute of Chicago. Performers and lecturers include the choral group Bella Voce (directed by Andrew Lewis), David Jonies, Joyce Robinson, Andrew Schaeffer, and Ste-phen Schnurr. Do plan on attending.

20 under 30Our 2016 “20 under 30” nominations have closed. We thank

all who submitted nominations, and we are at work selecting the members of the Class of 2016.

We look forward to introducing the winners to you in our May issue. To advertise in that issue (or any other), please contact our sales director, Jerome Butera, at 608/634-6253 or [email protected]. And make sure that you and your col-leagues are subscribers, so that you’ll see the results!

Here & There

page 4

Letters to the Editor

Gabriel KneyThank you for your article on

Gabriel Kney (“A Conversation with Gabriel Kney: The organbuilder turns 86,” by Andrew Keegan Mack-riell, November 2015 issue). It is both informative and a very warm and well deserved tribute to an incredibly talented organ builder. At eighty-six

Gabriel continues to work at his craft, a reminder to all who have retired that one never stops learning!

I remember fi rst visiting his shop in London, Ontario more than forty years ago; a good friend, Tom Churchill, had begun an apprenticeship there in 1976.

What a joy it is to read about this organ builder, a man who has

accomplished so much in his chosen vocation, and I count myself a better (clergy) man because of his infl uence.

Keep up the good work. Your maga-zine is a delight to read and the photos are superb.

Rev. Robert WrightMadoc, Ontario

Canada

4 THE DIAPASON MARCH 2016 WWW.THEDIAPASON.COM

Here & There

family has donated. The documents include pipe scales and mixture compo-sitions of historic organs in Brunzema’s native East Friesland, Germany; pipe scales and other data from Ahrend & Brunzema, Casavant Frères, and Brun-zema Organs; and drawings of organ cases, organ actions, and organ layouts.

Brunzema began his organbuilding career in 1954. He and Jürgen Ahrend formed a successful partnership in Leer, Germany, only fi fteen miles from his birthplace. In 1972, he joined Casavant Frères as tonal director. Under his lead-ership, Casavant’s mechanical-action department grew and became fi nancially successful. During his short tenure at Casavant, the company built over 300 organs bearing his imprint, 107 of which were trackers. In 1980, the Brunzema family moved to Fergus, Ontario, where Brunzema Organs, Inc. was established. Forty-one organs were built under the Brunzema name in Fergus.

Once organized and put into the library’s online catalogue, the papers will be available for study. For information: www.organsociety.org.

The Durufl é in Paris Choral Festival is offering experienced sing-ers a chance to sing Maurice Durufl é’s Requiem, op. 9, with professional orches-tra in the church where Durufl é worked, Saint-Etienne-du-Mont in Paris, France. The choir will also perform the Requiem

in Chartres Cathedral and participate in Sunday Mass at Notre Dame Cathedral.

The festival is open to individual singers throughout the United States. Spouses are invited as well, and the itinerary includes free time to explore Paris. The festival takes place March 30–April 5, 2017. Application deadline is March 15, 2016. For information: www.durufl einparis.com or view https://www.youtube.com/watch?v=TC0s30jvLa4.

Orgelradio.eu has been established to provide continuous free organ music on the Internet for anyone to experience at any time. The website, in Flemish and English, has themes that change daily. Nico Declerck, head of orgelradio.eu, is actively seeking organ recordings to be sent for inclusion at this website. By March 2016, the site will be offering at least 3,000 tracks of music. For further information, visit www.orgelradio.eu.

Competitions The National Association of Pasto-

ral Musicians is accepting applications for its academic scholarships program for the 2016–17 academic year. One-year scholarships totaling $21,000 and ranging in individual awards between $1,000 and $4,000 are available to full- and part-time undergraduate and graduate students enrolled in studies related to the fi eld of pastoral music. Application deadline is April 8. The NPM is also accepting applications for its program scholarships for shorter learning experiences, such as the organization’s conventions, institutes, and academies. These scholarships have an application deadline of June 10. For further information, rules, and applica-tion forms: www.npm.org.

Normand Gouin

Settings by Normand Gouin of the entrance and communion antiphons for the Chrism Mass from the new Roman Missal were the winning entries in the 2015 Propers Composition Contest sponsored by the Conference of Roman Catholic Cathedral Musi-cians (CRCCM). Compositions were received from 25 contestants in North America and Europe.

The winning antiphons were per-formed at the annual meeting of the CRCCM, January 4–8, held at St. Joseph Cathedral, Hartford, Connecticut, and St. Michael the Archangel Cathedral, Springfi eld, Massachusetts. The con-test prize of $1,500 was presented to Normand Gouin, who was present for the performance. The antiphon settings scored for congregation, choir, cantors, organ, and optional brass, timpani, and fl ute will be published by MorningStar Music. The judging panel consisted of Michael Batcho (Milwaukee), Marie Rubis Bauer (Omaha), Anthony DiCello (Cincinnati), Brian Gurley (Albany), and James Savage (Seattle).

Normand Gouin serves as an assistant chaplain and director of liturgy and music at the College of the Holy Cross in Worcester, Massachusetts. He has been commissioned to write works for cathedrals, churches, and religious com-munities throughout the country. Gouin’s hymn, “Sound the Bell of Holy Free-dom,” written in collaboration with Rev. Andrew Ciferni, O. Praem, was selected as the offi cial hymn for the World Meet-ing of Families and the fi rst visit of Pope Francis to the United States. The hymn was performed at the Papal Mass in Phila-delphia on September 27, 2015.

People

Gail Archer

Gail Archer performs concerts: April 3, Lord of Life Lutheran Church, Sun City West, Arizona; 4/10, Brevard Presbyterian Church, Brevard, North Carolina; 4/17, First Reformed Church, Scotia, New York; 4/22, Brahms, Requiem, Church of the Ascension, New York City; 4/24, Grace Episcopal Church, Brooklyn, New York; May 27, Trinity Church, Copley Square, Boston. For information: www.gailarcher.com.

page 3

Arp Schnitger (1648–1719) is regarded as the greatest organbuilder of the northern European baroque and one of the greatest builders of all time. Of the approximately 170 instruments from his Hamburg workshop built for churches and patrons as far afi eld as Russia, Portugal, and England, many remain close to their original condition, primarily in northern Germany and the Dutch province of Groningen. Organists from Europe, North America, and Asia travel to Germany and the Netherlands to play, hear, and study these magnifi cent instruments.

No adequate survey of Schnitger’s work has appeared in English. Gustav Fock’s Arp Schnitger und seine Schule (Kassel, 1974) was for many years the standard work, but restorations in the past 40 years and additional research have superseded much of what Fock wrote. Arp Schnitger, Organ Builder by Peggy Kelley Reinburg (Bloom-ington, 1982) was not a comprehensive look at Schnitger and is likewise dated.

Fortunately for the organ world, the Arp Schnitger Gesellschaft and the Stichting Groningen Orgelland published a new book appearing in separate German and Dutch editions in 2009—Arp Schnitger und sein Werk/Arp Schnitger en zijn werk (”Arp Schnitger and his work”). Written primarily by the late Dutch organ scholar Cornelius H. Edskes and German organist Harald Vogel, the book discusses the life of Schnitger and his activity in northern

Germany and Groningen. It examines the 45 remaining instruments with complete stoplists and color photographs of the organ cases, and looks at Schnitger organs lost in the 20th century, the master’s activity in Portugal, and organ case designs left by Schnitger. A revised second edition of the German version appeared in 2013. The book’s design and production were of the highest quality.

Since the appearance of the fi rst edi-tion, the Arp Schnitger Gesellschaft has been in touch with the Organ Historical Society about an English translation. As it turned out, the Göteborg Organ Art Center (GOArt) in Göteborg, Sweden, using native English speakers, has taken the lead in translating the second German edition into English. Because the latest research is being incorporated into the English translation, this new book from Edition Falkenberg will contain the most up-to-date information on Arp Schnitger and his organs available in any language. Hardbound and with scores of color photographs, no serious organist, organbuilder, or music library will want to miss this book.

Arp Schnitger and his Work is scheduled to appear in the fi rst half of 2016. The German publisher has invited the OHS to solicit subscriptions to this splendid publi-cation from readers in the United States. Further information is available from the OHS at www.organsociety.org/Schnitger.

—James L. Wallmann

page 6

Sts. Peter & Paul, Cappel, Germany

Arp Schnitger and his Work

Arp Schnitger and his Work—New Book to Appear

St. Jacobi, Lüdingworth, Germany

St. Ludgeri, Norden, Germany

Leon W. Couch IIIOrganist/Lecturer

Birmingham, Alabama

Rhonda Sider EdgingtonOrganist

Holland,Michigan

Joan DeVee DixonOrganist/PianistHutchinson,MN

Laura EllisOrgan/Carillon

University of Florida

Cristina Garcia BanegasOrganist/Conductor/Lecturer

Montevideo, Uruguay

Michael D. BoneyOrganist/ConductorIndianapolis, Indiana

Henry FairsHead of Organ Studies

BirminghamConservatoire

Daniel BruunOrganist

Copenhagen, Denmark

Shin-Ae ChunOrganist/HarpsichordistAnnArbor,Michigan

Brennan SzafronOrganist/HarpsichordistSpartanburg, S. Carolina

Edward TaylorOrganist/ Choral ConductorCarlisle Cathedral, UK

Michael UngerOrganist/Harpsichordist

Cincinnati, Ohio

Rodland DuoViola and Organ

Eastman School ofMusic/St. Olaf College

Christine Westhoff& Timothy AllenSoprano &Organ

Little Rock, Arkansas

Ann Marie RiglerOrganist/Presenter

William Jewell College

R. Monty BennettOrganist/Presenter

Charlotte, North Carolina

www.Concert Artist Cooperative.com

Colin AndrewsAdjunct Organ Professor

Indiana University

Faythe FreeseProfessor of Organ

University of Alabama

James D. HicksOrganist

Bernardsville, NJ

Simone GhellerOrganist/Recording Artist

Oconomowoc,WI

Michael KaminskiOrganist

Brooklyn, New York

Johan HermansOrganist/LecturerHasselt, Belgium

Sarah Mahler KraazProfessor of Music/Organist

RiponCollege

Sarah HawbeckerOrganist/Presenter

Atlanta, GA

David K. LambOrganist/ConductorClarksville, Indiana

Mark LaubachOrganist/Presenter

Wilkes-Barre, Pennsylvania

Colin LynchOrganist/Conductor

Boston,Massachusetts

Yoon-Mi LimAssoc. Prof. of Organ

SWBTS, FortWorth, TX

Angela Kraft CrossOrganist/Pianist/Composer

SanMateo, California

Philip ManwellOrganist

Reno, Nevada

Katherine MeloanOrganist/Faculty

Manhattan School ofMusic

Scott MontgomeryOrganist/PresenterChampaign, Illinois

Shelly Moorman-Stah lmanOrganist/Pianist

Lebanon Valley College

Anna MyeongOrganist/LecturerMission, Kansas

David F. OliverOrganist

Morehouse College

Christopher MarksOrganist/Professor of MusicUofNebraska-Lincoln

Beth Zucchino, Founder and Director7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956

a non-traditional representation celebrating its 28th year of operation


Here & There

Wayne Earnest

Wayne Earnest recently retired and moved to Washington, Pennsylvania, after 53 years as a church musician in nine denominations. At age ten he began piano study, later becoming an organ major at West Liberty State College (now West Liberty University), study-ing with Alfred de Jaager and Kenneth Axelson. His master’s degree work was with Robert Glasgow at the University of Michigan and his doctorate with Wayne Fisher at the College-Conservatory of Music of the University of Cincinnati.

During doctoral studies, Earnest taught part-time at Cincinnati Bible College and Seminary. Upon gradua-tion, he worked at Newberry College in Newberry, South Carolina (1979–86), followed by St. David Lutheran Church, West Columbia, South Caro-lina (1986–95), the Old Presbyterian Meeting House, Alexandria, Virginia (1995–2007), and First United Method-ist Church, Ocala, Florida (2007–15). During his tenure in Ocala, he was also conductor of the Marion Civic Chorale. In Alexandria and Ocala, he developed the “Concerts with a Cause” benefi t concert series, which over the years raised thousands of dollars to help those in need. As a recitalist, he performed in the United States, Germany, and the Ukraine. He has authored a number of articles for church music magazines on a variety of topics.

Wilma Jensen presented a work-shop October 9–10, 2015, at Western Springs Christian Reformed Church in Western Springs, Illinois, sponsored by the Southwest Suburban Chicago and the Fox Valley Chapters of the AGO. Jensen taught three classes: develop-ment of natural keyboard technique, which demonstrates many types of touches for technical and musical control, using selections from diverse repertoire; style in hymn playing; and demonstration of church service volun-tary repertoire.

Wolfgang Rübsam

Wolfgang Rübsam recently com-pleted two international concert tours. In December, he performed in St. Rita Catholic Church, Turin, Italy, Luxem-bourg Philharmonic Hall, and Berlin Philharmonic Hall. A ten-day tour of Japan followed in January. Programs of works by Johann Sebastian Bach were performed from memory on January 11 at the Musashino Civic Cultural Center (1984 Marcussen), Tokyo, January 14 at Seitoku University (1980 Flentrop), Tokyo, and January 16 at Izumi Concert Hall (1990 Koenig), Osaka. A masterclass on the interpretation of works by Bach and Max Reger was given at the Tokyo University of the Arts on January 12, with 20 organ students attending. The Japan tour invitation was given by Tadashi Isoyama, artistic director of Osaka’s Bach complete organ works series at Izumi Concert Hall, with set program selections made by musicologist Christoph Wolff of the Bach Archive, Leipzig, Germany.

John Grew

In honor of the many lasting contribu-tions John Grew has made to McGill University in Montreal, a fund has been established by his friends and colleagues to provide fi nancial support for organ and harpsichord students at the Schulich School of Music of McGill University.

John Grew arrived at McGill University in 1971. A leading fi gure among Canadian

organists, he is currently professor emeri-tus at the Schulich School of Music of McGill University. During his time at McGill, Grew helped transform the early music program into the largest of its kind in Canada, trained many of Canada’s leading organists and harpsichordists, and served as dean from 1991 to 1996. He is also founder and artistic director of both the McGill Summer Organ Academy and the Canadian International Organ Com-petition (www.ciocm.org).

In 2005, he received the Distin-guished Teaching Award from McGill University in recognition of his out-standing achievements. The Royal Canadian College of Organists made him an Honourary Fellow in 2011. In 2012 he was awarded the Queen Eliza-beth II Diamond Jubilee Medal in rec-ognition of his efforts as founder of the Musique Royale Early Music Festival in his native Nova Scotia. Musique Royale has just celebrated its 30th anniversary and Grew continues his work as artistic advisor. He was appointed to the Order of Canada in 2015.

Contributions can be given online at https://www.mcgill.ca/seedsofchange/project/john-grew-fund-schulich-school-music; or phone (514/398-8153); or mailed to University Advancement, Schulich School of Music, 555 Sher-brooke St West, Montreal, Quebec, H3A 1E3, Canada.

Boyd Jones

Boyd Jones gave his ninth and tenth performances of Bach’s Goldberg Varia-tions in November 2015, using his Gräb-ner-style German double-manual harpsi-chord by John Phillips (Opus 98). These performances were on November 15 and 16 at St. Peter’s Episcopal Church, Savannah, Georgia, and Church of the Good Shepherd, Augusta, Georgia.

In late May and June of 2016, Boyd Jones will perform eight organ recitals in Germany, in the cities of Bremer-haven, Buchholz, Blandenese, Wands-bek, Emden, Hildesheim, Wetzlar, and Bad Reichenhall.

PublishersMichael’s Music Service announces

new sheet music reprints: Cavatina, by Joachim Raff, arranged by Samuel Whit-ney; Offertoire in D, by George Morgan;

The Swan, by Charles Stebbins; and Suite in G Minor (Allegro Symphonique, Intermezzo, Grand Choeur, Meditation, and Fugue), by Everett Truette.

Additional titles include Scherzo Symphonique by Herbert Fricker; Three Adagios, by Wilhelm Volckmar, with pedaling and registration for the American organ, added by Eugene Thayer; Transcriptions and Arrange-ments, by Fritz Kreisler, transcribed by Philip James; four violin melodies by Fritz Kreisler in beautiful organ settings; and Pop! Goes the Weasel, by Fred Feibel. For information: michaelsmusicservice.com.

Pape Verlag announces the pub-lication of the Lexikon norddeutscher Orgelbauer, Band 3: Sachsen-Anhalt und Umgebung, edited by Uwe Pape and Wolfram Hackel. This comprehen-sive 1,016-page volume (in German) continues Pape Verlag’s series on organ builders. (Volume 1, 2009, only avail-able as a CD, covers Central Germany, Thuringia; and Volume 2, 2012, Saxony). Volume 3 contains information about organ builders in Saxony-Anhalt, in the eastern Lower Saxony, in large parts of Mecklenburg, in the west of Branden-burg and in the Leipzig area, and north-ern Thuringia. The book costs €44.00. For information: www.pape-verlag.de/buecher.htm.

Theodore Presser Company has acquired Falls House Press, a leading publisher of music for fl ute choir, featur-ing the arrangements of Ann Cameron Pearce, Paige Dashner Long, original music of Jonathan Cohen, as well as low fl ute music and pedagogy by Christine Potter, and ensemble and recital music by Gary Schocker. Falls House Press’s catalog now includes almost 500 publica-tions with an emphasis on fl ute.

Theodore Presser Company, the old-est continuing music publisher in the United States, distributes the works of more than 70 American and foreign publishers, with a combined sales cata-log that features over 60,000 titles. For information or to purchase Falls House Press publications: www.presser.com.

Recordings

Mark Pacoe, Crossroads

Mark Pacoe, organist and director of music at St. Malachy’s, The Actors’ Cha-pel in New York City, is featured on a new recording, Crossroads: Music from St. Malachy’s, The Actors’ Chapel (Acis, APL21653). The CD was recorded on the Paul Creston Memorial Organ at St. Malachy’s (1935 Aeolian-Skinner Opus 938/2012 Peragallo), which was fea-tured on the cover of The Diapason’s July 2013 issue. The recording includes works by Bolcom, Bovet, Buxtehude, Eben, Karg-Elert, Jongen, Marais/Ver-hoef, and Wammes. For information: www.acisproductions.com.

page 4

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Hourlong streamcastsare featured at 5pm ET

the first Sunday ofeach month at wrti.org

page 8

IT’S ALL IN THE DETAILS.Discover the resounding tones of a Johannus organ. A quality American organ with Dutch roots echoing the master craftsmanship across centuries of rich European history. See it. Feel it. Hear it. Enjoy!

Studio 170

www.johannus.com


Here & There

MANDER ORGANS

St. Peter’s Square - London E 2 7AF - England

[t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718

[e] [email protected]

www.mander-organs.com

New Mechanical Action Organs

ExquisiteContinuo Organs

Imaginative Reconstructions

AUSTINORGANS.COM

Organ BuildersOn January 4, Roland Corporation

agreed to the Dutch Vandeweerd fam-ily’s acquisition of the American com-pany, Rodgers Instruments, effective January 15. The Vandeweerd family has been the owner of Johannus, Makin, and Copeman Hart for decades.

Founded in 1958 by Rodgers W. Jenkins and Fred Tinker, the Rodgers company has grown to become one of the leaders in the American organ mar-ket. After Rodgers became a subsidiary of Roland in 1988, Rodgers continued to develop digital organs and to emulate authentic pipe organ sounds. CEO and

Representative Director Jun-ichi Mik says, “Thanks to that constant focus on quality and beauty, Rodgers has man-aged to maintain its status as a premium brand up to the present day.”

Since 1969 as the parent organization behind Johannus, the Vandeweerd family is the owner of one of the largest organ

builders in the world. Johannus is the market leader in Europe, is number three in the United States, and holds a leading position in emerging markets such as Asia and Africa. The Johannus collection encompasses a broad range of instruments varying from affordable, small organs for private homes to large, handmade organs for churches and concert halls.

The addition of Rodgers, a company that is active exclusively in the digital organ market, will allow the Vandeweerd family to further perfect its segment of the global organ market. Rodgers will remain a fully American brand and company. The authentic American sound adds to this legacy, and instruments will continue to be made in the United States of America.

President Marco Vandeweerd says, “We are confi dent that the acquisition of Rodgers represents an important step on the road to further professionalization and innovation. Thanks to the strength of shared knowledge and experience, a worldwide range of products and services and the common goal of producing high-quality organs for the top segment for years to come, Rodgers’ American sound will continue to resonate in the future.”

Casavant Opus 3905, Cathedral of the Im-maculate Conception, Beijing

Casavant Frères’ 2015 achievements included the dedication of two new organs in Catholic institutions in Beijing, China. At the Cathedral of the Immaculate Conception (also known as the North Cathedral), built in 1904, the two-manual Opus 3905 was dedicated on December 5 in a recital by Isabelle Demers. Earlier in 2015, one of the fi rm’s “Inspiration” organs was dedicated at Beijing’s St. Michael Seminary, the fi rst of this series of organs to be sent to Asia. In South Korea, a two-manual organ was dedicated at Dongshin Presbyterian Church, featured in recital by SoIn Park, of the Presbyterian Univer-sity and Theological Seminary in Seoul. His recital attracted a full house and fea-tured a premiere of his Organ Fantasia on Come, Thou Fount of Every Blessing. For information: www.casavant.ca.

Nunc DimittisPeter Collins, British organbuilder, died October 24, 2015,

after a brief illness. Born in 1914, Collins established his own organbuilding fi rm in 1954, after serving as apprentice with Bishops of London and Rieger of Austria. During his career he was well respected for his neo-classical mechanical-action instruments. Some of his more notable installations include instruments for St. David’s Hall, Cardiff; St. Peter Mancroft, Norwich; and Queensland Conservatorium, Brisbane, Aus-tralia. Other instruments made their way to Norway, France, Germany, the United States, China, and Korea. His fi nal installation was fi nished in 2015 for the St. Albans Interna-tional Organ Festival, his second for the festival. The earlier instrument, fi nished in 1989, was inspired by the work of Gottfried Silbermann.

Robert Morton Cundick, Sr., organist and composer, died January 7 at the age of 89. He was a long-time organist of the Mormon Tabernacle in Salt Lake City, Utah, where he accompanied the Mormon Tabernacle Choir and was fre-quently heard on the weekly broadcast, Music and the Spoken Word. Cundick was born in 1926 in Salt Lake City, and by the age of twelve, he began service to his congregation as organist. He became a student of Tabernacle Organist Alex-ander Schreiner. After service in the United States Merchant Marine in World War II, Cundick attended the University of Utah, where he earned BFA, MFA, and PhD degrees from the university, the latter in composition. During his studies, he married Charlotte (Cholly) Clark, who was his organ stu-dent. In 1957, Cundick joined the faculty of Brigham Young University. In 1962, he was called to London, England, to serve as organist at the new Hyde Park Chapel of the Latter Day Saints, where his duties included a daily organ recital and broadcasts. After two years’ service there, he returned to Brigham Young. He served as an organist to the Mormon Tabernacle for 27 years.

In 1970 he was the fi rst recipient of the American Guild of Organists’ S. Lewis Elmer Award, granted each year to the person who attains the highest score in either the Asso-ciateship or Fellowship examination. Cundick oversaw the 1980–83 installation of a 3-manual mechanical action organ by Robert Sipe in the Assembly Hall, the 1985–89 renovation of the 5-manual organ in the Tabernacle, and the design of the 1993 2-manual Casavant organ in the chapel of the Joseph Smith Memorial Building.

Following retirement in 1991, Cundick and his wife served as Directors of Hosting for the BYU Jerusalem Center in Jeru-salem, Israel. Cundick was an avid composer and supporter of Mormon and Utah composers. In 2004, the Church of Jesus Christ of Latter-day Saints presented its Pearl Award of Life-time Achievement to Cundick. Cundick’s compositional work spans numerous genres, including cantata (The Song of Nephi) and oratorio (The Redeemer). Robert Cundick is survived by his wife Cholly, children Robb (Laurel), Tom (Betsy), Ann Adams (Rob), Ruth Jackman (Dave), and Dave (Kim); brother Bert and sister Carol Hoopes (Grover), 23 grandchildren, and 38 great-grandchildren.

Dutch organist, com-poser, and conductor Jacques van Oortmers-sen died November 21, 2015. He was 65. Born in 1950 in Rotterdam, the Netherlands, he studied at the Conservatory of Rotterdam, where he com-pleted his soloist diplomas for organ, as a student of André Verwoerd, and for piano as a student of Elly Salomé; he did postgradu-ate study with Marie-Claire Alain in Paris. Awarded the Prix d’Excellence in 1976, he won the fi rst prize the

National Improvisation Competition in Bolsward, Nether-lands, in 1977, and was runner-up in the Tournemire Prize in St Albans.

Oortmerssen served as professor of organ at the Conservatory of Amsterdam since 1979. In 1982 he succeeded Gustav Leonhardt as titular organist at the Waalse Kerk in Amsterdam, where he played the 1734 Christian Müller organ. Oortmerssen performed and taught at major festivals around the world and served as visiting professor at numerous European conservatories, as well as on the advisory board of the Göteborg Organ Art Center (GOArt) at the University of Gothenburg. His many recordings include the organ works of J. S. Bach (only nine volumes were released), and the works of C.P. E. Bach and Johannes Brahms.

Dennis P. Schmidt, 66, of Narragansett, Rhode Island, died October 19, 2015, at Rhode Island Hospital. Born in LeMars, Iowa, he was the son of Ruth E. F. (Hilgeman) Schmidt of Omaha, Nebraska, and the late Rev. Walter K. Schmidt. A graduate of Dana College from which he received the Distinguished Alumnus Award in 1999, Schmidt earned master’s and Doctor of Musical Arts degrees from the Uni-versity of Michigan and a Master of Divinity from Wartburg Theological Seminary in Dubuque, Iowa. Schmidt performed in recitals around the world; his programs included the com-plete organ works of Bach. An active member of the American Guild of Organists and the Association of Anglican Musicians, he served as a church organist in numerous parishes. Dr. Schmidt served as the executive director of the Bach Festival of Philadelphia and wrote two books to accompany the Hym-nal 1982. He was the author of numerous reviews and articles for The Diapason.

Dennis P. Schmidt is survived by his wife, Susan E. Hoag-lund, his mother, daughters Julia G. S. Hoaglund and Anne Meiliu S. Hoaglund, both of Narragansett, sisters Linda B. Duda of Omaha and Diane Christenson of Marana, Arizona. Gifts may be made in Dr. Schmidt’s name to the organ pro-gram of the School of Music at the University of Michigan, 1100 Baits Dr., Ann Arbor, MI 48190.

Jacques van Oortmerssen (photo credit: © Hester Doove)

W W W . R O D G E R S I N S T R U M E N T S . C O M • 5 0 3 . 6 4 8 . 4 1 8 1

INSPIRATION, INNOVATION, AND ASSURANCE SINCE 1958

Rodgers made its name with technological breakthroughs that have defined progress in the entire organ

industry: the first solid state all-transistor organ; the first successful pipe combination organs, and the first

organs to use MIDI. Our history of innovation continues with the ability to program a thumb and/or toe

piston to instantly turn the pages of sheet music stored on a mobile device. A high-powered USB port

located on the end of the music desk provides a continuous charge for any USB device, including a tablet,

smartphone, or fan. You can also play music files remotely using Rodgers' free smartphone app.

Visit Rodgers at exhibit booths 523, 524 and 525 at the AGO National Convention in Houston!


Here & There

A R T I S T R Y – R E L I A B I L I T Y – A D A P T A B I L I T Y

Church of Saint Jude the ApostleWauwatosa, WisconsinThree manuals – forty ranks

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Jason Charneski has been appointed direc-tor of music and organist for Rye Presbyterian Church, Rye, New York. He succeeds Kevin Walters, who retired from the church after 21 years of service. At Rye Church, Charneski directs the Chancel Choir, supervises the cho-ral program for children and youth, and plays the church’s two Casavant organs. In addition, he will implement the new Glory to God hym-nal of the PCUSA and work with pastors and lay leaders to develop a third weekly service of worship. Charneski comes to Rye follow-ing 14 years of service to the First Church of Christ (United Church of Christ), Hartford, Connecticut, also known as Center Church. He holds degrees from the Eastman School of Music, where he studied with David Higgs, and the University of North Carolina’s School of the Arts, where he studied with John Mitchener.

Vincent Dubois has been appointed titular organist of the Great Organ at Notre-Dame de Paris. He succeeds Jean-Pierre Leguay, who has been appointed organist emeritus of Notre-Dame Cathedral follow-ing his retirement at the end of 2015. Dubois was appointed the newest of three titular organists of Notre-Dame Cathedral in Paris, where he will serve along with the two other titular organists, Olivier Latry and Philippe Lefebvre. A graduate of the Conservatoire National Supérieur de Musique in Paris where he was a student of Olivier Latry, Dubois earned fi rst prizes in organ, harmony, counter-point, fugue, and 20th-century composition.

Early in his career Dubois won the Recital Gold Medal at the 2002 Calgary International Organ Competition, and the Grand Prize at the 2002 International Competition of Toulouse, France. These prizes led to Dubois’ performing in major concert venues throughout Europe, North America, Asia, and the Pacifi c, including at such music festivals as Cam-bridge, Stuttgart, Dresden, Vancouver, Montreal, Chartres, and Roskilde. He has also appeared as guest soloist with orchestras and ensembles, including the Philadelphia Orchestra, the Los Angeles Philharmonic, the Hong Kong Philharmonic, the Orchestre Philharmonique of Radio France, the Orchestre National de France, the Orquesta Filharmonica del Gran Canaria, the Orches-tre de Picardie, and the Orchestre de Bretagne. His performances have been broadcast over Radio France, the O.R.F. Vienna, CBC Radio Canada, Australian Radio and American Public Media’s Pipedreams.

Dubois has been invited to teach organ masterclasses at institutions that include Yale University, Curtis Institute of Music in Philadelphia, Oberlin College, Baylor University, St. Paul University, and Emory University. He was recently appointed Continuing Guest Artist at the University of Michigan in Ann Arbor where he continues with teaching residencies each season.

His recordings include a CD of the organ music of Franz Liszt (Vox Coelestis label); a CD recorded at St. Sulpice in Paris (JAV label); and a recording at St. Etienne de Caen, which features the complete 3rd Symphonie of Louis Vierne and the op. 7 Preludes and Fugues of Marcel Dupré (Radio France and Tem-péraments label). In addition to his extensive performing and teaching, Dubois has held the post of Director General of the Strasbourg National and Superior Conservatory of Music in France since March 2012.

Katelyn Emerson has been appointed associate organist and choirmaster of the Church of the Advent in Boston, effective September 1, 2016. She will assist Mark Dwyer in running the extensive music program, including providing service music on the historic Aeolian-Skinner organ, Opus 940, and directing

both the Choir of the Church of the Advent and the Parish Choir in weekly services, even-songs, and concerts.

Emerson will assume her duties upon returning from a year of concertizing in Ger-many, Belgium, Russia, and France through a 2015–16 J. William Fulbright Study/Research grant in Toulouse, France. Prizewinner of numerous competitions, most recently the Fifth International Organ Competition Pierre de Manchicourt in Béthuen and Saint-Omer, France, the 2015 Arthur Poister Scholarship Competition in Syracuse, New York, and the VIII Tariverdiev International Organ Com-petition in Kaliningrad, Russia, Emerson is one of The Diapason’s 2015 “20 under 30.” She has been on the faculty of the Oberlin Summer Organ Academy and several Pipe Organ Encounters and regularly presents

masterclasses and workshops on music interpretation and sacred music for American Guild of Organist-sponsored events. A graduate of Oberlin College and Conservatory in Ohio with double bachelor’s degrees in organ performance and French, as well as minors in music history and historical performance (fort-epiano), she has studied with Michel Bouvard, Jan Willem Jansen, James David Christie, Marie-Louise Langlais, Olivier Latry, and Ray Cornils. She previously served at Brick Presbyterian Church in New York City with Keith Tóth and St. Paul Lutheran Church in Amherst, Ohio.

John A. Romeri has been appointed the fi rst director of music ministries for the new Christ Cathedral, the cathedral of the Catholic Diocese of Orange, California. Romeri most recently served as director of liturgical music for the Archdiocese of Philadelphia, Pennsylvania, and director of music and organist for that city’s Cathedral Basilica of Sts. Peter and Paul, from 2010–2015. From 1992–2010, he was director of music and organist for the Cathedral Basilica of St. Louis, St. Louis, Missouri. He has also held church and university positions in Pittsburgh, Pennsylvania. Romeri will lead the development of the cathedral parish’s music program as well as the liturgical music program for the major diocesan celebrations in the cathedral after its renovation and dedication.

Christ Cathedral was formerly known as the Crystal Cathedral. Its music program will include choral groups in several languages and ensembles, and a concert and recital program will be instituted as well. Romeri earned a Bachelor of Music degree from the Conservatory of Music, University of the Pacifi c, Stock-ton, California, and a Master of Sacred Music degree from Westminster Choir College, Princeton, New Jersey. In 1998, he was presented an honorary doctorate in humane letters from Lindenwood University, St. Louis. He has served as chair of the national board of directors of the National Association of Pastoral Musicians and was named that organization’s “Pastoral Musician of the Year” in 2003.

Timothy E. Smith has been appointed organist and choirmaster of Trinity Memo-rial Episcopal Church in Binghamton, New York. He succeeds the late Peter Browne. Smith holds organ performance degrees from Wheaton College, Northwestern University, and the Boston Conservatory. He is executive director of the Portageville Cha-pel in Portageville, in western New York. The historic building, once a Universalist church, was restored in 2007 and equipped with a two-manual 1982 Schantz pipe organ and a 1915 nine-foot Knabe grand piano. Smith is also an organ builder who owns Chesa-peake Organs, a northeast regional company specializing in organ rebuilding, tuning, and tech service.

Katelyn Emerson

Timothy E. Smith

Jason Charneski

Vincent Dubois (photo credit: Elie Galey)

Appointments


William Bolcom’s Compositions for Solo Harpsichord

The path to knowledge is oft-times a roundabout one! Preparing to write an essay on harpsichord music of the modern revival period, I decided to solicit lists of favorite pieces from this repertoire from colleagues who actually interact with it, either as performers, historians, or musically astute listeners. This exercise has produced, thus far, a basic reaffi rma-tion for the canon of well-known works, occasionally augmented by a complete surprise. Thus it was when Britain’s Jane Clark included among her choices an American solo piece totally unknown to me: William Bolcom’s Le Fantôme du Claveçin, composed in 2005, but unheard in concert performance until its May 11, 2010, inclusion in a recital by Greek-German harpsichordist Andreas Skouras at the Handel House Museum in London. That Jane would champion this particular work is not surprising; she is a leading authority on the music of François Couperin, and Bolcom’s “Ordre,” comprising nine movements, each titled in French, presents a credit-able suggestion of what Couperin might sound like had he been born in the late 20th or early 21st century.

The 1988 Pulitzer Prize-winning com-poser William Bolcom shares a birth year (1938) with ye olde harpsichord editor (as does a liberal sampling of prominent composers—among them John Cori-gliano, Calvin Hampton, John Harbison, Joan Tower, and Charles Wuorinen, to name a few). I had the honor and privi-lege of playing the fi rst performance of Bill’s Just As I Am from the very fi rst set of Gospel Preludes for Organ (1979)—a Dallas AGO commission made during my term as chapter dean. Our paths have crossed occasionally since then, and I am totally addicted to the superla-tive recordings of cabaret and Broadway songs made by pianist Bolcom and his wife, the silver-voiced soprano Joan Morris—recordings that continue to set the standards for tasteful musical inter-pretations of these glorious works by Rodgers and Hart, the Gershwins, and their contemporaries.

So, confronted by the mention of a harpsichord piece of which I knew noth-ing, I consulted Bolcom’s website, and there discovered not one, but two solo harpsichord works, the second of which dates from 2015. This was just too tanta-lizing to ignore, so I wrote the composer, and, within a few hours, received this cordial and welcome reply:

I’m delighted you are interested in the Fantôme. I wrote it to thank Davitt Moron-ey for the use of his house while [I was] at Berkeley in 2005 (which house, I’m sad to say, I didn’t leave in as perfect order as I’d

like to have done . . .) I’ll be sure to get you a published copy of it, and can ask my pub-lisher to get you the little piece (The Vic-arage Garden) I wrote in memory of Ruth Black. Her father was a vicar in England, in the Dorchester area, and I imagined his garden and little Ruth among the fl owers. She was the widow of Arnold Black, who was, I thought, the mayor of the upper West Side musicians’ ghetto—both [were] very close friends.

When the requested scores arrived the following week I rushed to my favorite harpsichord, Richard Kingston’s 1994 Franco-Flemish masterpiece—the only instrument in my collection that has the requisite FF–g3 compass, as well as a resonant, singing treble range—and immediately played through Bolcom’s newest harpsichord solo. Slightly exceed-ing two minutes, The Vicarage Garden bears the tempo indication Allegretto à l’anglaise, and offers a bucolic, lightly swinging tone picture, complete with some unexpected cross relations (as in the fourth measure with its simultane-ous G-sharp and G-natural). Nostalgic, and not extremely diffi cult, this charmer belongs in the same company as Herbert Howells’s second collection of clavichord

pieces (Howells’s Clavichord) from the 1950s. Bolcom’s work, completed on May 25 last year, suits the harpsichord impeccably and is a delight both to hear and to play. Imminent publication plans may be tracked via the publisher’s web-site: www.ebmarks.com.

Its fi rst performance was given by harpsichordist Gregory Hayes as the fi rst of four pieces commissioned in memory of Ruth Black for a memorial event on August 30, 2015, at the Federated Church in Charlemont, Massachusetts. Black was a founding member of the Mohawk Trail concert series and, for 46 years, its executive director. Her impact on the regional art scene was quite evident in the beautifully organized pro-gram given to honor her memory; of the four composer friends who wrote new music for the concert, two were Pulitzer laureates (Bolcom and Lewis Spratlan [Hornpipe for Ruth]), and the others well known: John Clark [Without E’er a Key] and Alice Parker [Three Emily Dickinson Songs]. Preceding two harpsi-chord pieces, Debussy’s Syrinx for solo fl ute was heard offstage. Hayes then pro-grammed Louis Couperin’s elegiac Tom-beau de Mr. Blancrocher and followed it with Bolcom’s lovely miniature. In addi-tion to the premiere performances, folk song settings by Britten and Schubert’s An die Musik and Notturno completed the musical tributes.

The nine movements of Bolcom’s Phantom of the Harpsichord begin with an unmeasured prelude: Le Monstre Souterrain. Very free, without strict time, the composer sets it primarily in the deep, rich bottom octaves of the harpsichord, beginning with the lowest note on the keyboard, F, and builds a full minor chord. There are glissandi on both natural and chromatic notes, some commanding bitonal chords, and a som-ber cadence in B minor—a threatening tritone away from the opening fl ourish. II, L’Allemande Hargneuse—pompously dotted and majestic; III. La Pucelle-Cantatrice—gracious, singing, and very intimate; IV. Courante des Souris de

l’Opera is a quick, light pièce croisée set in the highest ranges of both uncoupled keyboards. V. L’Insouciant, Le Soucieux, and L’Enragé form a complex rondeau, utilizing specifi ed notes inégales and égales—charming and delightful with beginning and ending in B major and interior couplets in B minor. VI. L’Air du Temps Perdu—stately and lyrical, with a swinging beat, it is a movement I plan to pair with The Vicarage Garden for a forthcoming recital—since both eloquently suggest “times of old.” VII. Danse des Critiques presents quick alter-nating dissonant chords in various tonali-ties. VIII. Sarabande des Profondeurs is characteristically grave and very slow, rooted once again in the lowest octave of the instrument and the key F minor, the key of fear and doubt. IX. Very lively: La Gigue-Bataille, in which the battle is represented by vigorously athletic arpeggios that will require some diligent daily practice!

The titles are not given in English translation, which serves both to high-light the Frenchness of the work and, for many of us, will serve as a research assignment with a French dictionary. A splendid page of Notes to the Performer provides practical explanations of the ornaments, all of which follow 18th-century French practices. Accidentals, of which there are many, are used in the traditional way, with enough cautionary ones in place to give relative certainty as to the composer’s intent. Registra-tion and manual indications for a large two-keyboard instrument are indicated as well. The 24-page score is clearly printed, and careful attention has been given for ease of page turns. Published by Edward B. Marks Music Company (www.ebmarks.com), ISBN 978-1-4768-1858-1, it is priced at $17.99 and distrib-uted by the Hal Leonard Corporation (catalog #HL 103357).

Comments and news items are always welcome. Address them to Dr. Larry Palmer [email protected] or 10125 Cromwell Drive, Dallas, TX 75229.

Harpsichord News

Le Fantôme du Clavecin William Bolcom and Joan Morris

The Vicarage Garden (Copyright © Edward B. Marks Music Company and Bolcom Music. Used by permission.)

1-800-621-2624foleybaker.com

Saving organs throughoutAmerica....affordably!

By Larry Palmer


Reviews

Music for Voices and Organby James McCray

Choral works with fl ute and/or oboe

It is the duty of the composer, like the poet, the sculptor or the painter, to serve his fellow men, to beautify human life and point the way to a radiant future. Such is the immutable code of art as I see it.

—Sergei Prokofi ev (1891–1953)Quoted in Claude Samuel, Prokofi ev

There are numerous reasons why fl ute and oboe are such popular addi-tions to church choir performances. They are both C instruments, and many editions provide music for any C instrument, giving free choice to direc-tors. With these soft woodwinds there is far less chance of the choir being covered, as is often the case with brass instruments. There are many more fl ute players typically than oboists; however, including the sensitive sounds of an oboe usually brings extra warmth to an anthem.

The music is rarely diffi cult when any C instrument is called for. When the exact instrument (fl ute or oboe) is des-ignated in the score, its music is usually somewhat more challenging. In those instances the music is treated more as a solo than an obbligato.

Ranges of these instruments may have to be considered in the choice of which instrument would be best used, although for most editions that call for any C instrument, the music could be played by either instrument. The reviews below are specifi c in most of the settings.

Directors who add an extra instru-ment to their weekly anthem will be pleasantly surprised by the acoustic and stylistic change. Congregations and choir members are certain to appreciate the difference in sound.

Also, in future performances, inter-changing oboe for fl ute will provide the music a remarkable freshness. It is suggested that in many cases using fl ute in the autumn and/or oboe in the spring will make it easy for the choir to use the purchased anthem twice in the same year if the text is suitable, saving lots of rehearsal time.

More and more publishers are offer-ing Internet downloads for instrumental parts and complete scores, and this is a cost saving for them and the consumer. At least one publisher has now advised that all new choral releases are only available for purchase as digital PDF downloads from its website.

Choral works with fl uteIn Thee Is Gladness, Giovanni Gas-toldi, adapted by Scott M. Hyslop. Unison, organ or piano, two fl utes, and hand drum, Concordia Publish-ing House, 98-4175, $2.00 (M-).

The unison choir part has texts in English or German, with large repeated sections for both verses, making it espe-cially easy. The second verse is particu-larly joyful. In a light and quick style, the two fl ute parts are on separate lines in the score with individual parts also at the end of the score. The hand drum only plays in the introduction and during the fi nal phrases of verse two; its music is only in the score. This is an easy, happy setting that is especially useful for choirs with limited and an unbalanced number of singers.

You Are Mine, David Haas, arr. Mark Hayes. Two-part mixed with optional fl ute, Hope Publishing Co., C5934, $2.30 (M-).

This very popular David Haas setting has been updated for an easier choir arrangement with an optional fl ute. The same basic melody is heard, but with a much simpler choral setting, a busier piano part, and the addition of a fl ute that plays through most of the anthem. The piano part is independent with arpeggios, dramatic fl ourishes between choral phrases, and some bold chords. Although this arrangement loses the simple innocence of the original, it will still be attractive to those wanting effec-tive music and message.

Leaning on the Everlasting Arms, Eric Nelson. SATB, fl ute, cello, and piano, MorningStar Music Publish-ers, MSM-50-8970, $2.25 (M).

This setting of an old (1887) and popular hymn tune has three verses, with Amazing Grace inserted for a unison male passage that occurs before the fi nal verse. There are extended instrumental sections where the fl ute and cello play with fl owing, arpeggiated piano passages. This tranquil setting in 12/8 has a style that highlights its older character and should be a favorite with many church choirs. Separate fl ute and cello parts may be downloaded from MorningStar, although their long, sus-tained lines are not diffi cult and appear in the choral score.

God Is Near, Chris de Silva. SATB, fl ute, guitar, string quartet, and keyboard, GIA Publications, G 8314, $2.05 (M).

A refrain may be sung by the congre-gation, and their ten-measure music is included for duplication. The fi rst two verses are repeated and feature a soloist singing above an “ooing” choir. There is a separate fl ute part; however, it does not appear in the choral score. The keyboard part is easy, and the work could be per-formed without the string quartet.

The Round Day, from Three Sacred Songs, Derek Healey. SATB, fl ute, and ad lib piano, ECS Publishing, No 7540, $1.95 (D).

The choral parts are not diffi cult, but an accomplished fl ute player may be needed. The piano music is marked ad lib, but that part is written out on the choral score. There are four verses with a few divisi areas, some minimal coun-terpoint, and a generally calm style to the sophisticated music.

Choral works with oboeI Heard the Voice of Jesus Say, James Biery. SATB, oboe, and organ, Morn-ingStar Music Publishers, MSM-50-8385, $1.85 (M).

The oboe music is limited and more of an obbligato line above the choir. Its music may be played also by fl ute or violin, and there is a free download of this part from the publisher. When Jesus speaks in the text, the music is in unison, followed by a choral response for the remainder of the verse text. The easy organ music is on two staves with registration suggestions. Simple but effective setting of this Horatio Bonar (1808–1889) text.

O Savior of Our Fallen Race, Keith Getty, arr. Daniel Grassi. SATB, optional oboe, and piano, Concordia publishing House, 98-4139, $2.00 (M).

This very expressive setting incorpo-rates the chant Veni redemptor gentium and begins with a rubato introduction. The choral parts are on two staves and often have a chant-like character, espe-cially in their tempi. There is a separate oboe part on the back cover, and its music is mainly a contrasting line to the choir. The piano music builds to the third verse where it erupts in right-hand sixteenth-note passages that build ten-sion; the setting ends quietly.

Jesus Keep Me Near the Cross, Jona-than S. Campbell. SATB, oboe or C instrument, and piano, Augsburg For-tress, 978-1-4514-9252-1, $1.95 (M-).

This Fanny J. Crosby (1820–1915) text receives a gentle, lilting treatment in 3/8. There is little actual four-part writing; most is in a two-part texture. The fi rst 34 measures are for choral humming. The oboe plays a sweet line; it is heard in almost every measure. The piano usually accents the rhythmic 3/8 pulse. Instrumental parts (oboe/C instrument) are available for download. Easy music for all parts.

Choral work with fl ute and oboeIn Christ an Inheritance Is Ours, Michael D. Costello. SATB, fl ute, oboe, and organ with optional congre-gation and cello, MorningStar Music Publishers, MSM-60-6010, $1.85 (M-).

There are fi ve verses with the con-gregation singing on three of them; this music is on the back cover for duplica-tion. The organ music is on two staves; it has an extended introduction, and then plays interludes between verses. The fl ute and oboe are limited, however. Full score and reproducible parts are available as MSM 60-6010A from the publisher. The text is by the composer and based on Ephesians 1:11–23.

Book ReviewsDeep River: The Life and Music of Robert Shaw, by Keith C. Burris. GIA Publications, Inc., G-7814, ISBN 978-1-57999-975-9, $45.00. Hard-cover, 631 pages with DVD enclosed.

Keith C. Burris is an eclectic author writing on politics, government, cul-ture, and the arts. He holds a PhD from the University of Pittsburgh. Burris is the associate editor of The Blade in Toledo, Ohio.

Deep River: The Life and Music of Robert Shaw is a biography that is both an unrestrained and thorough observa-tion of the intricacies of Robert Shaw and his persistent quest to change the American choral art. This biography makes clear “that the soul speaks more clearly through music than anything else.” Shaw’s relentless drive to improve the choral art in America has left a legacy for all choral directors and singers.

This comprehensive in-depth refl ec-tion on the life of Robert Shaw is orga-nized into six sections, preceded by a prologue and followed by an author’s note and acknowledgments. The prologue sets the stage for Shaw as a self-invented American fi gure in choral music. Part one, “Roots,” is a detailed account of the family and early develop-ment of Shaw. It captures the innocent and simple character of Shaw. Part two, “Formation,” exposes the most impor-tant infl uences on Shaw, most notable Toscanini, Szell, and Herford, along with Hindemith, Casals, and Serkin. Part three, “Mission,” describes Shaw’s move to Atlanta. Here again, after rebuilding a chorus of Atlanta singers and returning from a tour of Europe with the recon-structed Atlanta Symphony Orchestra, Shaw shines with enormous successes while his personal life is shrouded in insecurity, leading to another dip into depression that could be accompanied with alcohol abuse.

Part four, “Heritage,” addresses the dissimilarity between live performance and recording. The relationship between Telarc and Shaw was reciprocally fruitful. Part fi ve, “Purity,” presents an introspec-tive Shaw analyzing the master compos-ers and correlating their work with the divine. Finally, part six, “M=L=G, music equals love equals God,” is a reversal of the expected God equals love equals music. For Shaw, music comes fi rst.

The book’s fi fteen appendices are valuable resources; they include Shaw’s historical timeline of accomplishments,

page 14

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Reviews

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awards, performance history, record-ings, letters, and sermons. Particularly interesting are three meditations on Bach in Appendix IX. This biography also includes a DVD that is very infor-mative since the viewer can “witness” a rehearsal and performance at Boston University of Brahms’s Requiem.

This biography is an easy read in part because of the sentimental writ-ing of Burris. This reader often times feels as if epic stories were being told in a domestic setting. Deep River is an important source for the historical development of choral music in Amer-ica. Recommended.

—Mark KonewkoShorewood, Wisconsin

New RecordingsMusic of René Louis Becker, vol. 2. Damin Spritzer plays the 1880 Cavaillé-Coll organ at the Cathé-dral Sainte-Croix, Orleans, France. Raven OAR 949, $15.98, includes shipping; www.ravencd.com.

This second volume in the series of recorded organ works of René Louis Becker (1882–1956) presents a wealth of new music for the listener, as nearly every piece on this disc is recorded here for the fi rst time. Damin Spritzer’s col-orful registration choices illustrate the capacities of the magnifi cent Cavaillé-Coll organ in the Cathedral of the Holy Cross, Orleans, France, offering a sumptuous sonic palette that will inspire future interpreters of the music as well. This instrument was restored between 2004 and 2008 by Bernard Hurvy, who maintained the design of its builder, making it a rare and perfect example of Cavaillé-Coll’s style and voicing.

The selections cover many years of Becker’s career as organist and com-poser. Becker was born and raised in France, but composed all these works while he was living in the United States, which raises the question of why one would choose a French cathedral for this recording project. Spritzer answers this query in her well-crafted notes, stating that “[as Becker did] years of study at the Strasbourg conservatory, the organs . . . should therefore be considered as infl uential on the style of composition in his earliest published works,” many of which are featured here. Among those early works are two of the Twelve Com-positions, op. 16, Becker’s fi rst published compositions. These works, Interlude and Prelude, are stylistically reminiscent of Brahms and Mendelssohn.

According to Spritzer, the toccata was one of Becker’s favorite compositional forms, and this recording is replete with

them—four in all, but each with its own distinctive traits. The Toccata in B-fl at Major, “Ita Missa est,” op. 69c—dedi-cated to Clarence Eddy, who praised Becker for his contrapuntal writing abilities—uses fragments of Gregorian chant. The second toccata is a favorite of mine, the Toccata in D Major, op. 32. It recalls the G Major Toccata of Théodore Dubois and is about the same level of diffi culty. I strongly encourage readers to learn and perform this spirited work. The Toccata: Benedicamus Domino, op. 68a, also cites chant incipits throughout, presenting the full chant in the fi nal measures, played by the pedal in octaves. The fourth toccata is the closing move-ment of the First Sonata in G Major, op. 40, discussed below.

The remaining pieces include a dra-matic Postlude, a lyrical Cantilène, a feisty March, and the First Sonata. The sonata, published in 1912, is, accord-ing to Spritzer, “Becker’s largest, most sophisticated, and most signifi cant work.” In fi ve movements, lasting some twenty-seven minutes, the work recalls the larger sonatas and symphonies of the great French Romantic organ com-posers, Guilmant and Widor; the piece is perfectly suited to the organ and the acoustic of the Orleans cathedral.

The sonata’s opening Praeludium festi-vum has the dramatic features of a recita-tive, with its theme punctuated by chords, and a four-voice fugue in the middle section. The second-movement Dialogue is a “song without words” in the style of Widor, and the light and lively Scherzo makes use of the singing fl utes found on this wonderful instrument. Prayer, the fourth movement, features some wonder-ful chromatic alterations in its three state-ments of the theme. The closing Toccata recalls the music of both Dubois, in terms of the level of diffi culty, and Boëllmann, echoing the conclusion of Boëllmann’s famed Suite Gothique (op. 25) in the fi nal pedal line with which Becker’s sonata concludes triumphantly in G major.

In all, this is a wonderful recording with some fi ne music. If there is a com-plaint to be made, it is that so much of this music relies on the same ternary style writing; one wishes for some variety in formal structure. With Spritzer’s research into this music and her consummate performance abilities, one hopes to hear more of this music on further recordings and in concert performances.

—Steven YoungBridgewater State University

New Organ MusicJohann Jakob Froberger: Keyboard and organ and works from copied sources—Polyphonic works. Volume

V.2, edited by Siegbert Rampe. Bärenreiter BA9212, £37, www.baerenreiter.com.

Volume V of Johann Jakob Froberger’s keyboard works contains works from copied (i.e., manuscript) sources and is subdivided into two. Part 1 contained toccatas, and part 2, the fi nal volume in this new edition of Froberger’s keyboard compositions (which amounts to ten volumes), presents his polyphonic works.

The main section of this volume contains some 21 works determined by the editor to be of certain authenticity. Of these, three full-length pieces are published here for the fi rst time. Ten are variants (mainly stand-alone sec-tions of a longer work, which contain varying degrees of reworking), of which three appear here for the fi rst time, and fi nally eight were included in Howard Schott’s edition for Heugel. Addition-ally a two-voice Fantasia, deemed to be inauthentic, is included for the sake of completeness, as are two further extracts from the Capriccio in F, considered to be spurious arrangements.

Some 23 sources have been consulted, enabling new readings of eleven pieces from the autograph volumes covering some fourteen pages and a few cor-rections required to volume one to be included. The severe style of the fugas and ricercars contrasts well with the lighter air of the capricci.

The three pieces published here for the fi rst time include the Fuga in F Major (FbWV414, 161 measures) and the Fuga in D Minor (FbWV416, 132 measures, its subject being the chromatic fourth). Both are in common time throughout and feature longer note values, with the Fuga in F including eighth notes. The third piece now available for the fi rst time is the Capriccio in E Minor (FbWV519), a multi-sectional work (four sections in common time, common time, 3/2, and 12/8) of 129 measures. A variant of this piece is a somewhat truncated version of the fi nal section.

The pieces previously published in Schott’s edition are the Fantasia in G Major (FbWV 207, here including the heavy ornamentation and the fi nger-ing from the Düben manuscript), the Fuga in C Major (FbWB413, with the variant in halved note values from the New Haven manuscript included here for the fi rst time), and the Fuga in D Minor (FbWV414). (These two Fugas are titled Ricercar by Schott.) All refl ect a more severe approach, with the lighter style including note values down to thirty-second notes, and gen-erally less rigidly contrapuntal capric-cios in G minor (FbWV509), D minor (FbWV510), F major (FbWV512), E minor (FbWV513 with its subject

opening with repeated eighth notes), and in C major (FbWV518). These are fi ne multi-sectional works, which make considerable demands on the player.

Of the nine pieces that are essentially extracts from longer works, four of them are included in the set of 56 versets attrib-uted to Wolfgang Ebner, Froberger’s colleague in Vienna (FbWV502a, 504a, 509a and 519a). FbWV512a was possibly prepared by Pachelbel and appears here for fi rst time. FbWV509b and 510a were included in this short form in the Mainz print of 1695. FbWV307 is largely identi-cal to the closing section of the Toccata FbWV119 but has been given a separate number in the catalogue because of the difference in the ending. FbWV505a is a half-note value version of the Capriccio in G Minor (FbWV505), here available for the fi rst time.

Variant readings are incorporated into the musical text, in almost all cases with-out overloading it, although the ending to the Capriccio in G Minor (FbWV509) needs some visual gymnastics. They are worthy of careful study since they refl ect the many possibilities of rhythmic and pitch differences, including application (or not) of accidentals that may have fea-tured in a contemporary performance. The introduction to this volume (in German and English) provides detailed information on only the new sources that have been consulted for the volume at hand, thus necessitating the purchase of earlier volumes for the player who wishes to have the fullest information possible on every source used. There is a detailed description of most of the pieces in this volume and also a full critical commen-tary on each piece, which gives source details and variant readings, but this is in German only. Several pages of facsimiles are included. The introductory section on scope and outline of the new edition in volume V.1 is not included here.

The addition of elaborate ornamenta-tion in the manuscript copy of the toc-catas and contrapuntal works made by Gottlieb Muffat has a most important bearing on performance practice. Muf-fat’s own comprehensive table of perfor-mance of these ornaments is included in each volume, but a discussion of the transition from the main note start for the trill to the upper note start required by Muffat (and, of course, his contempo-raries) is most regrettably not discussed in the preface. His table of ornaments is reproduced only in part 1.

Volume V.2 contains 70 pages in the music section, with a further fi ve pages of doubtful and spurious arrangements, but the quality of the ten substantial pieces plus the short fuga within its covers is uni-formly high. Those players who already have the Heugel edition will need to con-sider paying out for just three previously unpublished pieces, and also many players may feel little inclination to have all the variants, both in the form of textual addi-tions, and also as the stand-alone works. However, for the professional recitalist and teacher as well as for the keenly inter-ested non-professional, comparison of variants will offer invaluable information about how Froberger’s contemporaries, and players of succeeding generations, may have performed his pieces.

It is very much to be wished that these pieces take their place in concerts as well as in church services of all traditions. A thorough knowledge of performance practice is an essential and indispensable requirement to an informed rendition of these pieces, which are not at all easy to play stylishly. The pleasure obtained by both performer and listener will repay the time spent in learning them many times over and will in its own way justify

page 13


and repay the editor and publishers for having taken on this essential and monu-mental task and restore Froberger to his rightful position as one of the most innovative and infl uential keyboard com-posers of all time.

Marco Antonio Cavazzoni: Recher-cari, Motetti, Canzoni Libro Primo 1523. Edited by Liuwe Tamminga. Il Levante Libreria Editrice, TA23 in the Tastata series, €25. Available from La Stanza della Musica, www.lastanzadellamusica.com.

All the known works for keyboard composed by Marco Antonio Cavazzoni (ca. 1485–after 1569) are available in this edition, which includes eight that were published by Bernardino Ver-cellese in Venice in 1523, the second published collection for keyboard in Italy (the fi rst, published by Andrea Antico in 1517, contains 26 intabula-tions of frottole). Only two copies have survived—one in the British Library and one in Chicago’s Newberry Library. The other piece included here is a Recercada found in the collection of manuscripts of keyboard music covering all genres at Castell’Arquato. This new edition supersedes the previous editions by Benvenuti in 1941 and Knud Jeppesen’s comprehensive edition of 1960, of this print plus a good number of pieces from Castell’Arquato and a lengthy essay on the music. Cavazzoni was active in the court of Urbino before becoming estab-lished in Venice.

Pages 3–36 of the music section of this new edition include the contents of the original print, pages 38–40 include the Recercada from Castell’Arquato, and pages 42–79 provide a facsimile copy of the two sources. Time spent in compar-ing these pages with Tamminga’s careful transcription will be repaid many times over and will provide an illuminating snapshot of the notational practices of the time.

This volume includes two recercars, two motet arrangements, and four tran-scriptions of vocal chansons. The impos-ing recercars are of great importance, being the fi rst of the genre for the organ printed in Italy that are not related to vocal models (although between 1507 and 1511 Petrucci had published several sets for lute). At 127 and 150 double measures respectively, they are far removed from the carefully wrought imi-tative pieces of succeeding generations, including the four by Cavazzoni’s son Girolamo. These pieces, which include a treble F as the top note, owe far more to the improvisatory style of the toccata exemplifi ed in the lute collections. They are majestic pieces, with thick chords and some passagework connecting them, including increasingly rapid written-out trills with turned endings, one of which concludes the second Recercar. Most arresting indeed is the opening to the fi rst Recercar with its repeated whole-note chords in the treble acting as inverted pedals beneath which half notes in thirds descend and ascend in the bass.

The fi rst Recercar is followed by a setting of the motet Salve Virgo, which includes some passages in two-part texture. The second is followed by a setting of O Stella Maris, which also includes two-part writing, frequently comprising written-out trills lasting the whole bar, as well as fuller-textured pas-sages and a section in triple time after which the piece concludes with a short chordal coda. At 73 and 120 measures, respectively, they are shorter than the recercars; all four pieces are in F, giving weight to the possibility that they were performed as pairs.

The four chanson settings include Perdone Moi sie folie, Madame vous aves mon cuor, Plus ne regres (the only iden-tifi ed setting, being Josquin’s Plusieurs regretz) and Lautre yor per un matin, the longest at 100 double measures. Each contains much written-out passagework in each hand, including measure-long trills and scale runs, and also slower mov-ing chordal passages.

The Recercada found at Castell’Arquato is a magnifi cent piece. It opens with chords of E minor, and over them scale runs in the right hand, with the F natural stressed. The piece continues with some contrasting passages of long held chords in both hands, fast scalar passagework in the right hand, and occasional thinner-textured passages. It is very much to be regretted that more such pieces by Cavaz-zoni have not survived.

The printing is clear with mainly six systems to a page, in portrait for-mat. The eighth notes are beamed in groups of eight, as is found in the Castell’Arquato manuscripts, unlike the individually beamed notes in the print. As in Jeppesen’s edition, original note values have been retained—an

important point, but the beaming has been modernized to groups of eight eighth notes rather than the individual notes printed by Jeppesen. The intro-duction, in Italian and English, includes an assessment of the importance of this collection, the notation used, a specifi cation of a contemporary organ (which has a Principale chorus from 16′ up to 26th and 29th and Flutes at 4′ and a later 12th Flute, but lacks reeds; noteworthy is the doubling and even tripling of the 8′ and 4′ ranks in certain octaves and the pitch of A=465), and a discussion of sources. There is a most thorough critical commentary.

These little-known pieces will offer much pleasure to the player determined to make every effort to recreate the sonic landscape and to study the performance practice requirements. The two recer-cars with their associated motets make excellent recital pieces and should be included in top-level exams.

—John Collins Sussex, England

Carol Sue Dickson, 10 Hymn Enhancements for Flute and Organ.

Hope Publishing Company, 8638, $19.95; www.hopepublishing.com.

Carol Sue Dickson has compiled a versatile collection of well-known hymn tunes that will enhance any worship service. Each setting features an intro-duction for fl ute and organ and a free harmonization for the organ, with the option of having the fl ute double the melody line.

As Dickson writes in the Foreword, the possibilities are numerous. The fl ut-ist and organist can play each setting as a meditation or refl ection. The organist can play the setting without the fl utist: playing the setting twice, the fi rst time playing the organ part as written, and then repeating it, playing the fl ute line as a descant.

The free harmonizations can be used to enhance congregational hymn-singing. The melodies include favorites such as Amazing Grace, In the Garden, and When I Survey the Wondrous Cross (Hamburg). The fl ute part can easily be played by a high school fl utist. The organ part fi ts eas-ily under hands and feet. Recommended.

—Steven YoungBridgewater State University

Reviews

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In the wind...

It’s all about the wind.Wendy and I have a neat little sailboat

named Kingfi sher. It’s nothing fancy, just twenty-two feet long. It’s a catboat with a single sail, gaff rig, and broad beam—it’s not quite half as wide as it is long. It’s a shallow draft boat with a cen-terboard, so there’s no headroom below; we either crouch or sit. But sleeping on board is comfortable because of the broad beam. There’s a two-burner stove and plenty of space for storing food and drink, and maybe most important, there’s a head.

The art of sailing is a thrill. We hoist a 450 square foot sail, and adjust the angle of the sail to capture the wind. With the wind abeam (directly from the side) or abaft (from behind), the catboat is at its fastest. Where we sail along the Maine coast, sometimes the wind is steady for hours, even days at a time, and others it comes in fi ts and starts, puffi ng fi rst from one direction and then another. Whether we set the sail and settle back for a fi ve-mile tack, or have to fi ddle constantly with lines and rudder to keep moving, the art of using the wind to make our boat go is an immense pleasure. And it’s free. Reading aloud is a great pastime for two people in a sailboat—Moby Dick is a fam-ily favorite. Keep those harpoons handy.

When we’re getting ready to go out for a few days, we think up menus, shop and cook, freeze things, and stow every-thing carefully in the icebox on board. Wendy is a great provisioner. We freeze plastic bottles of water, which adds to our refrigeration, and allows us to drink ice-cold water while under way—essential and delightful in full exposure to sun and wind. Goldendoodle Farley comes on board, we raise the sail, and set out across the water. We typically have an itinerary

that involves anchoring in the remote coves of islands, so we sail for fi ve or six hours, cover twenty or twenty-fi ve miles, ease into the cove (we can go close in because of the shallow draft), and drop the hook. We row to shore to stretch our legs, and give Farley a chance to do his doggy stuff. After a half hour of that, we row back to the Mother Ship, just as the sun crosses the yardarm. No gin and tonic tastes as good as the fi rst few sips on board after a day on the water. (We always carry fresh limes!)

It seems like a great adventure, cross-ing wide expanses of water. I love it when the wind blows at twelve or eighteen knots—perfect for us to have a snappy active ride, but still easy to control. The last sail of last season, taking Kingfi sher to the boatyard for the winter, sons Mike, Andy, and I sailed twenty miles in twenty-fi ve-knot wind. It was pretty wild, and I was very glad to have Mike along, young and strong, and a very experienced sailor—a lot more agile than his nearly sixty-year-old father.

We’re really not taking much risk. We’ve fi nished our third season with

Kingfi sher, but we’ve never gone more than ten miles from land. And, along with the modest comforts I’ve described, Kingfi sher has two pieces of equipment that bring comfort and safety to simple sailors like us. Under a hatch in the cock-pit deck, there’s a 20-horsepower Yan-mar diesel engine that gets about three hours per gallon. We carry twelve gallons of fuel, enough to cruise at six knots for a day and a half when becalmed. And there’s a GPS loaded with marine charts for all the areas we go, accurate to within a few feet, and marked with all the submerged rocks, reefs, shipwrecks, and other hazards that would so quickly change our day. How’s that for wild adventure? We’re combining an ancient, simple technology with some of the lat-est electronic gizmos.

I often think of the earliest sailors who developed the art of sailing, and dared to cross oceans in the days when most people thought the earth was fl at. Egyptian urns more than four thousand years old are decorated with pictures of sailing ships carrying cargo across the Mediterranean Sea. And think of Ferdinand Magellan (c. 1480–1521), born a hundred years before Orlando Gibbons, the Portuguese naval offi cer commissioned by King Charles I of Spain to look for a westward route to the Spice Islands (Maluku Islands). He dis-covered and named the Strait of Magel-lan, a snaky waterway that cuts between Tierra del Fuego and the South American mainland, and entered what he named the “Peaceful” (Pacifi c) Ocean. Imagine that, with no Yanmar, no fl ush toilet, and no GPS. He did fi nd the western route to the Spice Islands but was killed in a sea battle and didn’t return home.

By the middle of the nineteenth century, sailing ships were 250 feet long, had more than two dozen sails, hundreds of lines and blocks to oper-ate them, and carried crews of 800 or more. Sitting on board, out in the Gulf of Maine, I often refl ect how similar the fundamentals of sailing are to the foun-dation of organ building—it’s all about controlling the wind!

§

Supreme refi nementMeanwhile, on dry land, engineers and

tinkerers were refi ning another, more complex machine, a machine that not only relied on wind, but one that included a mechanism for the creation of its own wind. With tens of thousands of moving parts, the pipe organ was the most com-plex machine of the day.

The greatest of these tinkerers was Aristide Cavaillé-Coll. Born into a family of organbuilders in Montpellier, France, in 1811, four years before the end of the Napoleonic Wars, Cavaillé-Coll had little formal education. But apprenticing with his father as a teenager, it was clear that he was gifted in mathematics and physics as well as the musical arts.

From his earliest days in the workshop, he was fascinated by wind. One of the fi rst of his many inventions was a system for controlling the wind in a harmonium, where the left foot pumped heel-to-toe to raise the wind, and the right operated a rocking pedal that would either apply lesser or greater pressure to the top of the bellows, thereby affecting the pressure. Unlike typical organ pipes, the pitch of harmonium reeds is not affected by wind

pressure, so increasing and decreasing the pressure created a pure control of vol-ume, something never before achieved in a wind-blown keyboard instrument.

In Toulouse, in 1832, the expressive capabilities of Cavaillé-Coll’s poïkilorgue attracted the attention of the great com-poser Gioachino Rossini (1792–1868), and a year later Rossini encouraged the twenty-two-year-old organbuilder to move to Paris. I suppose he was aware that there was a competition underway to award the contract for building a monumental organ for the Basilique-Cathédrale de Saint-Denis. Cavaillé-Coll submitted a plan and was awarded the contract just a few days later.

We know very little about Cavaillé-Coll’s personal life, but from this episode, I surmise that he was an exceptionally compelling young man. He must have displayed supreme confi dence without effort and must have had complete mas-tery of his topic.

The old-guard competitors must have been fl abbergasted, even furious, but the offi cials making the decision were real visionaries, taking what must have seemed a huge risk by giving such impor-tant work to someone so very young with essentially no qualifying experience. Per-haps Cavaillé-Coll was so apparently able that they didn’t feel a risk.

Imagine a 22-year-old being awarded the contract to build a major cathedral organ today—consider the hubris of the applicant, and the foolhardiness of the offi cials. Then imagine the project complete, universally celebrated as an unqualifi ed success, bound to endure and to infl uence musicians for centuries. It’s improbable in the extreme.

The organ was completed in 1840, and is still regarded as a triumph in organ-building. It comprises 70 stops, 88 ranks, and 4,479 pipes. There are 20 ranks of reeds, and more than a dozen harmonic ranks, both fl ues and reeds. There are two real 32-footers, and the Grand-Orgue includes a Principal Chorus based on Montre 32′, though the Montre “only” starts at tenor C. By most modern mea-sures, this is an immense and sophisticated organ, but the fact that it was fi nished 176 years ago by a 29-year-old organbuilder is other-worldly. I mean, for crying out loud, Aristide Cavaillé-Coll went from building a one-stop harmonium to a 70-stop time-less wonder in less than ten years.

§

In 2011, in celebration of the great organbuilder’s 200th birthday, and the 150th anniversary of his uncontested masterpiece, the hundred-stop job at Saint-Sulpice in Paris, where Widor and Dupré combined for a hundred years of service, British fi lmmaker Fugue State Films produced a comprehensive docu-mentary, The Genius of Cavaillé-Coll. This marvelous fi lm comes in a boxed set of three DVDs and two CDs, with a program booklet that includes photos and specifi cations of all the featured organs. It’s available for $150 from the catalogue of the Organ Historical Society: www.ohscatalog.org/orofca1.html.

If you’re a serious student of the pipe organ, you should own this, and watch it more than once. Invite your friends. It’s better than a ball game! If it seems like a lot of money, compare it to a couple volumes of the Bach Organ Works, or a restaurant

Arp Schnitgerand his Work

CORNELIUS H. EDSKES ~ HARALD VOGEL

new ly tr a nsl ated color editionarp schnitger (1648–1719) is celebrated as the greatest organbuilder of the northern European ba-roque, perhaps the greatest builder of all time. From his Hamburg shop, nearly 170 organs were installed in northern Germany and the Dutch province of Gron-ingen, in addition to those that were commissioned much further afield.

This new book offers first-rate scholarship of Schnitger’s work and the restorations of the past 40 years. The late Dutch organ historian Cornelius H. Edskes, and the German organist Harald Vogel, dis-cuss Schnitger’s life and activity. They examine his 45 remaining instruments including complete stoplists, color photographs, and information about the lost instruments of the 20th century. Already available in German and Dutch editions of the highest quality, the English edition, a production of the Arp Schnitger Gesellschaft and GOArt in Göteborg, Sweden, will appear shortly using native English translators.

The Organ Historical Society is the sole dis-tributor of Arp Schnitger and his Work throughout the United States. It will appear in the first half of 2016.

The OHS offers you the opportunity to subscribe to this distinguished and beautiful English-language publication. Proceeds of the sales will support the con-tinuing work of the OHS Press.

subscriptions include your namein the book, plus a free copy

HOW TO ORDER

SUBSCRIBE ONLINE OR DOWNLOAD AN ORDER FORM AT

WWW.ORGANSOCIETY.ORG/SCHNITGER

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Kingfi sher on a starboard tack, Muscon-gus Bay, Maine


By John Bishop

dinner for two. And if you buy and watch it and are not moved and impressed by the brilliance of that organbuilder and the beauty of his instruments, then probably you’re not much of a student of the organ! (Wow, did he really say that?) Of course, there are stuffy segments—most of us given a chance to talk smart about pipe organs would sound stuffy on television—but the cinematography is gorgeous, the sound quality is vibrant and lively, the playing is terrifi c, and the whole thing is stuffed with tons of information about an incredible musical genius.

§

It’s all about the wind.Starting with the player-controlled

variable wind pressure of the poïkilorgue when he was a teenager, and throughout his career, Cavaillé-Coll devoted huge amounts of energy and time to the con-trol of wind in his instruments. Like the advances in the technology of sailing ships, he recognized that the ability to control the fl ow and pressure of wind was everything to the pipe organ. And his early masterpiece at Saint-Denis was chock-full of wind gadgets. His seminal innovation was the ventil, which draws its name from the Latin ventus, which means, simply, “wind.” (Did you ever wonder why that’s used as a brand name for an organ blower?)

The theory is simple. He separated the stops of a division into two families placed on separate windchests. The foundation stops (principals, fl utes, and strings) were on one chest that had con-stant winding, and the reeds, mutations, and more powerful upperwork were on a chest that was not winded until the organist pressed a pedal at the console opening a valve. The organist could then set up a basic registration of foundation stops and draw a selection of the reeds and upperwork in preparation. The 1840 organ at Saint-Denis included ventils on all fi ve divisions, giving the organist an

unprecedented expressive control over the instrument. A fl ick of the ankle, and tons of powerful reed pipes leap into action. (There’s a 32-footer in the Pedal!)

In the program book that accompanies The Genius of Cavaillé-Coll, those stops affected by ventils in all the featured organs are listed in red. Your fi ngers will just twitch as you imagine what you could do with all that power! And as they do, imagine yours as nineteenth-century fi n-gers that have never pressed General 10, or switched on an electric blower.

In the fi lm, Pierre Pincemaille, titulaire of the organ at Saint-Denis, shows us that the organ built at the very beginning of Cavaillé-Coll’s career (did I mention he was just 29 when the organ was fi nished?) is fi ery, dramatic, colorful, and thrilling—even to our ears, which are accustomed to the effects of solid-state combination actions, pneumatic and electric swell motors, and the ubiquitous Sforz button, so badly and baldly overused by many.

Whistle a tune.Another essential development pio-

neered by Cavaillé-Coll is the emphasis on melodic color. Responding to the rela-tively weak treble ranges of the organs of his day, he made two basic innovations in the interest of providing stronger melodic range toward the top of the keyboard. One was to further develop the existing concept of harmonic pipes, those pipes with double lengths that are blown extra hard to emphasize not the more delicately achieved fundamental tone of their full length, but to “overblow” the pipes to achieve the fi rst overtone—the octave higher. Most any organ pipe will sound an octave higher if blown hard enough. (Don’t try this without the ability to retune the pipe when you’re done. Or, as they say, “I’m a professional. Don’t try this at home!”) A Harmonic Flute pipe, with a hole bored halfway up the resonator, is actually speaking an octave higher than its length implies. The hole helps “release”

the overtone so the octave is achieved without the sense of excessive force. And since increased wind pressure is required to overblow a pipe, the harmonic pipes are louder.

The second trick was to divide the windchest in halves or thirds lengthwise, and providing higher wind pressures to the higher ranges of the ranks. For example, the pipes of stops on a division from low CC to tenor F# might be on three inches of pressure, from tenor G to soprano C on four inches, and fi ve inches of pressure for the rest of the range. We can imagine that Cavaillé-Coll was think-ing of orchestral wind instruments—how an oboe or trumpet player might simply blow harder to achieve the higher pitches.

Using these two innovations provided Cavaillé-Coll’s organs with characteristic singing treble ranges. Think of the soar-ing melodies of the slow movements of Widor’s organ symphonies, and you’ll understand how the great organbuilder inspired the following generations of musicians. And in a passage typically played on full registrations, I think of the melody in B-fl at minor toward the end of the fi rst movement of Widor’s Fifth Symphony. Working with the huge organ built by Cavaillé-Coll at Saint-Sulpice in 1862, Widor was confi dent that the pow-erful tune starting on a high D-fl at and

continuing in the top two octaves of the keyboard would sing out over the bub-bling left-hand accompaniment and solid moving half-notes in the pedal.

§

And the pièce de résistance . . .As he progressed from one monumen-

tal organ to the next, Cavaillé-Coll was using air in greater volume and higher pressure. His organs were equipped with rows of bellows that were supplied

with pressure by feeder-bellows under-neath, operated by the powerful legs of human pumpers who steadied their bodies leaning on iron rails above. As the organs grew larger in physical size, the mechanical keyboard actions had greater distances to travel. And as each division would likely have two windchests, one for the foundations and one for the reeds and upperwork, the action for each indi-vidual note had to operate two pallets. The predictable result was heavier key action—intense resistance to the motion of the musicians’ fi ngers. To counteract this, Cavaillé-Coll incorporated the ingenious device invented by Charles Spackman Barker, known widely as the Barker Lever. It’s a pneumatic assist for the tracker action of a pipe organ, which uses the organ’s own air pressure to do the heavy work of pulling pallets open and of coupling manual actions.

We’ve all seen the photos of Dupré and Widor playing on the huge console at Saint-Sulpice, all fi ve keyboards mov-ing simultaneously. Without Mr. Barker’s machine, that would have been impos-sible. Walking through that organ, seeing the myriad trackers running every which way, and thinking of the number of pallets being opened by each fi nger, we realize that Cavaillé-Coll’s use of the Barker was the fi nal touch necessary to make his monster organs go.

In The Genius of Cavaillé-Coll, there are several excellent demonstrations of the operation of the Barker Machine. It’s quite a spectacle in a complicated piece.

Let’s stop and remember that the organ at Saint-Denis was built in 1840 (did I mention that Cavaillé-Coll was only 29?), and the organ at Saint-Sulpice was completed in 1862—right in the middle of the American Civil War. Cavaillé-Coll’s genius produced these huge sophisticated machines, among the most complex ever contrived, not for making war, not for transportation, not for manufacturing, but for making music! What a worthy cause. What an essential effort. And what a great gift to the generations that followed him.

Contact: [email protected] or cell phone 219/929-7558

1988 Berghaus Tracker Pipe Organ for Sale

Two manuals 18 ranks 17 stops 59 inches deep 142 inches wide 112 inches high

Absolutely in like new condition!

Built for a private residence in Valparaiso, Indiana.

Cavaillé-Coll organ at Saint-Denis, Paris, France (photo credit: William Van Pelt)

Keydesk at Saint-Denis (photo credit: Wil-liam Van Pelt)


On Teaching

Velocity IVMy approach to helping someone

to play fast has been rooted in ways of discovering that the fi ngers of each hand separately can move very fast when play-ing one line or voice—one note at a time. There are two parts to this. One is discov-ering that our fi ngers can move as fast as the music requires—and thus the limita-tions on velocity are mental rather than physical. Another is exploring ways of knowing what’s coming up in a passage so that we don’t stumble or hesitate because of uncertainty. This permits us to turn the potential to move our fi ngers fast enough, or faster, into a reality in performance.

There are several parallel next steps. One is achieving reliable velocity in one hand when that hand is playing more than one voice. There are two meaning-fully different subcategories of this: a hand playing two or more contrapuntal lines, and a hand playing chords. (These can shade over into each other.) Another is achieving appropriate velocity with the two hands together. This can also be sub-divided: each hand playing one voice, one hand playing a line and the other hand chords, each hand playing multiple-note texture, and so on.

Fingering and relaxationIt is easier to achieve the physical

and mental relaxation and focus that are necessary for velocity when you are only doing one thing. If a hand is only playing one note at a time, it is trivially easy for the hand to relax—playing one note at a time can’t require the hand to be in an awkward position, it can’t force tension-prone fi ngerings, and, in principle, it permits any fi nger that is not actually depressing a note to relax fully. (Psychologically that can be more easily said than done.) Playing more than one note at a time in a hand doesn’t satisfy any of the above, and it gives us more to think about. So fi ngering planning is both more constrained (the more notes you must play at once, the fewer different ways there are to deploy the fi ngers over those notes) and trickier in its relation to the comfort necessary to move quickly. And the need for preparation is even greater.

The Gigue from Bach’s D minor Eng-lish Suite is almost legendarily diffi cult. It is meant to be at least fairly fast in perfor-mance. It has a number of moments in

which one hand keeps up a sustained trill while also playing other notes. Thus it is an interesting test case here. Example 1 shows this sort of writing.

There is a lot more like this in the move-ment, but this particular bit is best as a velocity exercise, since there is absolutely no way to isolate the trill in one hand. It is possible to play it in either hand (though signifi cantly harder in the right). This can work as an exercise for the right hand, the left, and then for both together.

Let’s start with the trill into the left hand. Most people would play it that way, since the other material in the left hand is less complex than that in the right hand. (It is certainly how I would play it, but we are again using this passage as an exer-cise, and thus sort of exploiting it. We will also consider how it works with the trill in the right hand. Just as with the passage from the Toccata in C Major, BWV 564, which we looked at earlier in this series, our shameless exploitation of the passage as an example of unbridled velocity does not imply anything about a good tempo for performance of the piece.)

As Example 2 shows, the notes of the trill can be thought of for this purpose as thirty-second notes, and the trill fi nger-ing will almost certainly have to be 1/2. The other (bass) notes can be played with a selection of 3, 4, 5 based on the player’s particular hands, habits, and preferences. (Watch out for a fi ngering that cocks the wrist outward more than necessary. Avoiding this will probably be easier the more you use 4 and 5 rather than 3.) Once you have decided on fi n-gering, this is the practice protocol for the present purpose:

1) Play middle C and the fi rst seven notes of the trill. That is, get to the moment when you would play the G#, but don’t play that note.

2) Repeat this, getting it ever faster. Try to feel the trill notes the same way that you did the single-voice velocity exer-cises from earlier—that is, keep them light, with the hand not bearing into the keys, but rather feeling like it is fl oating upward a bit. Try not to let playing and releasing the middle C affect you. Notice it just enough to make sure that when you release the note (more or less as you release the fourth note or play the fi fth note of the trill) you don’t let that release gesture put any tension into the hand.

3) After you have done this enough that it feels natural and is at a tempo that sounds and feels very fast, add the G#. Again, the point is not to let the addition of this note change the feeling of any-thing. Play it, but try not to notice that you are playing it. Keeping the release of the C light is the prerequisite for being able to play the G# lightly.

4) When this is comfortable, add the next few trill notes, without playing the A, regardless of whether you are adding enough trill notes that you have in theory reached the moment for that note.

The next step is to do the same thing starting elsewhere: on the second beat, where the prevailing notes are G# and F—going through the moment where the A is played, to the moment where the bass note is a B-natural—or begin-ning at the A and F, and going just over the barline. After you have done this with each segment, the next step is to string it together. First, remind yourself of the feeling of just the initial segment, then starting at the beginning and going through, say, a half-measure, then starting at the beginning and going through the whole measure. The point is to be doing this at a very fast tempo. As you cross each of the spots where you began drilling new segments, make sure to keep the feeling of relaxation going: use your memory of starting at that point to renew that feeling.

Learning, practicing, and lightness

This process is really three things at once: a way of learning this passage; a template for practicing other fast passages

with more than one thing going on in a hand; and a way to focus on the feeling of lightness, preparation, and keeping going. In time—that is, after practicing a number of passages this way—the third of these will come to predominate. It will become possible to recapture that feeling without going through a process of this sort or in this amount of detail.

This is all akin to regular, everyday practicing, in which we break things into small units and add complexity as simpler things become solid. The main difference is that in regular practicing, we start very slowly and increase tempo gradually. It is important never to get ahead of a tempo that feels comfortable. Here, while we don’t want to use a practice tempo that makes things fall apart, we are eager to live in the region of high velocity as promptly and as much as possible. We learn to move our fi ngers very fast over the notes by—initially and for as long as necessary—keeping the segments that we are playing very short. This is an important difference in emphasis in the structure of practicing.

To use this Bach passage as an exercise for playing two voices together in the right hand at high speed, the procedure would be the same: use the trill notes as an anchor and add notes from the upper voice gradually. The trill will again prob-ably be best played with fi ngers 1 and 2, and the upper notes probably mostly with 4 and 5: perhaps 5-4-5-5-4-5, etc. It might be a more useful exercise to dou-ble the number of trill notes in relation to the sixteenth notes of the upper voice (i.e., make them sixty-fourth notes).

Example 1 Example 2

Example 3

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By Gavin Black

The fi rst step is to play the A and the F together and keep the trill notes going without adding any more of the notes from the upper voice. The next step is to start this way, but add the second note of the upper voice—the G#—and so on, following the template that we used above for the left hand. Progress through this passage will be slower than it was for the left-hand version, because there are more notes.

It is equally interesting to use the passage as an exercise in working both hands together up to as fast a speed as you can. Start by going through the pro-cess described above for the lower two voices in the left hand. Then go over the upper voice by itself as a right-hand part. Then go back to the beginning and play the passage in extremely short bursts: as short as it takes to enable you to do it fast. This might be a dotted-eighth-note’s worth at a time, or less. The technique of holding a note as if there is a fermata while you remind yourself of the feeling of playing the next note or two, and then playing only that next little bit extremely fast, can work very well in this case.

Example 3 is a contrapuntal passage from Brahms’s Prelude and Fugue in A Minor. The student can combine various techniques. In the fi rst quoted measure in the right hand, after working out fi n-gering, one could play the second voice (B-A-G#-rest-F#) a few times, progres-sively faster, then add the upper voice one note at a time. Or play the two voices on the downbeat (E and B) holding those notes indefi nitely long. Then, only when ready, play the second and third beats—both voices together—as fast as possible, not going past the third beat. Then start on the second beat, stopping on the D# in the upper voice. In something like the third quoted measure—with its more consistently active voices—the player can practice each voice separately, in the normal manner, but as a short enough sample that it can get quite fast quite effi ciently. Practice each voice—with the intended fi ngering, in the ways that I out-lined for individual voices in the last few columns—until it can go very fast. Then put the two voices together in chunks of perhaps three eight-notes-worth at a time. The principles are always the same: use an amount of planning that makes everything utterly predictable, focus on short bits (which makes the predictabil-ity easier to achieve in the fi rst place and to maintain), and keep everything light and relaxed.

In a chordal passage, the notion of prac-ticing voices separately doesn’t apply. In keeping with the principle of simplifying, if we aren’t going to practice separately notes that end up being played together, then it is even more important to prac-tice in small increments. Example 4 is an excerpt from near the end of Scherzo, Sortie in D Major by Lefébure-Wely.

The right-hand part provides a good opportunity to practice chords. The fi n-gering will probably fall into place quite naturally: a lot of 5-3-1, 5-2-1, 4-2-1, and so on, depending on one’s hand shape. Once fi ngering has been worked out, playing and holding a chord, then playing the next two chords as quickly as pos-sible, will probably be the most fruitful

technique. The left-hand part is a typical opportunity to practice playing octaves fast, using this same technique.

What, in the end, is the point of this discussion of velocity? In using a pas-sage from the repertoire as an exercise here, I have said that in doing so I am misrepresenting that passage—that we are exploiting it or latching onto it as parasites. This happens because no one can say whether a given (fast) passage is or isn’t meant to be played at the outer limits of a player’s ability to play fast. In order to practice playing as fast as we possibly can, we subject passages of music to being played (perhaps) faster than we really think they should go. (Even if a passage will be a candidate for actually being played that fast, we

don’t know that until we have worked on getting it that fast.) The overriding purpose of doing this—and especially in its application to our teaching, and therefore to the learning process of our students—is to drive home through example the basic message: command of velocity is about preparation. With rare exceptions, limits on velocity are not inherent or physical. I actually think it is better to practice, as exercises for this purpose, pieces or passages that you know are not going to go that fast. That separates the work on velocity from a host of other normal, musical consid-erations. Then when you want to work on a passage that does indeed visit the outer reaches of how fast you ever want to play, you will know the techniques for getting it to be solid and comfortable at that sort of speed.

The old-fashioned and very sound idea that you must prepare your pieces beyond 100% (I fi rst heard it in connection with Jascha Heifetz, a quintessential virtuoso performer) for them to be 100% in per-formance applies here. Certainly correct preparation is not just about speed—it is perhaps more importantly about the

inner understanding of everything that you hope to bring to the music interpre-tively, rhetorically, expressively. But since it is harder to execute a piece faster than slower, it is always prudent to know that you could indeed play your pieces faster than you intend to. This should ideally lead to relaxation in performance—a relaxation born out of lack of fear.

Gavin Black is the director of the Princeton Early Keyboard Center in Princeton, New Jersey. Gavin Black’s website is www.gavinblack-baroque.com and he can be reached by e-mail at [email protected].

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When Scott Smith Pipe Organs was fi rst brought in to evaluate the

organ at First Congregational Church in Saginaw, Michigan, we had a very lim-ited knowledge of the instrument, only that it was a late 1920s Skinner in a rap-idly failing state. A glance at the 1970s console, stop jambs, and a few quick chords told us otherwise. It was then revealed to us that the organ had indeed been built in 1929 as Skinner Organ Company Opus 751, but that it had been extensively overhauled in 1965. After a lengthy inspection, it was determined that only twelve of the original 36 ranks had survived intact. The leather was also beginning to reach the end of its life, most noticeably middle C in the Swell, a constant thorn in the organist’s side.

The 1965 rebuildThe Organ Reform Movement was in

full force when the organ was rebuilt in 1965, stripping the identity of Opus 751 until it bore no resemblance to its 1929 incarnation. The builder commenced updating the organ into a partial-Skin-ner/neo-Baroque conglomeration. The warm, full, and rich tones of the Skinner were replaced by smaller scales, lower wind pressures, and copious amounts of upperwork. With only twelve ranks left unmolested, the rest of the organ was either discarded or drastically altered, having been repitched and/or moved between the divisions. Completely new Great, Rückpositiv, and partial Pedal divisions were subcontracted from Casa-vant Frères by the builder, including pipework and chests. The Choir, Swell, and the remainder of the Pedal division

had their wind pressures lowered several inches. The result was an unfortunate tonal disharmony, both between divi-sions and within.

Most of the Skinner Great division was reduced to 32 notes and became the basis for the new Pedal, based off the Second Diapason. The “new” Pedal gained a four-rank Mixture and 4′ Rohrschalmei, but oddly contained no 8′ reed. In addition to the new Great and Rückpositiv, 12 more ranks were ordered from Casavant Frères and placed throughout the organ. The Choir and Swell organs were heavily altered, with 12 ranks repitched up an octave or turned into mutations and moved to the other division. The four-rank Harmonic Mixture from the Swell was broken up, with part of the 2′ rank becoming a Tierce for the Choir. The mixture was replaced with a new 1′ Scharff, voiced on six-inch wind pressure! The Flute Triangulaire from the Swell became the Nasard for the Choir, and all harmonic ranks were cut off below their harmonic holes. The rare Cello from the Choir had its basses cut in half to become part of the Swell 4′ fl ute stop, the remainder coming from the Salicional. Another unfortunate change involved the Choir Corno di Bassetto, which had 12 new 16′ Clarinet resonators added whereupon it replaced the Waldhorn as the new Swell 16′ reed.

By the time the rebuild was com-pleted, the organ had grown from 36 to 64 ranks, 18 of which were mixtures. It still contained some Skinner sounds, which clashed with the neo-Baroque tonal quality of the 1960s pipework and

made playing divisions against each other successfully nearly impossible. One prominent example was the Swell Dia-pason, which was not only a larger scale than the new Great Principal, but louder as well. The tonal issues created huge barriers for organists. The instrument was in a constant internal struggle, each rank fi ghting the others for dominance.

The proposalFirst Congregational formed an

organ committee in 2011 in response to the mounting dead notes and failing components, as well as the tonal issues aforementioned. While a completely new organ was not a viable option, a rebuild

of the existing instrument was decided to be the most prudent solution. Scott Smith Pipe Organs submitted an exten-sive proposal wherein the changes made in the 1965 rebuild would be undone and the organ would be returned to its original specifi cation, with six carefully chosen additional stops. Our goal was to re-create Skinner Opus 751 with a mix of new and vintage pipework, along with a new four-manual console to replace the 1970s console, whose drawknobs had on several occasions been seen fl y-ing through the air over the choir when pulled by an unsuspecting organist.

To get the full support of the organ committee, we took the group on a full-day fi eld trip around the city of Detroit to three major Skinner organs to hear what their organ could sound like. Excitement was running high and drummed up the necessary support to put our proposal to a congregational vote that was ultimately approved. With much anticipation, we commenced the challenge of recreat-ing the Skinner organ. We brought Ken Holden and Stephen Warner, both with extensive knowledge and experience with Skinner organs, on to our team to assist with not only engineering chal-lenges, but also to ensure an authentic restoration as well as the tonal fi nishing.

Out with the old, in with the older

All additions made in 1965 were removed, including pipes, chests, and reservoirs. New Pedal, Great, and offset chests were built in the Skinner style. Vintage Skinner tremulants and reservoirs were purchased from across the country and fully restored to keep the winding system of the instrument

Scott Smith Pipe Organs Opus 3Re-creating Skinner Organ Company Opus 751

By Joe Granger

Organ projects

Scott Smith Pipe Organs Opus 3, First Congregational Church, Saginaw, Michigan


consistent. Every 1929 component left in the organ was restored, including the Choir and Swell, reservoirs, tremulants, pouchboards, and engine motors.

Every original extant pipe was returned to its 1929 location, pressure, and speaking length by using vintage Skinner ranks, having new trebles or basses made, or by having extensions soldered onto the pipes that had been cut in half. The Great was re-created by having 29 new pipes made for each rank still extant, and the remainder was replaced with vintage Skinner pipework. The Skinner master mixture list was used to replicate exactly the Swell Harmonic Mixture (D-4), which contained a 17th rank. It was also used to choose the new

1929 specifi cation of Skinner Organ Company Opus 751

GREAT (Manual II) 5″ WP, 61 notes

16′ Bourdon (Pedal) 8′ First Diapason 8′ Second Diapason 8′ Flute Harmonique 8′ Erzähler 4′ Octave 22⁄3′ Grave Mixture II 8′ Tuba (10″, enclosed in Choir) Chimes

SWELL (Manual III, enclosed) 7½″ WP, 73 notes

8′ Diapason 8′ Rohrfl öte 8′ Salicional 8′ Voix Celeste 8′ Echo Dulcet 4′ Octave 4′ Flute Triangulaire IV Mixture [15-17-19-22] 16′ Waldhorn 8′ Trumpet 8′ Oboe d’Amour 8′ Vox Humana 4′ Clarion Tremolo

CHOIR (Manual I, enclosed) 6″ WP, 73 notes

16′ Dulciana 8′ Cello 8′ Concert Flute 8′ Dulciana (ext) 8′ Unda Maris (tenor C) 4′ Flute d’Amore 22⁄3′ Nazard 8′ Corno di Bassetto Tremolo Chimes

ECHO 5″ WP, 61 notes 8′ Fern Flute 8′ Vox Humana

PEDAL 5″ WP, 32 notes 16′ Diapason 16′ Bourdon 16′ Dulciana (Ch) 8′ Octave (ext) 8′ Gedeckt (ext) 4′ Flute (ext) 16′ Trombone (10″) Chimes

Couplers Unison: Swell to Great Choir to Great Swell to Choir Octave: Swell to Swell 4 Swell to Swell 16 Swell to Great 4 Swell to Great 16 Choir to Choir 4 Choir to Choir 16 Choir to Great 4 Choir to Great 16 Swell to Choir 4 Swell to Choir 16 Pedal: Swell to Pedal Choir to Pedal Great to Pedal Swell to Pedal 4

1965 specifi cation of John F. Shawhan Opus 13

GREAT (Manual II, all new Casavant) 3″ WP, 61 notes

16′ Gedacktpommer 8′ Prinzipal 8′ Rohrfl öte 4′ Oktav 4′ Spitzfl öte 2′ Oktav 2′ Blockfl öte IV Mixtur (11⁄3′) 8′ Trompete

CHOIR (Manual I, enclosed, all Skinner unless noted) 4″ WP, 61 notes, blind octaves blocked

16′ Dulciane (1–12 new) 8′ Dulciane 8′ Unda Maris (TC) 8′ Cor de Nuit (old Swell Rohrfl öte) 4′ Flute (old Ch 8′ Concert Flute, cut) 22⁄3′ Nazard (old Swell Flute Triangulaire) 2′ Quarte de Nazard (old Ch 4′ Flute) 13⁄5′ Tierce (2′ from old Swell Mixture) 8′ Bombarde (old Great Tuba, 7″) Tremulant

POSITIV (Manual I, all new Casavant) 2½″ WP, 61 notes

8′ Gedackt 4′ Prinzipal 4′ Spillfl öte 2′ Oktav 11⁄3′ Spitzquint 1′ Oktavlein II Sesquialtera (22⁄3′) (TC) IV Scharff (2⁄3′) 8′ Krummhorn Tremulant

SWELL (Manual III, enclosed, all Skinner unless noted) 6″ WP, 61 notes, blind octaves blocked

8′ Principal Etroit 8′ Flute Harmonique (old Great Flute Harmonique, original basses discarded) 8′ Viole de Gambe (old Choir Cello) 8′ Voix Celeste 4′ Octave 4′ Flute Douce (old Swell Salicional) 2′ Doublette (old Sw 8′ Echo Dulcet cut) IV Plein Jeu (1′) (new Casavant) 16′ Basson (old Choir Corno di Bassetto, 12 new Casavant basses) 8′ Trompette 8′ Hautbois 8′ Voix Humaine 4′ Clarion Tremulant

ECHO (fl oating, new pipework by unknown builder except Chamade) 3″ WP, 61 notes

8′ Fernfl öte 4′ Prinzipal 8′ Chamade (Casavant, 1968 addition) Tremulant

PEDAL 4″ WP, 32 notes 16′ Prinzipal (ext, 1–12 new Casavant, metal) 16′ Subbass (original Skinner) 16′ Gedacktpommer (Great) 16′ Dulciane (Choir) 8′ Oktav (old Great Second Open) 8′ Gemshorn (old Great Erzähler) 8′ Gedackt (new Casavant) 4′ Choral Bass (old Great 4′ Octave) 4′ Gedackt (ext, new Casavant) II Rauschquint (22⁄3′) (old Great Grave Mixture) IV Mixture (11⁄3′) (New Casavant) 16′ Posaune (old Skinner Trombone) 16′ Waldhorn (old Swell Waldhorn) 4′ Rohrschalmei (new Casavant)

2014 specifi cation of Scott Smith Pipe Organs Opus 3

GREAT (Manual II) 5″ WP, 61 notes

16′ Bourdon 16′ Dulciana (Ch) *†8′ Stentorphone †8′ First Diapason °8′ Second Diapason °8′ Flute Harmonique °8′ Gedeckt (ext Bourdon) °8′ Erzähler °4′ Octave *†4′ Flute °22⁄3′ Twelfth °2′ Fifteenth *IV Mixture (A-16) *†8′ Cornopean Tremolo 8′ Tuba (Ch) 8′ Chamade (Echo) Chimes 16 Great Unison Off 4 Great

SWELL (Manual III, enclosed) 7½″ WP, 73 notes

8′ Diapason 8′ Rohrfl öte † 8′ Salicional 8′ Voix Celeste 4′ Octave °4′ Flute Triangulaire 2′ Piccolo *IV Mixture [15-17-19-22] °16 Waldhorn 8′ Trumpet 8′ Oboe d’Amore 8′ Vox Humana 4′ Clarion Tremolo 16 Swell Unison Off 4 Swell

CHOIR (Manual I, enclosed) 6″ WP, 73 notes

16′ Dulciana °8′ Cello †8′ Concert Flute 8′ Dulciana (ext) 8′ Unda Maris (TC) †4′ Flute d’Amore *22⁄3′ Nazard 8′ Tuba (10″) *†8′ French Horn (10″) °8′ Corno di Bassetto Tremolo Vox Stellarum (Zimbelstern) 16 Choir Unison Off 4 Choir

ECHO & ORCHESTRAL (Manual IV) 5″, 61 notes

16′ Waldhorn (Sw.) 8′ Tuba (Ch) 8′ French Horn (Ch) 8′ Stentorphone (Gt) *†8′ Chimney Flute *†8′ Vox Humana *8′ Chamade (10″) Tremolo (affects only Flute and Vox) Chimes 16 Echo Unison Off 4 Echo

PEDAL 5″ WP, 32 notes *32′ Resultant I (Diapason) *32′ Resultant II (Subbass) *16′ Diapason *†16′ Subbass 16′ Bourdon (Gt) 16′ Dulciana (Ch) *102⁄3′ Quintbass (independent rank) 8′ Octave (ext) 8′ Gedeckt (ext) 8′ Dulciana (Ch) (2014 continued)

Skinner Opus 751/Scott Smith Pipe Organs

First Congregational Church, Saginaw, Michigan

Bellows before restoration

Bellows after restoration

A Swell mixture pipe, returned to its original length

New treble pipes in the Great

*51⁄3′ Quint (ext) 4′ Super Octave (ext) 4′ Flute (Gt) 4′ Dulciana (Ch) 16′ Trombone (10″) 16′ Waldhorn (Sw) 8′ Tuba (Ch) *8′ Tromba (ext Trombone) 8′ Waldhorn (Sw) 8′ Chamade (Echo) 4′ Clarion (Ch Tuba)

4′ Waldhorn (Sw) Chimes 4 Pedal

Couplers Choir to Pedal 8, 4 Great to Pedal 8, 4 Swell to Pedal 8, 4 Echo to Pedal 8, 4 Pedal Divide Pedal to Great 8 Swell to Great 16, 8, 4 Choir to Great 16, 8, 4

Echo to Great 8 Great to Choir 8 Swell to Choir 16, 8, 4 Echo to Choir 8 Choir to Swell 16, 8, 4 Echo to Swell 8 Great-Choir Transfer All Swells

*2014 additions† Vintage Skinner or new replica ranks ° New basses or trebles

(2014 continued)


4-rank mixture for the Great. Because so much of 751 was beyond salvation, sev-eral vintage Skinner ranks of appropriate scale were purchased to fi ll in the missing sets. The only reed that was revoiced in the fi rst rebuild was the Tuba, enclosed in the Choir. Luck was on our side when 59 of the original 61 tongues were dis-covered in a coffee can that had been left in a dark corner of the chamber and were promptly reinstalled and the wind pressure set back to 10 inches.

We were also granted access to fi ve Skinners across the state to verify any other questions we had, including every-thing from reed racking specifi cations to pipework dimensions for the replace-ment ranks that would have to be made up new when vintage examples were not available. The Choir Nazard and the 8′ Harmonic Flute for the Great were completely re-created using existing sets as models.

The organ begins to take shapeThe fi rst item to arrive at the church

was the new oak four-manual Skinner replica console on October 11, 2013, to replace the original that was destroyed in a fi re in 1973. The console contains a myriad of couplers, including a Pedal to Pedal 4′ and Pedal to Great, as well as all of the standard subs and supers, both inter and intra-divisional, with 6 pistons dedicated strictly for the couplers. The generous list of accessories includes 21 general pistons and 8 divisional pistons per manual (including divisional can-cels), all of which make this console user friendly. A Peterson ICS-4000 was installed to control the organ.

The original specifi cation was rather restrictive and called for three manuals and 36 ranks. The specifi cation had a few

puzzling items, including the omission of a 4′ fl ute in the Great and a 16′ reed in the Swell that was not available in the Pedal, leaving only the high-pressure Trombone. We decided to incorporate several additions, but still allow the organist to play the original specifi cation if so desired. A French Horn from Skin-ner Opus 784 and a Diapason and Cor-nopean from Skinner Opus 372 are some examples of the additions that we made. New ranks and extensions are noted in the specifi cation. The only alteration made to the original mechanism was the retrofi tting of the Swell Waldhorn chest with a borrow action to make it available in the Pedal and as a solo stop on the top manual. These additions, couplers, new ranks, and new extensions allow the 48 ranks of Opus 3 to sound much bigger.

Six new gold façade pipes sit on either side of the Palladian grille to replace the originals that were discarded after the fi re of 1973. A new enclosed Echo with grillework to match the main organ’s façade was built by David Wigton. On Easter Sunday of 2014, the entire 48 ranks of Opus 3 played for the fi rst time, including the newly voiced en chamade, the only 1965 addition that was kept. The transformation from the 1965 organ to the instrument of 2014 is indescrib-able. While technically a rebuild, it can easily pass for an entirely new organ (and has). Frederick Swann performed the dedication concert on May 9, 2014, with an outstanding program demon-strating the entire tonal range of the organ beautifully.

Skinner 751 plays again as Opus 3

The Skinner sound once again fi lls the massive sanctuary of First

Congregational Church. So many of the great Kimball, Casavant, and Skinner orchestral organs did not survive beyond the 1960s, but we have succeeded in bringing at least one back and are ever grateful for the opportunity we had to re-create Skinner Organ Company Opus 751. A detailed photo journal was kept in chronological order from the day of inception to the day of completion. All three specifi cations (1929, 1965, and 2014) are included with detailed notes. Over a hundred photos were taken of the entire proces, offering the reader the opportunity to see what went into this project and to witness the rebirth of a Skinner. The blog is available at www.skinner751.tumblr.com.

Special thanksMany people helped to make this

project a reality. Special thanks go to Dr. Steven Egler, professor of organ at Central Michigan University, for his con-sultation work and for recommending our fi rm for the job; Jon Best, the head of the organ committee at First Congregational Church, whose enthusiasm and support were a constant inspiration to the entire crew; and organist Nicholas Schmelter for his tireless fundraising efforts. Our outstanding crew deserves a huge amount of credit for all coming together to reach and achieve a common goal. Several churches throughout Michigan that gave us access to their Skinner organs include Jefferson Avenue Presbyterian, Historic Trinity, and St. Matthew and St. Joseph Episcopal, all of Detroit, as well as St. Phillip Catholic and St. Thomas Episco-pal of Battle Creek.

Organ CrewScott Smith—contractor, manager,

tonal, structure, assemblyJoe Granger—reservoirs and tremu-

lants, console design, stop list, structure, winding, assembly

Stephen Warner—releathering, engi-neering, tonal, structure, assembly, layout

Ken Holden—releathering, tonal, assembly

Trevor Dodd—electrical, wiring, structure, assembly

David Wigton—Echo case, assemblyMichael O’Neill—Echo, assemblyJeff Slabaugh—electrical

Organ projects

The old Great division

The new Great division

The returned Swell division

Co-sponsored by: The Diapason and the Music Institute of Chicago Chicago, Fox Valley, and North Shore Chapters of the American Guild of Organists Chicago-Midwest Chapter of the Organ Historical Society

Registration: $70, covers all events and Monday lunchFor more information and to register, visit www.Skinner2016.org

Performances

Joyce Robinson Stephen Schnurr

David Jonies Bella Voce Andrew Schaeffer

First Congregational Church, Skinner Opus 616 (III/32)

Music Institute of Chicago, Skinner Opus 208 (III/25)

St. Luke’s Episcopal Church, Skinner Opus 327 (IV/64)

Lectures

Venues and Instruments

E. M. SKINNER SESQUICENTENNIAL CONFERENCE

E. M. SKINNER SESQUICENTENNIAL CONFERENCE


The fall organ conference, held Sep-tember 13–16, 2015, at the Indiana

University Jacobs School of Music (JSoM), was a mix of the practical, the academic, and the experiential. This year’s conference addressed the necessary changes occurring in both church music and liturgy. These ideas were woven throughout the three-day conference, which featured numerous distinguished presenters and spirited roundtables.

Sunday, September 13 The attendees were treated to an

inspiring concert by JSoM’s Historical Performance Institute, featuring medi-eval music and poetry—some spiritual, some profane. The performers used texts by Julian of Norwich, from Carmina Burana, and music of the period associ-ated with these texts. The singers/readers semi-staged the concert, with subtle changes in accents to their basic black attire and dramatic movements that enhanced the understanding of the texts.

Monday, September 14 The Reverend Barbara Brown

Taylor, Butman Professor of Religion and Philosophy at Piedmont College and New York Times best-selling author, gave both an opening convocation address and a keynote presentation, “What, in God’s Name, Are You Doing?” Challenging the widespread understanding of wor-ship music as a mere accompaniment or enhancement of the spoken ritual, she spoke of music’s “mystical language of unsaying” and focused on the “spectacu-larly non-verbal” power of music to elicit awareness of the unfathomable, the un-nameable essence of God.

Citing resonating connections between humans, the planets, and the stars, Taylor highlighted the need for musicians to care “for the sound by which creation came into being,” and spoke of our work as “keepers of the keys” [pun intended] in terms of locking and unlocking the mysteries of “placeless places.” She also reminded us of the theological signifi -cance of creating and listening with [not to] music in community, “letting the music work its way around and through the different sized holes in each one of us.” She assured us that there is not a contest between word and music, but that “there is a time for saying and a time for unsaying.” Recalling an anthem text, she pointed to the often-greater importance of feeling over knowing: “I don’t know you, but I like you.”

A spirited panel discussion, “Where Do We Go From Here? The Possi-bilities Are Ours To Create!” featured Carla Edwards, professor of organ at DePauw University; Rev. Taylor; Tamara Gieselman, university chap-lain at the University of Evansville; Marilyn Keiser, Chancellor’s Profes-sor Emerita of Music at JSoM; and Douglas Reed, adjunct professor of

organ at JSoM. The discussion picked up the themes presented in the keynote, with an emphasis on the acute need for clergy and musicians to work in concert to create a meaningful worship experience. The afternoon ended with an advance screening of the soon-to-be-released documentary Sacred Sound: A Documentary on the Royal School of Church Music in America, presented by its producer, Robin Arcus.

The evening session, “A Calling to Music and the Arts,” was a festival of both familiar and new hymns and poetry that underscored the text of those hymns. Robert Nicholls (director of music, First Presbyterian Church, Evansville, Indiana), a prize-winning improviser and noted choir director, led a choir composed of current organ majors and conference attendees in robust singing of hymns, which were skillfully accompa-nied by varied improvisations. All church musicians know the excitement of singing hymns with colleagues, and this was such an event, made even more exciting by the beautiful C. B. Fisk organ in Auer Hall.

Tuesday, September 15The day focused on the practical

aspects of our profession. James Melli-champ, president of Piedmont College, gave an inspirational lecture on issues musicians face in the current religious climate, “Your Vocation Lies Elsewhere: Refl ections of an Organist Turned Col-lege President.” Mellichamp used his personal narrative to show how he was able to pivot his career by realizing that church music was the fi rst step to his current position within academia.

This was followed by Mary Ann Hart’s (professor of voice at the JSoM) insightful, funny, entertaining, and useful demonstra-tion of easy ways to train volunteer choir members. The audience knew that some-thing special was going to happen when she passed out soda straws and plastic

coffee stirrers prior to beginning her dem-onstration! The morning ended with Marilyn Keiser’s one-hour presentation showcasing a wide array of new organ lit-erature suitable for worship that included preludes, postludes, incidental music, and new harmonizations for hymns.

Mitchell Rorick (associate director of music, Trinity English Lutheran Church, Fort Wayne, Indiana) began the after-noon with his presentation “Enlivening Worship without (Many) Pyrotechnics.” This practical demonstration showed how traditional instruments used non-traditionally, non-traditional instruments used traditionally, and other art forms can enhance worship. One of the more interesting resources was the develop-ment of a steel band, which, like all of the creative resources and ideas he pre-sented, can be an intergenerational activ-ity. After a rehearsal with members of Trinity Episcopal Church, Bloomington Choir, and conference participants, the afternoon ended with a lovely and mov-ing Evensong directed by Marilyn Keiser.

The day ended with a banquet and the presentation of four Oswald Gleason Ragatz Distinguished Alumni Awards, to Carla Edwards (DM, 1997), Yun Kyong Kim (MM, 1996; DM, 2010; faculty, St. Claire Community and organist/choir-master, Christ Episcopal Church, Dayton, Ohio), Yoon-mi Lim (DM, 2010; associ-ate professor and Albert L. Travis Chair of Organ, Southwestern Baptist Theological Seminary, Fort Worth, Texas), and James Mellichamp (DM, 1982). The audience was then treated to a recital on the C. B. Fisk organ, Opus 91, in the Alumni Hall of the Indiana Memorial Union by Drs. Kim and Lim. Dr. Kim gave a spirited performance of Bach’s Prelude and Fugue in E Minor (BWV 548) and works by Frank Bridge, Jean Guillou, and Maurice Durufl é. Dr. Lim introduced the audience to some lesser-known works by Marcel Paponaud, Guy Bovet, Alexandre

Boëly, and Iain Farrington that were very sensitive and well suited to the nature of Opus 91.

Wednesday, September 16The conference closed with a panel

discussion, led by the Indiana Organists United (IOU) board of directors, to map the future of the Fall Organ Confer-ence. The discussion was led by Patrick Pope (organist and director of music, Episcopal Church of the Holy Commu-nion, Charlotte, North Carolina), IOU president, and Edie Johnson Overall (organist and music associate, Church Street United Methodist Church, Knox-ville, Tennessee), IOU president-elect. Those who attended the conference made many excellent suggestions, which the IOU board considered and acted upon at its afternoon meeting.

W. Michael Brittenback just retired from a 50-year career in church music, with the past 25 years full time. He con-tinues to teach organ at Hunter College. During his career he oversaw the instal-lation of two pipe organs in different parishes. He has given recitals all over the United States, and started the Desert Ora-torio Society. He also consulted on several organ installations. He currently lives with his husband in New York.

Michael Boney, canon for music and organist of Christ Church Cathedral in Indianapolis, earned bachelor’s and master’s degrees from East Carolina University, where he studied organ with Janette Fishell and choral conducting with Rhonda Fleming and Daniel Bara. He earned a Doctor of Ministry degree in the-ology and the arts from Wesley Theologi-cal Seminary, Washington, D.C., in 2015.

Boney served for 12 years as canon for music and organist of St. Michael’s Cathe-dral, Boise, Idaho; he concluded his ten-ure with a choir residency at Winchester Cathedral in the summer of 2014.

2015 Indiana University Fall Organ Conference and Alumni ReunionBy W. Michael Brittenback and Michael Boney

Conference report

2015 conference attendees and presenters


T he late Jacques van Oortmerssen’s four-day Bach Academy in Amster-

dam last summer ran from July 6–9. It consisted of morning and afternoon classes on the beautiful 1734 Müller organ at the Waalse Kerk (the Walloon Church), where he had been organist since 1982. It followed the International Organ Academy in Alkmaar, which ran from June 29 to July 4. Oortmerssen had been hoping to expand his Bach Acad-emy in future years to include orchestra concerts, lectures, and trips to museums. His concerns as a teacher and player invariably went beyond the score and into many areas of cultural and intel-lectual life. This loss, for students and lovers of organ music all over the world, is a great one.

His masterclasses were four days of continual inspiration and challenge. Teachers often evoke other instruments as models for organists but Oortmerssen was the most uncompromising teacher I have encountered, always with the end being greater depth of expression. As a pianist coming recently to the organ the continual question for me is: how can you translate the dynamics, timbres, and colors—in short, everything one can do at the piano or most other instruments—to the organ? Oortmerssen’s answer was unequivocal: you should try to do it all. A student played the Gigue Fugue bril-liantly, but in this class it was merely bril-liant, without nearly enough attention to how a violinist, for example, would shape the lines and give eloquence to the phrasing. He told the student not to be afraid—this was a ubiquitous piece of advice—to take time, to let expres-sive articulations come naturally from changes in hand position as early fi nger-ings suggest, and to approach them with a relaxed hand and not try to fi nger your way out of them.

Oortmerssen continually invoked ele-ments of musical symbolism and rheto-ric, and showed how these might relate to tempo, character, articulation, and

expression. But it is diffi cult to convey the spirit of his classes, his humor, tact, and ability to inspire a more meaning-ful performance from the student while also involving the whole class. You could assemble a dictionary of his wry aphorisms (“don’t challenge gravity;” “a good articulation you cannot hear;” “every move you make is one too much;” “relax in your body and soul—they are married”). These were four invaluable days that brought every aspect of music-making at the organ into focus.

Alkmaar AcademyAt the Alkmaar Academy the principal

faculty were Pieter van Dijk, organist at the Grote Kerk in Alkmaar, and Frank van Wijk, organist at the Ruïnekerk in Bergen. The academy ran concurrently with the Holland Organ Festival (www.orgelfestivalholland.nl) and the Interna-tional Schnitger Organ Competition. The jury for the competition also appeared as guest performers, lecturers, and master class teachers; they were Albrecht Koch, Kimberly Marshall, Karin Nelson, Reitze Smits, and Krzstof Urbaniak.

Alkmaar is a beautiful city around 40 minutes by train from Amsterdam with lovely canals (of course) and medieval architecture, and a variety of historic organs. The Grote Kerk (The Great Church, also known as the St. Lawrence church) has two important instruments: the Jan van Covelens of 1511 and the Van Hagerbeer organ of 1645 that was rebuilt in 1723 by Schnitger (the son, Frans Caspar, not Arp the father). Pieter van Dijk and Frank van Wijk were tire-lessly informative about the history, pipework, and registration possibilities of the two instruments (This informa-tion is available on a DVD/CD set they made in 2013, Alkmaar: The Organs of the Laurenskerk, released by Fugue State Films). Concerts and classes were also held at other churches, including two with Müller organs: the 1762 organ at the Kapelkerk and the 1755 organ

(subsequently expanded and rebuilt) at the Lutheran church.

The daily schedule included morning and afternoon master classes, lunchtime lectures and concerts, as well as evening concerts by the faculty and the Schnitger Prize competitors and guests. The fi rst prize winner was Adriaan Hoek from the Netherlands; second prize went to Megumi Hamaya from Japan; third prize went to Manuel Schuen from Austria. There was an excursion at the end of the week for concerts in the nearby towns of Schermerhorn and De Rijp. It was a treat to observe the faculty as perform-ers, lecturers, and master class teachers. Two highlights for me were the lectures of Karin Nelson, who has made beautiful recordings of Scheidemann on Naxos, and Kimberly Marshall, who has recently been focusing on early organ repertory. Nelson pointed out that when examining a manuscript one needs to keep in mind its particular function, as there were dif-ferent ones (and not necessarily the one we are used to, which is as a fi xed text for performance). Was the manuscript

intended for teaching (Lehrhandschrift), for use as a model for improvising (Gebr-auchshandschrift), or a presentation edi-tion (Sammlungshandschrift)? Kimberly Marshall in her lecture brought her consummate musicianship and scholar-ship to the earliest organ repetory and to questions of ornaments, temperament, and iconography.

Martin Goldray teaches at Sarah Lawrence College. As a pianist and con-ductor he has recorded music by Milton Babbitt, Elliott Carter, Philip Glass, and numerous others. For many years he was a member of the Philip Glass Ensemble.

Photos by Martin Goldray except as noted.

2015 Netherlands Organ AcademiesAlkmaar and Amsterdam

By Martin Goldray

Summer organ academies

Jacques van Oortmerssen 1734 Müller organ at the Waalse Kerk

Karin Nelson

Kimberly Marshall

Schnitger prize winners Manuel Schuen, Megumi Hamaya, and Adriaan Hoek (photo credit: Jan Zwart - Orgel Festival Holland 2015)

We are working in your area, how can we help you?


In January 2015, The Diapason partnered with the Chicago and Fox

Valley chapters of the American Guild of Organists and the Chicago-Midwest Chapter of the Organ Historical Society in presenting a Midwinter Pipe Organ Conclave, a two-day event of recitals, lectures, and workshops in La Grange, Illinois. In 2016, our team, now joined by the North Shore AGO chapter and the Music Institute of Chicago, will celebrate the sesquicentennial of the birth of one of America’s best-known organ builders, Ernest M. Skinner (1866–1960). Our conference will take place April 24–25 in Evanston, Illinois, a suburb immediately north of the city of Chicago. Subscribers of The Diapason are invited to join us; those traveling from a distance will fi nd Evanston has easy access to both of Chicago’s airports (O’Hare and Midway) as well as the many interstate highways that lead to our metropolitan area. There are several hotels a short distance from downtown Evanston.

The conference opens Sunday evening, April 24, with a concert by Chicago’s premiere professional cham-ber choir, Bella Voce, in historic St. Luke’s Episcopal Church. The choir’s program, “Faire Is the Heaven,” will feature Anglican masterpieces for choir and organ by William Harris, William Walton, H. Balfour Gardiner, and Herbert Howells. The award-winning group, founded in 1982 as His Majestie’s Clerkes, has recordings available on the Centaur, Harmonia Mundi, Narada, and Cedille labels. Andrew Lewis is artistic director of Bella Voce, as well as choir-master for St. Luke’s Church.

The gothic architecture of St. Luke’s Church is one of the ecclesiastical jewels of the Chicago region. Designed by John Sutcliffe, construction for the building began in 1906, and the nave was fi nished some eight years later. In 1922, the

Skinner Organ Company installed its Opus 327, a large four-manual organ. In the 1990s, the organ was restored by the A. Thompson-Allen Company of New Haven, Connecticut. The organ will be featured during the Bella Voce concert.

Monday morning, April 25, opens with a lecture by Stephen Schnurr at First Congregational Church. Editor-at-large for The Diapason and director of music for St. Paul Catholic Church of Valparaiso, Indiana, Schnurr will discuss the work of Ernest Skinner in Chicago.

Later that morning, Andrew Schaef-fer will present a recital in the sanctuary of First Congregational Church. The building, fi nished in 1927 to the designs Tallmadge & Watson, one of Chicago’s

premier fi rms of that era for Protestant churches, is distinctive for its Ameri-can Colonial style. Schaeffer will play Skinner Organ Company Opus 616, a three-manual, 32-rank organ. A Chicago native and one of The Diapason’s “20 under 30” Class of 2015, Schaeffer is working on a Doctor of Musical Arts degree in organ performance at the University of Oklahoma.

After a catered luncheon, we will then hear a lecture by Joyce Robinson, editorial director and publisher of The Diapason. Robinson’s lecture will focus

on the presence of Ernest M. Skinner in The Diapason, including his many letters and articles.

This will be followed by an organ crawl and open console, where registrants will be able to experience fi rst-hand the work of Skinner within a walking distance of First Congregational Church. A short

distance across Raymond Park is the Music Institute of Chicago, built as First Church of Christ, Scientist. Designed by Chicago’s Solon Spencer Beman, the neo-Classical building is home to the 550-seat Nichols Concert Hall. There we will visit the oldest playable Skin-ner organ in Illinois, Ernest M. Skinner Company Opus 208, a three-manual organ. A little further distant, Opus 327 at St. Luke’s Episcopal Church will also be available for a visit.

We will all gather once more in the nave of the First Congregational Church for our fi nal event, a recital by David Jonies. Jonies is associate director of music for the Cathedral of the Holy Name in downtown Chicago.

Registration for the entire confer-ence, including Monday’s luncheon, is only $70. We are sure you will want to join us for this springtime event of music and learning! To register, visit www.skinner2016.org.

Music Institute of Chicago, Skinner Opus 208

Ernest M. Skinner Sesquicentennial Conference

April 24–25, 2016, Evanston, Illinois

By Stephen Schnurr

Upcoming event

First Congregational Church, Skinner Opus 616

Joyce Robinson David JoniesAndrew Schaeffer Stephen Schnurr

Recitalists and Lecturers

St. Luke’s Episcopal Church, Skinner Opus 327


Noack Organ CompanyAeolian-Skinner Organ Company, Opus 1370, 1960. New organ in new church; 43 voices, 54

ranks, 3,203 pipes.Noack Organ Company, Opus 127, 1994. New organ, incorporating many Aeolian-Skinner

pipes; 58 voices, 72 ranks, 4,087 pipes. 1998 Festival Trumpet, rear gallery, 61 pipes 2007 32′ Trombone extension, 12 pipes 2015 Renovation, re-engineering, revoicing, six new ranks; 59 voices, 74 ranks, 4,110 pipesRichard Houghten, 2014. New keyboards, balanced swell shoes, other console modifi cations.

GREAT – 61 notes, unenclosed, 31⁄4″ wind pressure 16′ Diapason 1–7 A-S Pedal 16′ Kontra Bass 8–61 Noack 1994, partly in façade 8′ Diapason 1–61 Noack 1994, partly in façade 8′ Second Diapason 1–61 A-S Great 8′ Principal 8′ Spielflöte 1–12 Noack 1994 13–61 A-S Positiv 4′ Gemshorn 8′ Bourdon 1–61 Noack 4′ Octave 1–61 A-S Great 4′ Octave 4′ Harmonic Flute 1–61 A-S Swell 4′ Flute Harmonique 22⁄3′ Twelfth 1–61 A-S Great 22⁄3′ Grossnasat 2′ Fifteenth 1–61 A-S Positiv 2′ Oktav 13⁄5′ Seventeenth 1–61 A-S Positiv 13⁄5′ Tierce Mixture IV 1–61 A-S Great Mixtur IV–VI, reworked Sharp III 1–61 Noack 1994 16′ Trumpet 1–61 A-S Swell 16′ Bombarde (1–12 half-length) 8′ Trumpet 1–61 Noack 1994 4′ Clarion 1–61 Noack 1994

SWELL – 61 notes, enclosed, 5″ wind pressure 16′ Bourdon 1–12 Noack 1994 13–61 A-S Swell 8′ Gedeckt 8′ Diapason 1–8 A-S Choir 16′ Gamba EEE–BBB, rescaled 8 notes 9–61 Noack 1994, revoiced 2015 8′ Gamba 1–61 A-S Choir 8′ Gamba 8′ Celeste 1–61 A-S Choir 8′ Gamba Celeste 8′ Chimney Flute 1–19 Noack 1994 20–61 A-S Positiv 22⁄3′ Quintflöte, revoiced 2015 4′ Octave 1–61 A-S Swell 4′ Prestant, revoiced 2015 4′ Koppelflöte 1–61 A-S Positiv 4′ Koppelflöte 2′ Principal 1–61 Noack 2015 Mixture IV 1–61 Noack 1994, revoiced 2015 Cornet III, g20–d51 22⁄3′: Noack 1994, revoiced 2015 2′: A-S Great 2′ Hellflöte, revoiced 2015 13⁄5′: Noack 1994, revoiced 2015 8′ Oboe 1–61 Noack 1994, recycled early 20th-C. American 16′ Bassoon 1–61 Noack 2015 8′ Trumpet 1–61 Noack 2015 (A-S 8′ Fanfare Trumpet shallots) 4′ Clarion 1–61 Noack 2015 Tremolo

Noack Organ Company, Georgetown, MassachusettsRichard Houghten,Milan, MichiganChurch of the Incarnation, Dallas, Texas

From the consultantChurch of the Incarnation has a music

program any traditionalist would envy. Each Sunday has two music-rich morn-ing services and an afternoon Evensong. Professional singers anchor the strong choir, while talented volunteers are also welcomed; the ensemble sings 52 weeks a year. Wonderful acoustics and a true reverential atmosphere complete the picture, with incense adding a fi nal touch at Evensong. The only issue was the organ.

Scott Dettra invited me to survey the 1994 Noack in the fall of 2012, a trip that brought to mind earlier visits to the par-ish. The fi rst was in 1992, to research the original 1960 Aeolian-Skinner then still in place. Like other Texas projects for the Boston company, Opus 1370 had been meticulously installed by James Williams and his wife Nora and tonally fi nished by Roy Perry. But the musical result was a long way from the justly famous Perry-fi nished Aeolian-Skinners in Kilgore, Longview, or Shreveport. This was due partly to the tonal design (more eccen-tric than some), but mostly to a chancel chamber of complex shape and unhelpful depth, and the manner in which the Aeo-lian-Skinner had been installed within it.

When I next stopped by Incarnation in March 1995, the Noack Organ Com-pany had provided a new organ, re-using about half the Aeolian-Skinner pipes and a few mechanisms. In an adroit bit of engineering, Fritz Noack had placed his Great on two compact slider windchests within each chamber arch, fronting the whole with a handsome tin façade. He then arranged the three swell enclosures to form a wall behind the Great, ensur-ing its tone would refl ect outward. The fact that the bold 16′ and 8′ Great Dia-pasons were in façade, with the chorus close behind, made an immeasurable difference in terms of clarity and impact in the nave. The increased bass and brilliance was exactly what was needed for congregational leadership, and in the room the organ had unquestionable excitement. Unfortunately, the enclosed departments were as inconsequential as the Great was effective, particularly a cramped Swell whose reeds and shut-ter motions barely registered behind so much as Great foundations. Two later

additions, a searing gallery chamade and a hapless 32′ reed, did not help.

When Scott Dettra arrived in August 2012, his immediate concern was the chronic failure of pallets inside the slider windchests. Their glued tails detached with some frequency, causing frustrating chest-wide ciphers. Clearly some remedy would be necessary, along with a review of other items that kept the organ from reaching its full potential. New Swell reeds seemed in order, as well as some review of the leftover Aeolian-Skinner material, much of which sounded pale from under-winding. The console had its own issues, principally stemming from the unbushed keyboards; weighted and balanced to emulate the feel of tracker action, they ended up feeling merely sluggish and uncertain.

The console revision was entrusted directly to Richard Houghten, who in turn relies upon his trusty associ-ate Vladimir Vaculik and also Joseph Zamberlan. Houghten’s work saw new keyboards from Organ Supply Indus-tries, a revamped pedalboard area, new expression shoes, and other small refi nements. As for the organ itself, the process unfolded as such things do: the rector commissioned a task force to review the situation, then invited three qualifi ed builders to visit, draw their own conclusions, and sell a project. The church endeavored to convey that this wasn’t an ordinary sales effort, and that they took organbuilders’ time and effort seriously. Instead of a rigid Request for Proposal, each builder was encouraged to devise its own solution after hearing Scott’s concerns; a stipend was provided to defray travel expenses.

There was one obvious wrinkle: none of the bidders was Noack. A seeming indifference from that concern, coupled to the poor 32′ reed addition, caused many on the Task Force to think: why return to the source of the problems? Midway through the bidding process, I got a call from Didier Grassin, the new president of Noack. Didier, Scott, and I had worked together at Washington Cathedral, and far from a sales call, Didier’s seemed one of genuine enquiry alongside concern for his company’s good name. I laid out the picture as I saw it, that he was welcome to consider a situa-tion unfavorably disposed to his fi rm.

Undaunted, Didier flew to Dallas, took stock of things, and tendered a proposal that boldly suggested the best course of action. Noack would address not merely the symptoms but the prob-lems: moving the Solo so that the Swell

could grow to its proper height and no longer bottle up its tone; increase wind pressures; fix the windchests; fit new shutter fronts on all enclosures; replace

or revise those stops that had not stood the test of time, while reviewing and as necessary improving those that had. And, all of this at a price within

Cover feature

Music Director Scott Dettra conducts the Church of the Incarnation choir

The organ’s new keyboards Revised console pedalboard


Church of the Incarnation, Dallas, Texas

CHOIR – 61 notes, enclosed, 4″ wind pressure 16′ Gemshorn 1–12 A-S Great 16′ Spitzflöte 13–61 Noack 1994 8′ Flute Dolce, exchanged and revoiced 2015 8′ Geigen 1–61 Noack 2015 8′ Gedackt 1–61 A-S Positiv 8′ Holzgedeckt (all metal pipes) 8′ Flute Douce 1–61 A-S Swell 8′ Flute Celeste II, rank 1 8′ Flute Celeste FF 6–61 A-S Swell 8′ Flute Celeste II, rank 2 4′ Principal 1–61 Noack 1994, revoiced 2015 4′ Rohrflöte 1–61 A-S Great 4′ Rohrflöte 2′ Blockflöte 1–61 A-S Choir 2′ Blockflöte 11⁄3′ Larigot 1–61 A-S Great 16–8′ Spitzflöte + random A-S trebles Mixture III 1–61 A-S Choir Mixture III 8′ Trompette 1–61 A-S Swell 8′ Trompette 8′ Clarinet 1–49 1994 Noack Swell 16′ Bassoon, revoiced 2015 50–61 A-S Choir 8′ Krummhorn fl ue trebles 8′ Vox Humana 1–49 A-S Swell 8′ Vox Humana 50–61 A-S Great Mixture IV–VI, doubled trebles Tremolo

SOLO – 61 notes, 8″ wind pressure enclosed 8′ Harmonic Flute 1–12 A-S Choir 8′ Wald Flute (stopped wood) 13–61 Noack 1994, revoiced 2015 (harmonic 31–61) 8′ Salicional 1–61 A-S Swell 8′ Viola Celeste, revoiced 2015 8′ Celeste 1–61 A-S Swell 8′ Viola Pomposa, revoiced 2015 4′ Open Flute 1–61 1994 Noack, revoiced 2015

8′ French Horn 1–61 1994 Noack (recycled early 20th-C.); revoiced 2015 8′ English Horn 1–61 A-S Swell 8′ English Horn, revoiced 2015 Tremolo unenclosed 8′ Tuba 1–56 Noack 2015 57–73 A-S Great 8′ Fanfare Trumpet 8′ Festival Trumpet 1–61 Noack 1998, gallery, pressure lowered 2015

PEDAL – 32 notes, unenclosed, 4″ wind pressure 32′ Bourdon (ext) 1–4 Noack 1994, 102⁄3′ (these notes also play 16′ Stopt Bass) 5–12 A-S 32′ Bourdon 16′ Open Wood 1–32 Noack 1994 (recycled early 20th-C.) 16′ Diapason Great 16′ Stopt Bass 1–32 A-S 16′ Gemshorn 1–12 Choir 13–32 A-S Great 16-8′ Spitzflöte 8′ Diapason 1–32 A-S Pedal 8′ Principal 8′ Gedackt 1–32 A-S Great 8′ Bourdon 4′ Octave 1–32 A-S Pedal 4′ Choralbass Mixture IV Ranks 1 and 2: A-S Pedal Mixture II Ranks 3 and 4: from A-S Swell Plein Jeu IV 32′ Trombone (ext) 1–12 Noack 2007; revoiced 2015, 6″ wind pressure 16′ Trombone 1–32 Noack 1994; revoiced 2015, 6″ wind pressure 8′ Trumpet 1–32 A-S Pedal reed unit, revoiced 2015 4′ Clairon (ext) 1–12 A-S Pedal reed unit, revoiced 2015

the church’s budget, one that would save the pride of Noack while giving Incarnation an opportunity it could not refuse.

If the fi rst job of a builder is to provide a musical work of art, the fi rst task of the consultant is to prevent a “horse-opera.” Noack’s proposal didn’t seem like a risk so much as it seemed too good to be true, particularly as they could not point to any project like the one they were pro-posing. But apparently not even Texans can resist the charms of a Frenchman, and Didier presented his case with such

conviction and sincerity (and one whop-per of a guaranty)—backed by Fritz Noack’s own endorsement and acknowl-edgment of original shortcomings—that the church said yes.

Noack removed what was necessary to Massachusetts, including most of the enclosed pipework and the Pedal 32′-16′ reed. At the Noack workshop, new shutter fronts were constructed, along with those windchest elements that needed revision for tonal changes. Noack’s voicer, David Rooney, reviewed all of the Swell, Choir, and Solo fl ues; he

also voiced a handsome new Choir Gei-gen. In most cases, Rooney returned the Aeolian-Skinner material to its original voicing, while taking the 1994 material to a new and richer place. He and ex-Casavant voicer Jean-Sébastien Dufour

worked together on the Pedal Trom-bone, transforming a lazy jackhammer into something noble and appropriate. Dufour voiced a new Swell reed chorus and mild Tuba (with pipes provided by A. R. Schopp’s Sons), also reworking several other reeds.

Back on site, the windchest pallets were re-glued, the wind system reworked, and pressures adjusted higher on Swell and Solo. As a result, the slider chest actions work promptly and repeat well, without “treble burble.” The musical transforma-tion is equally one of balance and tone. In some instances, the change has been slight; the Great and Pedal are essentially as they were, merely better regulated and tuned. The Solo, placed farther back in the chamber but now on 8-inch pres-sure, is more refi ned and about as strong, while the Choir makes a similar but more organized impact than it did previously. The greatest makeover has occurred in the Swell: the strings are vibrant, the foundations make sense, the chorus says something, and the new chorus reeds are fi rst class—the star feature of the entire project. Most importantly, rather than a weakling swamped by the Great, the Swell now pulls its weight and provides the very soul of the ensemble. Capping the whole is the mild Tuba and revamped Pedal Trom-bone, with a strong 16′ region and milder 32′ octave. As a fi nal touch, Noack reduced the wind pressure on the gallery chamade, making it if not more of a Massachusetts lady, then certainly a touch less Texan.

In organ write-ups, one often reads that “expectations were exceeded.” If that holds true here, it must be said that expec-tations were realistic from the outset. The bones of this organ were strong; if the weak parts could be made equally strong, a workable instrument would result. But in a rebuild, many elements are pre-determined, beyond the control of those doing the work or the available budget. Thus, while all hoped for a credible result, I suspect even Noack is surprised at just how well everything turned out. This is an unexpectedly grand organ, and in the end a thoroughly American one, however much individual aspects might hint at this or that precedent. In hindsight, we can see now that no one should have under-estimated the abilities either of the Noack team or of the resolve of Didier Grassin to keep the Noack nameplate proudly on this console. As another customer of mine recently refl ected, “Art rarely happens without risk.”

—Jonathan Ambrosino

Continued on next page

Console

New pipes in the Swell include the Mounted Cornet III, 16′ Bassoon, and 4′ Clarion.

The organ’s original 1994 layout, and 2015 revisions

New Organs

Messiah Lutheran Church, Seattle, WashingtonMarceau Pipe Organ Builders, Ltd., Seattle, WashingtonOpus 32, 2014

Marceau Pipe Organ Builders has completed their Opus 32, a two-manual and pedal organ for Messiah Lutheran Church in the Wedgewood neighborhood of Seattle, Washington. This instrument is the fi rst pipe organ for the church, replacing an ailing electronic substitute. The speakers were housed in what is now the Swell chamber. In order to accommodate the unenclosed Great and Pedal, a steel beam was installed, supported by the ceiling beams. In addition, a back wall was installed to help refl ect the sounds of both the organ and choir into the nave. The existing carpeting in the balcony was also removed and replaced with hardwood fl ooring. These two signifi cant changes help to improve the sound projection into the room quite successfully.

The tonal design of the organ is infl uenced by the Lutheran liturgy and the need for strong congregational par-ticipation in the singing of the hymns and service music. Both Principal cho-ruses are based on 8′ pitch and when coupled deliver a most energetic result. The fl utes are varied and colorful; the Swell Cornet II adds its own unique-ness and when the 4′ and 2′ fl utes are added, takes on a much more French classic timbre. The Great 8′ Gemshorn was revoiced to add a much-needed accompaniment. This enhances the 8′ Gedeckt and is also a dynamic and color foil to the Swell strings. The reeds add richness to the Principal choruses; when the Swell reeds are combined, they provide a successful contrast to the Great Trumpet. The addition of a 16′ extension (Posaune) caps off the full ensemble. One of the unique elements of the tonal design is that all of the pipes were chosen from the pipe inventory of Marceau Pipe Organs. Given the variety of pipe makers, much time was given into proper scaling, voicing, and on-site regulation to achieve a unifi ed musical ensemble.

All of the new windchests are of direct valve design and were built in the Marceau shop. The console was originally built by a reputable supply house, with an exterior of red oak. A new exterior of white oak was lami-nated onto the old surface with very

successful results. The new stop rail and keycheeks are bubinga, providing a nice contrast to the white oak.

Projects of this nature cannot succeed without the efforts of many individuals. I wish to thank Noel Channon, organist at Messiah Lutheran, for his encour-agement and trust in the project and his willingness to help out whenever needed. James Leary was instrumental in the installation of the support beam and providing exceptional help when-ever needed. I am grateful to my staff for their efforts, especially Sean Haley, Tom Krisinski, Jim Van Horn, Gerrit Duys, Rusty Knorr, and Derek Curtis-Tilton. The completed organ was heard for the fi rst time with a members recital presented by the Seattle AGO chapter.

—René A. MarceauPresident and Tonal Director

GREAT 16′ Bourdon (ext Sw 8 St Diap) 12 pipes 8′ Principal 61 pipes (1–11, 13–18 in façade) 8′ Gedeckt 61 pipes (1–12 wood, 13–61 planed lead) 8′ Gemshorn 61 pipes (1–12 zinc, 13–61 50% tin) 8′ Harmonic Flute (1–12 from 8′ Viola and St. Diap, 13–61 from Sw. 4′ Fl) 4′ Octave (70% polished tin) 61 pipes 4′ Koppelfl ute (50% tin) 61 pipes 2′ Super Octave (from Mixture IV) 2′ Mixture IV (50% tin) 244 pipes 8′ Trumpet 61 pipes (1–12 zinc, 13–61 50% tin) 8′ Krummhorn (Sw)

SWELL 8′ Geigen (ext 4′ Principal) 12 pipes 8′ Stopped Diapason (wood) 61 pipes 8′ Viola 61 pipes (1–12 zinc, 13–61 50% tin) 8′ Viola Celeste, TC (50% tin) 49 pipes 4′ Principal (60% lead) 61 pipes 4′ Harmonic Flute (50% tin) 61 pipes 22⁄3′ Cornet II (50% tin) 122 pipes 2′ Octavin (50% tin) 61 pipes

11⁄3′ Plein Jeu IV (50% tin) 244 pipes 8′ Hautbois (50% tin) 61 pipes 8′ Krummhorn (copper) 61 pipes

PEDAL 16′ Subbass 32 pipes (3-8 in façade) 16′ Bourdon (from Sw 16′ Bourdon) 8′ Principal (from Gt 8′ Principal) 8′ Gedeckt (from Gt 8′ Gedeckt) 8′ Viola (from Sw 8′ Viola) 4′ Principal (from Gt 8′ Principal) 4′ Gedeckt (from Gt 8′ Gedeckt) 16′ Posaune (ext Gt 8′ Trumpet) 12 pipes 8′ Trumpet (from Gt 8′ Trumpet) 4′ Clarion (from Gt 8′ Trumpet)

25 ranks 1,520 pipes

Marceau & Associates, Opus 32Messiah Lutheran Church, Seattle, Washington

Cover feature


From the builderThe challenge of creating a success-

ful organ in a side chamber is always daunting. In a perfect world, an organ should be gently present in the chancel, accompanying the choir while being able to boldly support congregation singing in the nave. A chamber such as at the Church of the Incarnation puts the organ in the most unfavor-able of conditions. The voicing has to be pushed to get the acoustical energy out (in this case through two narrow openings fronting the chamber), and that gentle articulation that gives life to organ sound is all but lost in the wash. There are many rabbits a skilled organ-builder can pull out of his hat, but the organ-in-chamber situation is probably the most tricky one to solve. There can-not be a better illustration of this than at the Church of the Incarnation, where organbuilders battled this challenge, bringing at each period of its history, the rabbit of their time.

While the original 1960 organ relied on higher pressures, the 1994 rebuild addressed the limitations by bringing as much pipework as possible out of the chamber. This created a successful, clear, and articulate Great, positioned at the two openings of the chamber. The three enclosed divisions were brought as close as possible to the arch, but it may ultimately have been counterproductive by creating congestion, as each swell box forms a physical barrier to any sound generated by other divisions.

Furthermore, for budgetary reasons, the 1994 Swell and Choir had retained the rather short swell shades from 1960, making the amount of opening relatively small compared to the face of those enclosures: for example, less than half of the front of the Swell enclosure had

shutters. Even at its fullest, only so much sound could be forced out.

The 2015 project did not throw away previous layers of history, but rather built on them. The most notable change concerns the Swell, which gained a great deal of power thanks to an expanded and reinforced enclosure, new heavy swell shades, and a new reed chorus. Its new dynamic is such that it now wants to be used with care!

Once the basic principles were set, the rest of the work unfolded naturally. Mechanical issues were addressed, pressures were increased where neces-sary (e.g., the Solo now placed further back was raised to 8 inches), Aeolian-Skinner strings re-united to their original celeste ranks, reeds renewed or revoiced appropriately.

While the logistics of the work entailed certain complexities (the organ was out of commission only two Sundays during the entire project), the task was clear thanks to the way the musicians and consultant were able to articulate most precisely their musical objectives, while trusting the organbuilder to defi ne the means to attain them. There is no doubt that the cordial communication between all the parties has been one key to the success of the work.

Similarly, the project would not have happened without a team of skilled and dedicated organbuilders: Mary Beth DiGenova, Brett Greene, Eric Ken-ney, Dean Smith, Aaron Tellers, helped by Amory Atkins, Dean Conry, Alex Gilson, David Preston, and Graham Schultz, and of course the talented voic-ers David Rooney and Jean-Sébastien Dufour.

—Didier GrassinPresident, Noack Organ Company

All photos by Bret Redman

The eastern section of the Great

The former Swell 16′ Bassoon was re-fashioned into the present Choir 8′ Clarinet.

Inset bone stop labels

Marceau Pipe Organ Builders, Opus 32

Console


UNITED STATESEast of the Mississippi

15 MARCHCathedral Choir & Orchestra; Cathedral of

St. John the Divine, New York, NY 7:30 pmJames Hicks; Church of St. Louis, King

of France, St. Paul, MN 12:35 pm

16 MARCHPaul Jacobs; Kennedy Center, Wash-

ington, DC 8 pmBaroque Band; Grainger Ballroom, Sym-

phony Center, Chicago, IL 7:30 pm

17 MARCHNancy Siebecker; Christ Church, Bra-

denton, FL 12:15 pm

18 MARCHMarilyn Keiser; Immanuel Chapel, Vir-

ginia Theological Seminary, Alexandria, VA 7:30 pm

Gail Archer; St. Helena Episcopal, Beaufort, SC 12 noon

Atlanta Gay Men’s Chorus, Atlanta Wom-en’s Chorus; Peachtree Road United Meth-odist, Atlanta, GA 7:30 pm

Todd Wilson; St. Paul’s Evangelical Lu-theran, Massillon, OH 7:30 pm

+John W. W. Sherer; Fourth Presbyte-rian, Chicago, IL 7:30 pm

Chelsea Chen; Arnold T. Olson Chapel, Trinity International University, Deerfi eld, IL 7:30 pm

19 MARCHAtlanta Gay Men’s Chorus, Atlanta Wom-

en’s Chorus; Peachtree Road United Meth-odist, Atlanta, GA 2 pm, 7:30 pm

20 MARCHCONCORA, with Hartford Symphony,

Bach, St. John Passion; Immanuel Congre-gational, Hartford, CT 4 pm

St. Andrew Chorale & Orchestra, Bach, St. John Passion; Madison Avenue Presby-terian, New York, NY 3 pm

Bach Vespers; Holy Trinity Lutheran, New York, NY 5 pm

Neil Harmon; Longwood Gardens, Ken-nett Square, PA 1 pm

Alan Morrison; Bomberger Auditorium, Ursinus College, Collegeville, PA 4 pm

Bach, St. John Passion; Christ Episco-pal, Easton, MD 4 pm

Mozart, Requiem; Washington National Cathedral, Washington, DC 4 pm

Gail Archer; St. Joseph Catholic Church, Macon, GA 4 pm

Culver, Requiem; First United Methodist, Bradenton, FL 10:30 am

Thomas Murray; Christ Church Episco-pal, Bradenton, FL 4 pm

Evensong; Church of the Redeemer, Sarasota, FL 5:15 pm

Craig Cramer; Trinity Evangelical Lu-theran, Cleveland, OH 3 pm

Fauré, Requiem; Christ Church Grosse Pointe, Grosse Pointe Farms, MI 4:30 pm

Frederick Teardo; Cathedral Church of the Advent, Birmingham, AL 3 pm

Minkyoo Shin; Madonna della Strada Chapel, Loyola University, Chicago, IL 3 pm

Bach, Cantata 182; Grace Lutheran, River Forest, IL 3:45 pm

Choral concert, with orchestra; First Pres-byterian, Arlington Heights, IL 4 pm

Isabelle Demers; St. Mark’s Episcopal, Glen Ellyn, IL 4 pm

23 MARCHThomas Sheehan; Memorial Church,

Harvard University, Cambridge, MA 7:30 pmTenebrae; St. Peter in Chains Cathedral,

Cincinnati, OH 7:30 pm

Christopher Urban; First Presbyterian, Arlington Heights, IL 12 noon

25 MARCHTenebrae; Crescent Avenue Presbyte-

rian, Plainfi eld, NJ 7:30 pm

27 MARCHBenjamin Sheen & Stephen Buzard; St.

Thomas Fifth Avenue, New York, NY 2:30 pmBach Vespers; Holy Trinity Lutheran,

New York, NY 5 pmDavid Shuler; St. Mary the Virgin, New

York, NY 5 pm

28 MARCHDavid Schrader; Elliott Chapel, Presby-

terian Homes, Evanston, IL 1:30 pm

29 MARCHKaren Beaumont; Church of the Trans-

fi guration, New York, NY 12:30 pm

30 MARCHOrganized Rhythm (Clive Driskill-Smith,

with Joseph Gramley, percussion); First United Methodist, Sarasota, FL 7 pm

31 MARCHChristopher Young, masterclass; Uni-

versity of North Carolina School of the Arts, Winston-Salem, NC 3:45 pm

1 APRILChristopher Young; James A. Gray Au-

ditorium, Old Salem, Winston-Salem, NC 7:30 pm

Nathan Laube; Music Center, St. Peters-burg College, St. Petersburg, FL 7:30 pm

2 APRILJohn Wolfe; All Souls Unitarian, New

York, NY 7:30 pmPaul Jacobs; Longwood Gardens, Ken-

nett Square, PA 8 pmTodd Wilson, with brass; St. Turibius

Chapel, Pontifi cal College Josephinum, Columbus, OH 5:30 pm

Bach, St. John Passion; Christel DeHaan Fine Arts Center, University of Indianapo-lis, Indianapolis, IN 8 pm

3 APRILBen Gessner; St. John’s Episcopal,

West Hartford, CT 12:30 pmAnthony Newman, with instrumental-

ists; Madison Avenue Presbyterian, New York, NY 3 pm

Sergio Milltello; St. Patrick’s Cathedral, New York, NY 3:15 pm

Christopher Marks; Cathedral of St. John the Divine, New York, NY 5 pm

David Phillips; St. Thomas Fifth Avenue, New York, NY 5:15 pm

Edward Taylor; Christ Episcopal, Easton, MD 4 pm

Choir of St. John’s College, Cambridge, UK; Washington National Cathedral, Washington, DC 5 pm

Christopher Houlihan; Royal Poinciana Chapel, Palm Beach, FL 5 pm

Brenda Goslee; Our Savior Lutheran, Morristown, TN 4 pm

Herndon Spillman; Rockefeller Memori-al Chapel, University of Chicago, Chicago, IL 4 pm

Karen Beaumont, with guitar; St. Fran-cis Catholic Church, Milwaukee, WI 2 pm

4 APRILJoshua Ring; Northern Illinois Univer-

sity, DeKalb, IL 6:30 pm

5 APRILRyan Kennedy, works of Reger; Juilliard

School, New York, NY 6 pmCaroline Robinson & Derek Remses;

Peachtree Road United Methodist, Atlanta, GA 7:30 pm

Clive Driskill-Smith; Miller Concert Hall, Hope College, Holland, MI 7:30 pm

Jay Peterson; Lutheran School of Theol-ogy, Chicago, IL 12:15 pm

Tallis Scholars; Fourth Presbyterian, Chi-cago, IL 7:30 pm

Ahreum Han Congdon; Overture Hall, Madison, WI 7:30 pm

6 APRILWilliam Ness; Mechanics Hall, Worces-

ter, MA 12 noonAaron Sunstein; Camp Hill Presbyte-

rian, Camp Hill, PA 12:15 pm

Calendar

This calendar runs from the 15th of the month

of issue through the following month. The deadline

is the fi rst of the preceding month (Jan. 1 for

Feb. issue). All events are assumed to be organ

recitals unless otherwise indicated and are grouped

within each date north-south and east-west. •=AGO

chapter event, • •=RCCO centre event, +=new organ

dedication, ++= OHS event.

Information cannot be accepted unless it

specifi es artist name, date, location, and hour in

writing. Multiple listings should be in chronological

order; please do not send duplicate listings.

THE DIAPASON regrets that it cannot assume

responsibility for the accuracy of calendar entries.

ROBERT CLARKHouston Texas

Master Classes, Consultation

[email protected]

513/478-0079

David HermanTrustees Distinguished Professor Emeritus of Music and University Organist

The University of Delaware [email protected]

Lorraine Brugh, Ph.D.Professor of Music

University OrganistValparaiso, Ind.

valpo.edu219.464.5084

[email protected]

STEPHEN HAMILTONrecitalist–clinician–educatorwww.stephenjonhamilton.com

JOHN FENSTERMAKER

TRINITY-BY-THE-COVE

NAPLES, FLORIDA

JAMES DORROH, AAGO, PhD

Saint Luke’s Episcopal ChurchSamford University

Birmingham, AlabamaOrgan Consultant Organ Recitals

DELBERT DISSELHORST

Professor Emeritus

University of Iowa–Iowa City

THOMAS BROWNUNIVERSITY

PRESBYTERIAN CHURCHCHAPEL HILL, NORTH CAROLINA

ThomasBrownMusic.com

Byron L. BlackmoreCrown of Life Lutheran Church

Sun City West, Arizona623/214-4903

Dean W. BillmeyerUniversity of Minnesota

Minneapolis 55455 • [email protected]

GAVIN BLACKPrinceton Early Keyboard Center

732/599-0392www.pekc.org

St. Andrew’s by the Sea,Hyannis Port

Christopher Babcock

Bert Adams, FAGOPark Ridge Presbyterian Church

Park Ridge, ILPickle Piano / Johannus Midwest

Bloomingdale, IL

PATRICK ALLENGRACE CHURCH

NEW YORK

A Professional Card in

The DiapasonFor rates and digital specifi cations, contact Jerome Butera

847/391-1045; [email protected]

Norberto

GuinaldoHis Music

See—Listen—Buy

www.GuinaldoPublications.com

STEVEN EGLERCentral Michigan University

School of Music

Mt. Pleasant, MI 48859

[email protected]

CATHEDRAL OF ST. JOHN MILWAUKEE

Director of Music Michael J. Batcho


7 APRILDavid Briggs, with vocal soloists;

Mahler, Symphony No. 8; Cathedral of St. John the Divine, New York, NY 7:30 pm

Balint Karosi; Organ Recital Hall, Uni-versity of North Carolina, Greensboro, NC 7 pm

8 APRILChristopher Houlihan; Trinity College,

Hartford, CT 7:30 pmPeter Krasinski, silent fi lm accompani-

ment; St. Malachy’s Church, New York, NY 7 pm

Scott Dettra; Ginter Park Presbyterian, Richmond, VA 7:30 pm

Balint Karosi, masterclass; Organ Re-cital Hall, University of North Carolina, Greensboro, NC 10 am

•Wilma Jensen; West End United Meth-odist, Nashville, TN 7 pm

Thomas Trotter; First Presbyterian, Tus-caloosa, AL 7 pm

Scott Montgomery; Fourth Presbyte-rian, Chicago, IL 12:10 pm

9 APRILRandall Mullin, with operatic soloists;

Merrill Auditorium, Portland ME 7:30 pmRick Eriksen, with Donald Meineke,

harpsichord, and dance ensemble, Bach, Art of Fugue; St. John’s Episcopal, West Hartford, CT 7 pm

Crescent Choral Society; Crescent Av-enue Presbyterian, Plainfi eld, NJ 7 pm

Samuel Metzger, Poulenc, Organ Con-certo and Fauré, Requiem; New Presbyte-rian Church, Wilton Manors, FL 7 pm

Paul Carr; Fourth Presbyterian, Chicago, IL 7:30 pm

10 APRILALLISON; Derryfi eld School, Manches-

ter, NH 4 pm, 5 pmOrganized Rhythm; South Church, New

Britain, CT 4 pmArthur LaMirande; St. Patrick’s Cathe-

dral, New York, NY 3:15 pmCalvert Johnson; Cathedral of St. John

the Divine, New York, NY 5 pmAnthony Williams; St. Thomas Fifth Av-

enue, New York, NY 5 pmDiane Meredith Belcher; United Presby-

terian, Binghamton, NY 4 pmWilliamson Voices; Cathedral Basilica of

Sts. Peter & Paul, Philadelphia, PA 3 pmAyreheart; Shadyside Presbyterian,

Pittsburgh, PA 3 pmGail Archer; Brevard Presbyterian, Bre-

vard, NC 3:30 pmNathan Laube; Cathedral of St. Luke,

Orlando, FL 2 pmHector Olivera; Church of the Redeem-

er, Sarasota, FL 4 pmJeannine Jordan, with media artist;

Fairlawn Lutheran, Akron, OH 4 pmAdam Pajan; Basilica of St. John the

Baptist, Canton, OH 4 pmEvensong; Cathedral Church of St. Paul,

Detroit, MI 4 pmEaster Lessons & Carols; Christ Church

Grosse Pointe, Grosse Pointe Farms, MI 4:30 pm, pre-service organ recital 4 pm

Raúl Prieto Ramírez; Trinity Episcopal, Fort Wayne, IN 5 pm

Northwest Choral Society; First Presbyte-rian, Arlington Heights, IL 4 pm

11 APRILYale Repertory Chorus; Battell Chapel,

Yale University, New Haven, CT 5 pmChanticleer; Cathedral Basilica of Saints

Peter & Paul, Philadelphia, PA 7:30 pm

12 APRILRosalind Mohnsen; Church of Christ,

Scientist, Boston, MA 12:15 pmJeremy David Tarrant; Central Syna-

gogue, New York, NY 12 noonChristian Lane; Plymouth United

Church of Christ, Shaker Heights, OH 7 pmWesley Roberts; Ransdell Chapel,

Campbellsville University, Campbellsville, KY 12:20 pm

Chicago Ensemble; Buchanan Chapel, Fourth Presbyterian, Chicago, IL 7:30 pm

13 APRILThe Tallis Scholars; St. Peter in Chains

Cathedral, Cincinnati, OH 7:30 pm

14 APRILTom Trenney, improvisation master-

class; Hendricks Chapel, Syracuse Univer-sity, Syracuse, NY 10 am

15 APRILYale Schola Cantorum, Monteverdi, Ves-

pers 1610; St. Mary Catholic Church, New Haven, CT 7:30 pm

Tom Trenney, silent fi lm accompani-ment; Hendricks Chapel, Syracuse Univer-sity, Syracuse, NY 8 pm

Iain Quinn; Emmanuel Church, Chester-town, MD 7:30 pm

Erik Wm. Suter; National Presbyterian, Washington, DC 7:30 pm

Chelsea Chen; Christ and St. Luke’s Episcopal, Norfolk, VA 8 pm

Stephen Hamilton; St. Helena Episco-pal, Beaufort, SC 12 noon

Charles Miller; Cathedral Church of St. Paul, Detroit, MI 7 pm

Kevin Komisaruk; Christ Church Cathe-dral, Indianapolis, IN 7:30 pm

University of Montevallo Concert Choir; Cathedral Church of the Advent, Birming-ham, AL 12:30 pm

Chicago Master Singers; Chapel of the Holy Spirit, Techny Towers, Northbrook, IL 7:30 pm

Jonathan Rudy; Trinity Episcopal, Wheaton, IL 7:30 pm

16 APRILTENET; Society for Ethical Culture, New

York, NY 7:30 pmHenry Lowe; Zion Lutheran, Baltimore,

MD 3 pmLaudamus; St. Paul Lutheran, Strasburg,

IL 6:30 pm

17 APRILRosalind Mohnsen; First Church, Nash-

ua, NH 4 pmDavid Enlow; St. Ignatius Loyola Catho-

lic Church, New York, NY 3 pmNew York City Children’s Chorus; Madi-

son Avenue Presbyterian, New York, NY 3 pm

Louis Perazza; St. Patrick’s Cathedral, New York, NY 3:15 pm

Jake Street; Cathedral of St. John the Divine, New York, NY 5 pm

Steven Patchel; St. Thomas Fifth Av-enue, New York, NY 5:15 pm

Gail Archer; First Reformed, Scotia, NY 4 pm

Rebecca Owens; Longwood Gardens, Kennett Square, PA 3 pm

Choral Evensong; Shadyside Presbyte-rian, Pittsburgh, PA 3 pm

Monty Bennett; Park Road Baptist Church, Charlotte, NC 4 pm

Voices in Bronze; Peachtree Road Unit-ed Methodist, Atlanta, GA 3:30 pm

Marsalis, Abyssinian Mass; Zion Baptist, Cincinnati, OH 3 pm

David Baskeyfi eld; Hyde Park Commu-nity United Methodist, Cincinnati, OH 4 pm

Evensong; Christ Church Grosse Pointe, Grosse Pointe Farms, MI 4:30 pm

John Gouwens; Memorial Chapel, Cul-ver Academies, Culver, IN 4 pm

Derek Nickels; Madonna della Strada Chapel, Loyola University, Chicago, IL 3 pm

Chicago Master Singers; Chapel of the Holy Spirit, Techny Towers, Northbrook, IL 7 pm

Christopher Houlihan; University Unit-ed Methodist, Baton Rouge, LA 12:30 pm

18 APRILThomas Murray, recital and choral ac-

companiment; Cincinnati Museum Center, Cincinnati, OH 7:30 pm

19 APRILRaymond Nagem; Cathedral of St. John

the Divine, New York, NY 7:30 pmSeraphic Fire, Brahms, Requiem; St.

Paul Episcopal, Washington, DC 7:30 pmChoir of St. Thomas Church Fifth Avenue;

First United Methodist, Charlotte, NC 7 pm

20 APRILSeraphic Fire, Brahms, Requiem; Trinity

Wall Street, New York, NY 7:30 pmChoir of St. Thomas Church Fifth Av-

enue; Greene Memorial United Methodist, Roanoke, VA 7 pm

21 APRILSeraphic Fire, Brahms, Requiem; St. Clem-

ent Episcopal, Philadelphia, PA 7:30 pmChoir of St. Thomas Church Fifth Avenue;

St. John’s Episcopal Cathedral, Knoxville, TN 7:30 pm

Calendar

PHILIP CROZIERCONCERT ORGANIST

ACCOMPANIST

3355 Queen Mary Road, Apt 424

Montreal, H3V 1A5, P. Quebec

Canada

(514) 739-8696

[email protected]

LARRY PALMERHarpsichord – Organ

Professor of Music, Emeritus

SMU, Dallas, Texas

Recitals — Lectures — Consultancies

[email protected] + 214.350-3628

JAMES KIBBIEThe University of MichiganAnn Arbor, MI 48109-2085

734-764-1591 FAX: 734-763-5097email: [email protected]

KIM R. KASLINGD.M.A.

St. John’s University

Collegeville, MN 56321

A.S.C.A.P.

FELLOW, AMERICAN GUILD OF ORGANISTS

345 SADDLE LAKE DRIVE

ROSWELL-ATLANTA, GEORGIA 30076

(770) 594-0949

David K. Lamb, D.Mus.Director of Music

Trinity United Methodist ChurchNew Albany, Indiana

812/944-2229

Director of Music EmeritusTRINITY CHURCH

BOSTON

Brian Jones

ORGAN CONSULTANTwww.gabrielkney.com

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM

Gary L. JenkinsDirector, Schmidt Concert Series

Director of Music, Carmelite MonasteryCurator of Organs

Rose-Hulman Institute of TechnologyTerre Haute, Indiana

ANDREW HENDERSON, DMAMadison Avenue Presbyterian Church

New York, NY

www.andrewhenderson.net

Marilyn MasonProfessor Emeritus – University of Michigan – Ann ArborProfessor of Organ for 67 years

The University’s longest-serving faculty member

WILL HEADLEE1650 James Street

Syracuse, NY 13203-2816

(315) 471-8451

20 Under 30 NominationsDeadline: February 1, 2016

We will be recognizing 20 young men and women whose career accomplishments place them at the forefront of the organ, church music, harpsichord, carillon, and organ-building fi elds—before their 30th birthday.

Stay up to date on all of the latest industry news and events.

Visit TheDiapason.com regularly.

The Diapason announces...

Visit TheDiapason.com

for more information and to nominate.

20 under 30 Class of 2016

Winners will be announced in early March, and profi led in the May issue.

A one-inch Professional Card in The Diapason

For information on and specifi cations, contact Jerome Butera:

[email protected] 608/634-6253


22 APRILJames Kibbie; Our Lady of the Angels

Catholic Church, Worcester, MA 7 pmBarnard-Columbia Chorus, Brahms, Re-

quiem; Church of the Ascension, New York, NY 8 pm

Christian Lane; St. Paul Cathedral, Pittsburgh, PA 8 pm

Dorothy Papadakos, silent fi lm accom-paniment; Virginia Theological Seminary, Alexandria, VA 7:30 pm

Ken Cowan, with Lisa Shihoten, violin; Trinity Lutheran, Akron, OH 7:30 pm

Paul Jacobs, with orchestra; Hilbert Cir-cle Theatre, Indianapolis, IN 8 pm

Bach Week; Music Institute of Chicago, Evanston, IL 7:30 pm, 10 pm

John W. W. Sherer; Fourth Presbyterian, Chicago, IL 12:10 pm

23 APRILALLISON; Edward King House, Newport,

RI 2 pm, 4 pmUniversity of Cincinnati College-Con-

servatory of Music Chamber Choir; Knox Presbyterian, Cincinnati, OH 7:30 pm

Paul Jacobs, with orchestra; Hilbert Cir-cle Theatre, Indianapolis, IN 7 pm

24 APRILGail Archer; Grace Episcopal, Brooklyn,

NY 5 pmAnthony Hammond; St. Patrick’s Cathe-

dral, New York, NY 3:15 pmBryan Dunnewald; Cathedral of St.

John the Divine, New York, NY 5 pmRyan Kennedy; St. Thomas Fifth Av-

enue, New York, NY 5:15 pmEric Plutz; Longwood Gardens, Kennett

Square, PA 3 pmMusic of Eastertide; St. John’s Episcopal,

Hagerstown, MD 5 pmWashington Performing Arts Gospel

Choir; Washington National Cathedral, Washington, DC 4 pm

Jeremy McElroy, with countertenor; Peachtree Road United Methodist, Atlanta, GA 3:30 pm

Raymond & Elizabeth Chenault; Trini-ty-by-the-Cove Episcopal, Naples, FL 4 pm

Evensong; St. Paul Episcopal Cathedral, Detroit, MI 4 pm

Evensong; Christ Church Grosse Pointe, Grosse Pointe Farms, MI 4:30 pm

Shawn Dawson; Calvary Episcopal, Lou-isville, KY 5 pm; Choral Evensong 5:30 pm

Choir of St. Thomas Church Fifth Avenue; Cathedral Church of the Advent, Birming-ham, AL 4 pm

Bella Voce; St. Luke’s Episcopal, Evan-ston, IL 7 pm

Bach Week; Music Institute of Chicago, Evanston, IL 7:30 pm

Music of the Baroque, Purcell anthems; North Shore Center for the Performing Arts, Skokie, IL 7:30 pm

Choral Vespers; St. Chrysostom Episco-pal, Chicago, IL 7:30 pm

Bach, Cantata 86; Grace Lutheran, River Forest, IL 3:45 pm

Raúl Prieto Ramírez; St. Mark’s Episco-pal, Glen Ellyn, IL 4 pm

25 APRILGodspell; Cathedral of St. John the Di-

vine, New York, NY 7:30 pmAndrew Schaeffer; First Congregation-

al, Evanston, IL 10:45 amTimothy Spelbring; Elliott Chapel, Pres-

byterian Homes, Evanston, IL 1:30 pmDavid Jonies; First Congregational,

Evanston, IL 5 pm

28 APRILChoir of St. Luke in the Fields; St. Luke in

the Fields, New York, NY 8 pm

29 APRILDiane Bish; Marble Collegiate Church,

New York, NY 7:30 pmChristopher Houlihan; Centenary Unit-

ed Methodist, Richmond, VA 7:30 pmAndré Lash; Christ United Methodist,

Greensboro, NC 7:30 pmThomas Gouwens; Fourth Presbyte-

rian, Chicago, IL 12:10 pm

30 APRILMasaaki Suzuki, organ & harpsichord;

Marquand Chapel, Yale Divinity School, New Haven, CT 7:30 pm

UNITED STATESWest of the Mississippi

16 MARCHEileen Nelson Ness; First Presbyterian,

Rochester, MN 12:15 pm

18 MARCHAaron David Miller, with The Singers,

sing-a-long Fauré Requiem; House of Hope Presbyterian, St. Paul, MN 7:30 pm

Robert Bates; Palmer Memorial Episco-pal, Houston, TX 12 noon

Polyphony: Voices of New Mexico; Ca-thedral of St. John, Albuquerque, NM 7 pm

Thomas Gaynor; Christ Episcopal Church, Tacoma, WA 12:10 pm

James Welch and Nicholas Welch; St. Mark’s Episcopal, Palo Alto, CA 7:30 pm

19 MARCHPolyphony: Voices of New Mexico; San

Miguel Mission, Santa Fe, NM 7 pmKatya Kolesnikova; Legion of Honor

Museum, San Francisco, CA 4 pm

Calendar

ANDREW PAUL MOORE

CHRIST CHURCH

SHORT HILLS

LEON NELSONDirector of Traditional Music

Southminster Presbyterian Church

Arlington Heights, IL 60005

Stephen G. SchaefferRecitals – Consultations

Director of Music EmeritusCathedral Church of the Advent

Birmingham, Alabama

RONALD WYATTTrinity Church

Galveston

DAVID SPICERFirst Church of Christ

Wethersfi eld, Connecticut

Artistic DirectorAlbert Schweitzer Organ Festival

KARL WATSONSAINT LUKE’S

METUCHEN

ROBERT L.SIMPSON

Christ Church Cathedral1117 Texas Avenue

Houston, Texas 77002

Joe UtterbackCOMMISSIONS & CONCERTS

732 . 747 . 5227

David WagnerDMA

www.davidwagnerorganist.com

Kevin WaltersM.A., F.A.G.O.Rye, New York

RUDOLF ZUIDERVELD

Illinois College, Jacksonville

First Presbyterian Church, Springfi eld

Marcia Van OyenFirst United Methodist Church

Plymouth, Michigan

mvanoyen.com

A two-inch Professional Card in The Diapason

For information on rates and specifi cations, contact Jerome Butera:

[email protected] 608/634-6253

Alan G Woolley PhD

Musical Instrument Research

Edinburgh

[email protected]

ORGAN MUSIC OF THE SPANISH BAROQUE

David Troiano DMA MAPM586.778.8035

[email protected]

Mark SteinbachBrown University

Nicholas E. SchmelterDirector of Music

Immaculate Conception Catholic ChurchLapeer, Michigan

Scott MontgomeryConcert Organist

www.ScoMo.org

[email protected]

Artist Spotlights

Artist Spotlights are available on The Diapason website and e-mail newsletter. Contact Jerome Butera for rates and specifi cations.608/[email protected]

Artist Spotlights

om

potlights

Jeffrey Schleff, Ed.D.Director of Music and Organist

St. Philip’s Episcopal ChurchArdmore, Oklahoma

(580) [email protected]


Calendar

20 MARCHStephen Hamilton, Dupré, Le Chemin

de la Croix; Plymouth Congregational, Se-attle, WA 2 pm

Katya Kolesnikova; Legion of Honor Museum, San Francisco, CA 4 pm

Justin Matters; Cathedral of St. Mary of the Assumption, San Francisco, CA 4 pm

25 MARCHDubois, Seven Last Words of Christ; First

Lutheran, Duluth, MN 1 pm, 7 pmStainer, The Crucifi xion; St. Mark’s Epis-

copal Cathedral, Minneapolis, MN 7:30 pm

26 MARCHJohn Walko; Legion of Honor Museum,

San Francisco, CA 4 pm

27 MARCHJohn Walko; Legion of Honor Museum,

San Francisco, CA 4 pmTom Lohmuller; Cathedral of St. Mary of

the Assumption, San Francisco, CA 4 pm

1 APRILBruce Neswick; Music Recital Hall,

Southern Oregon University, Ashland, OR 7:30 pm

2 APRILDavid Hegarty; Legion of Honor Muse-

um, San Francisco, CA 4 pm

3 APRILClive Driskill-Smith; Chapel, University

of St. Thomas, St. Paul, MN 3 pmGail Archer; Lord of Life Lutheran, Sun

City West, AZ 7 pm+Douglas Cleveland; St. John’s Episco-

pal Church, Olympia WA 3 pmDavid Hegarty; Legion of Honor Muse-

um, San Francisco, CA 4 pmSven-Ingvart Mikkelsen, with violin; St.

Mary’s Cathedral, San Francisco, CA 4 pmThomas Trotter; Walt Disney Concert

Hall, Los Angeles, CA 7:30 pm

8 APRILJeremy David Tarrant; First Presbyte-

rian, Ottumwa, IA 8 pmLaudamus; Immanuel Lutheran, Wash-

ington, MO 7 pmJens Korndörfer; Doc Rando Hall, Uni-

versity of Nevada Las Vegas, Las Vegas, NV 7:30 pm

9 APRILKen Cowan, masterclass; Bethlehem

Lutheran, Minneapolis, MN 9:30 amJonathan Dimmock; Legion of Honor

Museum, San Francisco, CA 4 pm

10 APRILKen Cowan; Bethlehem Lutheran, Min-

neapolis, MN 4 pmStephen Hamilton; Our Lady of Fatima

Catholic Church, Lafayette, LA 2:30 pmJohann Vexo; Church of the Transfi gura-

tion, Dallas, TX 7 pmThomas Trotter; St. Andrew’s Episcopal,

Amarillo, TX 7:30 pmRenée Anne Louprette; Lagerquist Hall,

Pacifi c Lutheran University, Tacoma, WA 3 pm

Chelsea Chen; La Jolla Presbyterian, La Jolla, CA 4 pm

Jonathan Dimmock; Legion of Honor Museum, San Francisco, CA 4 pm

Edward Taylor; Cathedral of St. Mary of the Assumption, San Francisco, CA 4 pm

Edoardo Bellotti; St. James’ Episcopal, Los Angeles, CA 6 pm

11 APRILThomas Trotter, masterclass; St. An-

drew’s Episcopal, Amarillo, TX 10 am

12 APRILClive Driskill-Smith; Westlake Hills

Presbyterian, Austin, TX 7:30 pm

13 APRILJohann Vexo; Cathedral of St. Helena,

Helena, MT 7:30 pm

15 APRILUniversity of Northern Iowa choir; Ba-

silica of St. Mary, Minneapolis, MN 7:30 pmOlivier Latry; Greene Chapel, Hendrix

College, Conway, AR 7:30 pmChristopher Holman; Belin Chapel, Hous-

ton Baptist University, Houston, TX 12 noonNathan Laube; St. James Cathedral,

Seattle, WA 8 pmCurt Sather; Christ Episcopal, Tacoma,

WA 12:10 pm

16 APRILPamela Decker, Woosug Kang, Jeffrey

Campbell, Norene Walters, & Dennis Grannan; Catalina United Methodist, Tuc-son, AZ 1 pm

Nathan Laube, workshop, 19th-century German organs; St. James Cathedral, Se-attle, WA 10 am

Steve Ketterer; Legion of Honor Muse-um, San Francisco, CA 4 pm

17 APRILOlivier Latry; Meyerson Symphony Cen-

ter, Dallas, TX 2:30 pmOlivier Latry, masterclass; Perkins Cha-

pel, Southern Methodist University, Dallas, TX 7 pm

Bachathon; Zion Lutheran, Portland, OR 2 pm

Steve Ketterer; Legion of Honor Muse-um, San Francisco, CA 4 pm

22 APRILDavid Flood; Christ Episcopal Church,

Tacoma, WA 7:30 pm

23 APRILJohn Walko; Legion of Honor Museum,


24 APRILThierry Escaich; Davies Symphony

Hall, San Francisco, CA 3 pmJohn Walko; Legion of Honor Museum,

San Francisco, CA 4 pmTom Lohmuller; Cathedral of St. Mary of

the Assumption, San Francisco, CA 4 pm

26 APRILStephen Hamilton, with choral ensem-

ble; First Lutheran, Marshall, MN 8 pm

29 APRILBryan Dunnewald; St. John’s Cathedral,

Denver, CO 7:30 pmDavid Hurd; Trinity Episcopal Cathedral,

Portland, OR 7 pm

30 APRILJeremy Lenk; Legion of Honor Museum,


INTERNATIONAL

16 MARCHHolger Gehring; Kathedrale, Dresden,

Germany 8 pmKaren Beaumont; Southwark Cathe-

dral, London, UK 1:15 pmAlexander Binns; Reading Town Hall,

Reading, UK 1 pmGail Archer; Cathedral, Barcelona,

Spain 9 pm

19 MARCHHenry Fairs; All Saints, Oakham, UK 4 pmBernard Winsemius; St. Saviour’s

Church, St. Albans, UK 5:30 pm

30 MARCHMarkus Willinger; Kreuzkirche, Dres-

den, Germany 8 pm

6 APRILGerhard Gnann; Frauenkirche, Dres-

den, Germany 8 pm

11 APRILIsabelle Demers, Reger works; Royal

Festival Hall, London, UK 7:30 pm

13 APRILIris Rieg; Kathedrale, Dresden, Germa-

ny 8 pm

16 APRILKen Cowan, with trumpet; Maison Sym-

phonique, Montreal, QC, Canada 8 pm

20 APRILHolger Gehring, with chorus; Kreuz-

kirche, Dresden, Germany 8 pm

22 APRIL Denis Bédard, with trumpet; Holy Rosa-

ry Cathedral, Vancouver, BC, Canada 8 pm

24 APRILMaxine Thevenot; St. George’s Angli-

can, Owen Sound, ON, Canada 4 pmMarnie Giesbrecht & Joachim Segger;

Westminster United Church, Winnipeg, MB, Canada 2:30 pm

27 APRILSamuel Kummer; Frauenkirche, Dres-

den, Germany 8 pmMaxine Thevenot; St. George’s Cathe-

dral, Kingston, ON, Canada 7 pm

28 APRILMaxine Thevenot, workshop; St.

George’s Cathedral, Kingston, ON, Canada 1 pm

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American Theatre Organ Society


ERIC BUDZYNSKI, Madonna della Stra-da Chapel, Loyola University, Chicago, IL, December 20: Nun komm, der Heiden Hei-land, BWV 659, Bach; Fantasy on O Come, O Come, Emmanuel, Leighton; Es ist ein Ros’ entsprungen, Brahms; Selected movements from Partita on Freu dich sehr o meine Seele, Böhm; Magnifi cat Primi Toni, Buxtehude; Ave Maris Stella, Dupré; Carillon, Near.

CRAIG CRAMER, Chapel of the Holy Spirit, Assumption College, Worcester, MA, November 15: Introduction, Scherzo, und Fuge on B-E-A-T-E, Zahnbrecher; Noël A minuit fut un Reveil, Noël Pour l’Amour de Marie, Noël de Saintonge, Dandrieu; Passaca-glia et thema fugatum in c, BWV 582, Bach; Salutation, Petition, and Acclamation on Salve Regina, Trapp; Le Mystère de Noël, Fauchard.

PHILIP CROZIER, Cathedral, Antwerp, Belgium, July 24: Suite du deuxième ton, Bédard; Ciacona in f, Pachelbel; Praeludium und Fuge in C, Böhm; Capriccio sopra la Girolmetta (Messa della Madonna), Fresco-baldi; Noel: Joseph est bien marié, Dandrieu; Allein Gott in der Höh’ sei Ehr’, BWV 664, Bach; Partite diverse sopra ‘De Lofzang van Maria,’ Post.

Konstanz Münster, Germany, August 28: Impetuoso, Wiedermann; Epigrams, Kodály; Praeludium und Fuge G-dur, Bruhns; Deux danses à Agni Yavishta, JA 77–78, Alain; Tanz der Schulamit (Vier Biblische Tänze), Eben; Präludium in d, op. 65, no. 7, Reger; Noel: Joseph est bien marié, Dandrieu; Allein Gott in der Höh’ sei Ehr’, BWV 664, Bach; Hom-mage, Bédard; Tu es Petra (Esquisses Byzan-tines), Mulet.

JO DEEN BLAINE DAVIS, Congrega-tional Church of New Canaan, New Canaan, CT, November 6: Marcia (Third Symphony, op. 13, no. 3), Widor; Ave Verum Corpus, Ego Flos Campi, Assandra; Prelude and Fugue in C, Böhm; Sonata No. IV, op. 65, Men-delssohn; Stars and Stripes Forever, Sousa, arr. Biggs; One of You, del Aguila; Pastorale Dance on ‘Simple Gifts,’ arr. Clarke; Toccata (Fifth Symphony, op. 42, no. 5), Widor.

ISABELLE DEMERS, Overture Hall, Madison, WI, October 6: Allegro Risoluto (Symphonie II in e, op. 20), Vierne; Romance (Lieutenant Kijø, op. 60), Prokofi ev, transcr.

Demers; Prelude and Fugue in G-fl at, Martin; Fantasy on the Choral Hallelujah! Gott zu lo-ben, op. 52, no. 3, Reger; Festival at Baghdad, The Sea, The Shipwreck (Scheherazade, op. 35), Rimsky-Korsakov, transcr. Demers; So-nata in G, BWV 530, Bach; Variations on a Theme by Paganini, Thalben-Ball.

SCOTT DETTRA, Immanuel Chapel, Vir-ginia Theological Seminary, Alexandria, VA, November 6: Ballo del granduca, Sweelinck; Toccata, Adagio, et Fuga in C, BWV 564, Bach; Organ Concerto in F, op. 4, no. 5, Handel; Ave Maria, Ave Maris Stella, Langlais; Sonata No. 2 in c, op. 65, no. 2, Mendelssohn; Psalm-Prelude, Set 1, No. 2, Howells; Fantasia and Toccata, op. 57, Stanford.

STEWART WAYNE FOSTER, Episcopal Church of Bethesda-by-the-Sea, Palm Beach, FL, November 1: Passacaglia in c, Bach; So-nata Eroica, Jongen.

JILLIAN GARDNER, Cathedral of St. John the Divine, New York, NY, November 1: Introduction and Allegro (Sonata No. 1 in d, op. 42), Guilmant; Do not let your life be a time of waiting, Takle; Prelude and Fugue in E, BWV 566, Bach; Sine Nomine, Weaver; Master Tallis’s Testament, Howells; Final (Hommage à Igor Stravinsky), Hakim.

STEPHEN HAMILTON, St. James Epis-copal Church, New London, CT, November 8: Choral Variations on Veni Creator, op. 4, Dupré; Joie et Clarté des Corps Glorieux (Les Corps Glorieux), Messiaen; Pastorale, Cho-ral in b, Franck; Toccata, Villancico y Fuga (BACH), op. 18, Ginastera; Litanies, JA 119, Alain; Antiphon III, No. 3, Magnifi cat V, No. 11, Antiphon V, No. 5 (Fifteen Pieces, op. 18), Dupré; Passacaglia, BWV 582, Bach.

CHRISTOPHER HOULIHAN, Co-Ca-thedral of St. Joseph, Brooklyn, NY, Septem-ber 20: Fantasia and Fugue in g, BWV 542, Bach; Steel Symphony, Greene; Fantaisie in E-fl at, Saint-Saëns; Symphony No. 4 in g, Vi-erne.

SIMON JOHNSON, Cathedral-Basilica of St. Louis, King of France, New Orleans, LA, November 3: Sonata on the 94th Psalm, Reubke; Fanfare (Four Extemporisations), Whitlock; A fancie (My Ladye Nevell’s Book),

Byrd; Master Tallis’s Testament, Howells; Orb and Sceptre, Walton, arr. Mckie.

DAVID JONIES, Cathedral of the Holy Name, Chicago, IL, October 25: Toccata in C, Sowerby; Pavane —Dance Liturgique, Proulx; Partita on Christ, der du bist der helle Tag, BWV 766, Bach; Chorale Prelude on O Salu-taris Hostia, Saint-Saëns; Salve Regina (Or-gelmusik, op. 39a), Piechler; Symphonie VI, op. 42, Widor.

SCOTT MONTGOMERY, First United Methodist Church, Champaign, IL, Novem-ber 1: Fantasie in E-fl at, Saint-Saëns; Varia-tions on Sine Nomine, Bédard; Prelude and Fugue in D, BWV 532, Bach; Amazing Grace, I Love Thee, My Lord, Shearing; Variations de Concert, op. 1, Bonnet; Arabesque No. 2, Debussy; Choral (Symphony No. 7, op. 42, no. 3), Widor; Concert Variations on the Aus-trian Hymn, Paine.

JONATHAN OBLANDER, St. Pauls United Church of Christ, Chicago, IL, No-vember 8: Paean, Howells; Cantilène (Suite Brève), Langlais; Vater unser im Himmel-reich, BWV 682 and 683, Prelude and Fugue in G, BWV 541, Bach; Ave Maria, Ave Maris Stella, Tournemire; Ragtime Lullaby, Al-bright; Reverie, Oquin; Introduction, Passa-caglia, and Fugue, Wright.

JENNIFER PASCUAL, St. Margaret Mary Catholic Church, Louisville, KY, November 8: Processional March in A, op. 41, no. 5, Guil-mant; Concerto No. 2 in a, BWV 593, Bach; Preludium and Fuge in d-moll, op. 16, no. 3 Schumann; Rorate coeli, Attende Domine, Demessieux; Mariales, Hakim; Meditation on Ubi Caritas, Consolación; Russian Hymn with Variations, Morgan; Rimembranza, Yon; Sweet Sixteenths, Albright; Batalla in the 5th Tone, Anonymous; Choral varié sur le Veni Creator Spiritus, Durufl é.

H. RICARDO RAMIREZ, Cathedral of the Holy Name, Chicago, IL, November 8: Fantasy 5—Veni Emmanuel, Leighton; Wie schön leuchtet der Morgenstern, BuxWV223, Buxtehude; Viva Jesús, Mi Amor, Ramirez; Wondrous Love—Variations on a Shape-note Hymn, Barber; Alléluias sereins d’une âme qui désire le ciel (L’Ascension), Mes-siaen; Bailado Brasilero, Proulx; Prélude,

Adagio, et Choral Varié sur le thème du Veni Creator, Durufl é; Final (Symphonie VI, op. 59), Vierne.

NICHOLAS SCHMELTER, St. Paul’s Episcopal Church, Flint, MI, October 25: Fanfare, Wyton; Comes Autumn Time, Sow-erby; Evening Pastorale, op. 128, Lemare; The Immovable Do, Grainger; Introduction, Passacaglia, and Fugue, Wright; Prayer (Suite for Organ), Creston; Concert Fantasia on a Welsh March, Best.

RUDY SHACKELFORD, organ and piano, Bethany United Methodist Church, Gloucester Point, VA, November 22: Toccata in d, BWV 538, Bach; Adagio for Strings, op. 11, Barber; Nun komm, der Heiden Hei-land, BWV 659, Bach, transcr. Busoni; Par-tita on Nun komm, der Heiden Heiland, op. 8, no. 1, Distler; Passacaglia and Fugue in c, BWV 582, Bach; La Cathédrale engloutie (Préludes, Book I), Debussy, transcr. Shack-elford; Pastorale, Roger-Ducasse; Quaderno Musicale di Annalibera, Dallapiccola, tran-scr. Shackelford; Fantasie Choral No. 2 in f-sharp, Whitlock.

DAVID TROIANO, St. Theresa Church, Bialowieza, Poland, August 16: Canzona, Langlais; Koncert a-moll, cz. I, Bach; Obra de Septimo Tono, Torres; Toccata in F, Becker; Suonata Primo, Santucci; Chant Pastorale, Dubois; Toccata on Amazing Grace, Pardini.

BARRY WENGER, Madonna della Stra-da Chapel, Loyola University, Chicago, IL, November 15: Praeludium and Fugue in E, Bruhns; Concerto in A, BWV 593, Vivaldi, transcr. Bach; Andante religioso (Sonata No. 4 in B-fl at, op. 65, no. 4), Mendelssohn; Mas-ter Tallis’s Testament, Howells; Passacaglia, Thomson; Rhosymedre, Vaughan Williams; Introduction and Passacaglia, Reger.

ANITA EGGERT WERLING, First Presbyterian Church, Macomb, IL, No-vember 1: Partita on Veni Creator Spiritus, Eggert; Ciacona in e, BuxWV 160, Buxte-hude; Vom Himmel hoch, da komm’ ich her, BWV 769, Bach; Choral No. 2 in b, Franck; Thème et Variations (Hommage à Fresco-baldi), Langlais; Le Jardin suspendu, Alain; Choral varié sur le thème du Veni Creator, op. 4, Durufl é.

Organ Recitals

www.riedelassociates.com • (414) 771-8966email: [email protected] 819 NORTH CASS STREET•MILWAUKEE, WI 53202

Acoustical Design & Testing • Organ Consultation & Inspection • Organ Maintenance & Tuning • Sound & Video

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sound I N S P I R AT I O N

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Own a piece of history!

The cover of the 100th Anniversary Issue of The Diapason is now avail-able on a handsome 10″x 13″ plaque. The historic cover image in full color is bordered in gold-colored metal, and the high-quality plaque has a marble-ized black fi nish; a slot on the back makes it easy to hang for wall display. Made in the USA, The Diapason 100th Anniversary Issue commemora-tive plaque is available for $45, ship-ping in USA included. $10 discount for members of the 50-Year Subscribers Club. Order yours today:

[email protected]/634-6253

Don’t just tell people what you have for sale. Show them!

Include pictures with your classifi ed ads on our website.

WWW.THEDIAPASON.COMContact Jerome Butera for details.

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Classifi ed Advertising

POSITIONS AVAILABLE PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PIPE ORGANS FOR SALE

Consoliere Classic Series for Organ: Complete

Set of Six Books. An outstanding collection com-

piled from World Library Publication’s extensive

organ library. A must for any church organist.

003067, $54.00, 800/566-6150, Wlpmusic.com.

Certifi ed appraisals—Collections of organ

books, recordings, and music, for divorce,

estate, gift, and tax purposes. Stephen L. Pinel,

Appraiser. 629 Edison Drive, East Windsor,

NJ 08520-5205; phone: 609/448-8427; e-mail:

[email protected].

PIPE ORGANS FOR SALE

Brand new Italian tracker organ by Giorgio

Carli. Two manuals and pedalboard, 14 stops

(one reed, two 8′ Principals, 16′ on Pedal).

Woodworking at the highest levels, wonderful

1.5″ deep carvings, solid walnut case. 114″ high,

64″ wide, 50″ deep. Still unvoiced: it can be

adapted to suit any requirements. Information:

[email protected].

Aeolian-Skinner Opus 1071 for sale. G. Donald

Harrison, three manuals, 37 stops, 35 ranks,

2,134 pipes. Completely updated and exquisitely

fi nished console. For information: 281/444-4148.

Circa 1860 Pfeffer eight-rank organ, available

rebuilt and custom fi nished. Also 1884 choir

organ by Louis Debierre. Both are pictured on the

Redman website: www.redmanpipeorgans.com.

Historic 1859 ROBJOHN, II+Ped, 11 ranks. Drop

dead gorgeous rosewood case, 14′-2″ tall. Lovely

for chapel, large residence, or museum. www.

bigeloworgans.com. Click on News.

2-manual 34-rank Vischer organ built in

1998. Available after Easter 2016. Organ contains a 6-rank Mixture on the Great and a 5-rank Mixture on the Swell. Five 16′ stops and complete Principal chorus on Great and Swell. 8′ Trompete on Great and 16–8′ Trompette on Swell with a preparation for an 8′ Oboe. Peterson relay and combination action. $5,000.00 OBO. Please contact Thomas L. DeLay 831/809-2770 or [email protected].

1926 Kilgen 3-manual, 19-rank pipe organ.

Unrestored and in storage in Wichita, Kansas. $2,000.00. For photos and stoplist e-mail Terry at [email protected] or call 316/733-8825.

Aeolian organ—free to a good home. This terrifi c organ was originally built by the Aeolian Company for the residence of Cyrus H. K. Curtis, and was relocated to its present home by Ernest Skinner in 1935. The organ was enlarged and altered by Aeolian-Skinner in 1957, and then substantially rebuilt by Austin in 1967 and Brant-ley Duddy in 1972. The 1967 project included a new console, new windchests, and many added stops. The organ comprises 108 ranks and 83 independent voices in 7 divisions. The present owner is offering the instrument “free to a good home.” The recipient will be responsible for dis-mantling and removal of the organ. Contact John Bishop of the Organ Clearing House for further information including specifi cations, dismantling, and relocation estimates. Serious inquiries only. 617/688-9290, [email protected].

Randall Dyer organ, 4 ranks, all-electric action with expansion channel, solid-state relay; 9′ tall x 7′ wide, 4′6′′ deep with bench. [email protected], 865/475-9539. See photo and stoplist at www.TheDiapason.com/classifi ed/dyer-4-rank-organ.

Wanted: Organists visiting Maui. Lahaina’s

Holy Innocents Episcopal Church invites visit-

ing organists to play its Beckerath Positiv organ

at Sunday services. Built in 1972 by Rudolf von

Beckerath and then-apprentice Hans-Ulrich

Erbslöh for Honolulu’s Lutheran Church, the 408-

pipe Shrankpositiv has a 54-note “split” manual,

30-note pedal, 11 stops, 8 ranks, and 6 registers.

Holy Innocents acquired the instrument in 1977

and moved it to Maui where it has been played

by parish musicians such as Carol Monaghan

and visiting artists including Angus Sinclair of

Canada and Dalibor Miklavcic of Slovenia. The

instrument is extremely responsive and fi lls the

worship space beautifully. The parish community

is “exemplary in its hospitality to all visitors,” and

that especially includes visiting organists. For

information: 808/661-4202; holyimaui.org.

PUBLICATIONS / RECORDINGS

The OHS Organ Atlas chronicles the organs

and the history of the area visited by OHS con-

ventions. Available since 2006, these beautiful

full-color journals include stoplists, photographs,

and well-researched articles on the organs and

venues visited during the convention. Of special

interest is the Atlas from the 58th convention of the

OHS in 2013 celebrating the bicentennial of the

pipe organ in Vermont, 1814–2014. Researched

and written by archivist Stephen Pinel, this 235-

page publication includes evocative writing about

the state of music-making and organ building

during a period of two hundred years, as well

as a particularly fi ne history of Vermont’s most

famous and ubiquitous organ builder, the Estey

Organ Company of Brattleboro. An extraordinary

compendium by E. A. Boadway, Jr. is a complete

index of pipe organs found today throughout the

state. Readable and entertaining—a collector’s

item! Visit www.ohscatalog.org.

High school dropout, no college degree,

became director at New England Conservatory,

prolifi c composer, awarded MA Hon from Yale:

George Whitefi eld Chadwick. See his “Theme,

Variations and Fugue” at michaelsmusicservice.

com 704/567-1066

From Fruhauf Music Publications—Gabriel

Fauré, Requiem, op. 48, published in a reduc-

tion for organ from the full score, intended for

accompaniment only. The letter-sized booklet is

presented in a 3-stave format, with notes and 32

pages of music. Please visit www.frumuspub.net

for details listed on the Choir and Organ page.

Norberto Guinaldo offers unique dramatic

pieces for Lent and Easter. Beautiful editions

professionally engraved, spiral-bound, with

artistic leatherette covers. See, Listen, Buy at

www.guinaldopublications.com.

The OHS 2016 Calendar celebrates the 61st

Annual OHS Convention–Philadelphia, June

26–July 2, 2016, and the Diamond Anniversary

Year of the OHS, founded June 27, 1956. This

calendar is fi lled with gorgeous photographs by

Len Levasseur—12 different instruments, one

for each month-ranging from a 1791 Tannenberg

to an 1892 Hook & Hastings, a Roosevelt, E. M.

Skinner, to the “Wanamaker” organ, the Midmer-

Losh at Atlantic City, Aeolian at Longwood

Gardens, and contemporary organs by Mander,

Brombaugh, Kney, Rieger, and Dobson. Michael

Krasulski’s welcoming article offers wonderful

local history, punctuated with still more stun-

ning organ photos. The calendar highlights U.S.

holidays and the major dates of the Christian

and Jewish year. Order at www.organsociety.

org/2016/calendar.html. $14.99 members. $19.99

non-members.

For Pipe Organ Parts:

arndtorgansupply.comOr send for our CD-ROM catalog

Arndt Organ Supply Company1018 SE Lorenz Dr., Ankeny, IA 50021-3945

Phone (515) 964-1274 Fax (515) 963-1215

Send a copy of THE DIAPASON to a friend!Contact THE DIAPASON at 608/634-6253;

[email protected]

Attention OrganbuildersFor information on sponsoring a

color cover for THE DIAPASON, contact Jerome Butera,

608/[email protected]

Roy RedmanRedman Pipe Organs LLC816 E. Vickery Blvd.Fort Worth, TX 76104817.332.2953 • Cell: 817.996.3085

Fellow, American Institute of Organ BuildersMember, International Society of Organ Builderse-mail: [email protected]

For Sale: This SpaceFor advertising information contact:

THE DIAPASON608/634-6253 voice

[email protected] e-mail

THE DIAPASON

3030 W. Salt Creek Lane

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web www.TheDiapason.com

PIPE ORGAN BUILDERS, LTD.LAKE CITY, IOWA 51449 (712) 464-8065

PEEBLES-HERZOG, INC.50 Hayden Ave.

Columbus, Ohio 43222Ph: 614/279-2211 • 800/769-PIPE

www.peeblesherzog.com

TOTAL PIPE ORGAN RESOURCES

2320 West 50th Street * Erie, PA 16505-0325(814) 835-2244 * www.organsupply.com


Classifi ed Advertising Rates will be found below.

PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE MISCELLANEOUS FOR SALE SERVICES / SUPPLIES

Postal regulations require that mail to THE DIAPASON include a suite number to assure delivery. Please send all correspondence to: THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005.

Professional organ consultants assist with your church’s pipe organ project. New organs, rebuilding, renovations, repairs, tonal designs. Contact: Audio Forum, 254/230-8476, [email protected].

Complete Pipe Organ Services from the Organ Clearing House: 450 vintage pipe organs avail-able, renovation, tuning, consultation. Other services include transportation, cleaning and renovation of carvings, reredos, liturgical furnish-ings. Call John Bishop at 617/688-9290. [email protected].

Releathering all types of pipe organ actions and mechanisms. Highest quality materi-als and workmanship. Reasonable rates. Columbia Organ Leathers, 800/423-7003,www.columbiaorgan.com/col.

Do you have a pipe organ that you would like to interface with an electronic or digital organ? We can interface any digital organ or any organ console with any pipe organ. For more information e-mail [email protected] (not Comcast) or call 215/353-0286.

See page 25 of this issue for details on the E.M. Skinner Conference to be held April 24–25.

1928 Casavant pipe organ, completely restored with fi ve new stops by Létourneau in 1987. Two manuals and pedals, 24 ranks. Organ is in excellent condition and is a good candidate for solid-state conversion. Asking $65,000 “as is” or can be rebuilt with modifi cations. For more information, contact Létourneau Pipe Organs at [email protected] or 800/625-7473.

HYBRID ORGANS FOR SALE

Three-manual Rodgers Hybrid with seven sets of pipes; all working and in excellent condition. For more information please go to www.milnarorgan.com.

ELECTRONIC ORGANS FOR SALE

Four-manual, 88 speaking stop Custom Allen Quantum. 95 digital ranks, installed new (2005) in large auditorium. Fall 2015 organ moved to Allen Organ Studio, Augusta, GA, where it may be played and inspected by appointment. Detailed specifi cations, audio, and more infor-mation available. Allen Certifi ed Pre-Owned Warranty available (three-year limited parts warranty). $135K, price negotiable. Brad Cun-ningham, Allen Organ Studio of Augusta, GA, 4158 Wheeler Rd., Augusta, GA 30907; www.allenorganstudioaugusta.com, [email protected], 706/868-5151.

Allen MDS 8: 2 manuals, MIDI, transposer, 2 HC-15 speakers, internal speakers, AGO specs, in very good condition. Ideal for small church, chapel or home. [email protected]; 609/641-9422.

1981 Casavant tracker—3 manuals, 23

stops, 30 ranks. Footprint 10′ x 14′; height 18′. Good working order. Available now. Seller will

consider offers on a competitive basis. For

details, contact consultant Dr. David Lowry at

[email protected].

Kimball Organ (3/29, 1930), all enclosed, terrifi c Swell reeds, four 8-foot Diapasons, two sets of celestes (and you known those Kimball strings!). $70,000. The Organ Clearing House, 617/688-9290, [email protected].

Casavant (2/14, 1975), excellent condition, oak casework, $35,000. The Organ Clearing House, 617/688-9290, [email protected].

1981/2015 BIGELOW tracker, II+Ped, six stops:

8′, 4′; 8′, 4′; 16′, 8′. Excellent for a small chapel,

residence, or practice room. www.bigeloworgans.

com. Click on News.

Expressive and compact—3/27 Kilgen (1940).

Two expressive divisions. 17 manual 8-foot fl ues.

Reeds include Tuba, Cornopean, Oboe, Clarinet,

Vox Humana. Harp. 16′ Open Wood. H: 237″, W:

170″, D: 189″. Stopkey console. Original restor-

able condition. $30,000. Organ Clearing House,

617/688-9290, [email protected].

1938 Kimball studio/practice organ, 4 ranks,

21 stops, excellent condition, 91″ H, 85″ W,

56″ D (+pedalboard). Organ Clearing House,

617/688-9290, [email protected].

Kilgen 16′ Subbass, 32-pipe rank with chests. CCC is 12″ x 10″ mitred 9′ tall on chest. CCC# requires 9′6″. Best offer. 717-877-8554, [email protected].

Atlantic City Pipe Organ Company: Stinkens II–III Mixture and chest, 8′ Prestant, 2′ Princi-pal, 1-1/3′ Quint. Beautiful 1955 broad scale Möller pipework: 1/3-tapered 8′ Diapason, strings, 16′ Rohrfl ute unit and more. E-mail [email protected] or phone 609/432-7876.

Schantz 16′ Bourdon, 32 stopped wood pipes,scale 1, with chest, rack, and stand, $1,000. Schantz 16′ Gedeckt, 18 capped metal pipes, CC–F, with chest, rack, and stand, as is, $200. Chimes and harp. Miami, Florida, 305/649-2194.

Möller 16′ Principal (32 pipes) in zinc. Suit-able for a façade with over-length bodies. Asking $5,000. For information: Létourneau Pipe Organs at [email protected] or 800/625-7473.

Consoles, pipes and numerous miscellaneous parts. Let us know what you are looking for. E-mail [email protected] (not comcast), phone 215/353-0286 or 215/788-3423.

SERVICES / SUPPLIES

Aeolian/Robert Morton-style maroon leather is now available from Columbia Organ Leathers! Highest quality. 800/423-7003, www.columbiaorgan.com.

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Additional to above charges:Box Service (mail forwarding) 8.00Website placement (includes photo) 20.00($35 if not ordering print ad)

NOTE: Orders for classifi ed advertising must be accompanied by payment in full for the month(s) specifi ed.

Non-subscribers wanting single copies of the issue in which their advertisement appears should include $5.00 per issue desired with their payment.

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