APRIL, 2007

T H E D I A PA S O N

Mt. Pleasant Lutheran ChurchRacine, Wisconsin

Cover feature on pages 30–31

APRIL, 2007 3

THE DIAPASONA Scranton Gillette Publication

Ninety-eighth Year: No. 4, Whole No. 1169 April, 2007Established in 1909 ISSN 0012-2378

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

Editor & Publisher JEROME BUTERAjbutera@sgcmail.com

847/391-1045

Associate Editor JOYCE ROBINSONjrobinson@sgcmail.com

847/391-1044

Contributing Editors LARRY PALMERHarpsichord

JAMES McCRAYChoral Music

BRIAN SWAGERCarillon

HERBERT L. HUESTISOrganNet Report

Osiris Organ Archivewww.mdi.ca/hhuestis/osiris

e-mail: hhuestis@mdi.ca

Prepress Operations DAN SOLTIS

CONTENTS

FEATURES

John Weaver at 70A Life in Music

by Michael Barone 20

Steuart Goodwin:Organbuilder

by R. E. Coleberd 24

NEWS Here & There 3, 4, 5, 6, 8, 10, 12Appointments 4Nunc Dimittis 10Carillon News by Brian Swager 13In the wind . . . by John Bishop 14Das Orgeleinbuch by Leonardo Ciampa 18

REVIEWSMusic for Voices and Organ 15New Recordings 16New Organ Music 19

NEW ORGANS 29

SUMMER INSTITUTES, WORKSHOPS& CONFERENCES 32

CALENDAR 33

ORGAN RECITALS 37

CLASSIFIED ADVERTISING 38

THE DIAPASON (ISSN 0012-2378) is published monthly byScranton Gillette Communications, Inc., 3030 W. SaltCreek Lane, Suite 201, Arlington Heights, IL 60005. Phone847/391-1045. Fax (847) 390-0408. Telex: 206041 MSG RLYEmail: jbutera@sgcmail.com web: TheDiapason.com

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Cover: John-Paul Buzard Pipe Organ Builders,Champaign, Illinois; Mt. Pleasant LutheranChurch, Racine, Wisconsin 30

www.TheDiapason.com

Send subscriptions, inquiries, andaddress changes to THE DIAPASON,3030 W. Salt Creek Lane, Suite 201,Arlington Heights, IL 60005.

VocalEssence presents a two-weekfestival celebrating the music of WilliamBolcom April 21–May 5. Presentersinclude VocalEssence, MinnesotaOpera, David Higgs, MinnesotaChorale, Minnesota Boychoir, and Min-nesota Orchestra. For information:.

The Presbyterian Homes,Evanston, Illinois, continues its series oforgan recitals in its Elliott Chapel: April23, Margaret Wilson; May 21, DavidChristiansen; June 25, James RussellBrown. For information: 847/492-4800; .

South Church, New Britain, Con-necticut, continues its music series:April 29, Theresa Thomason, Paul Hal-ley, and the South Church ChancelChoir; June 3, Joel Frahm Quartet. Forinformation: .

St. Vincent Ferrer Church, NewYork City, continues its recitals on Sun-days at 3 pm: April 29, Kyler Brown;May 6, Mark Bani, hymn festival; June3, Mark Bani (fifth anniversary of thechurch’s Schantz organ). For informa-tion: 212/744-2080.

Bach Week Festival takes placeMay 4–13 at Nichols Concert Hall,Evanston, Illinois. The scheduleincludes works by Saint-Georges, Han-del, Giuliani, Buxtehude, Vivaldi, andBach (Brandenburg Concerto No. 5,Cello Suite in C, Concerto for 3 Violins,St. John Passion). For information:Bach Week Festival, P.O. Box 1832,Evanston, IL 60204-1832;

Iowa State University’s summerkeyboard camp, “Keyboard Explo-rations,” takes place June 25–30. In its14th year, the camp provides an oppor-tunity for students to explore differentkeyboard instruments including a 50-bell carillon, a French double harpsi-chord, and a 50-rank pipe organ, plusdigital pianos, a Yamaha Disklavier, andSteinway grand pianos. The daily sched-ule includes introductory classes on allof the keyboard instruments, privatelessons on two of the instruments, pianoensembles in the Yamaha Clavinova lab,jazz piano, and recreation and socialactivities. Students will have time forindividual practice on the department’sSteinway grand pianos as well as oppor-tunities to perform at concerts through-out the week.

Camp faculty includes WilliamDavid (piano), Paula Forrest (piano),Michael Giles (jazz piano), Tin-Shi Tam(carillon), May Tsao-Lim (piano), andLynn Zeigler (organ and harpsichord).For more information, contact WilliamDavid, 515/294-2027, .

The University of Michigan hasannounced historic organ tours led byMarilyn Mason: Historic Tour 54, “Inthe Steps of Buxtehude and Bach,” July9–23, Conlin Travel (www.conlinonline.com; 888/426-6546); and HistoricTour 55, “Three Great Cities: Budapest,Vienna and Prague,” September 14–26,Century World Travel (centuryworldtravel@yahoo.com; 248/486-1347).

The FFAO (Fédération Francopho-ne des Amis de l’Orgue) presents its23rd international congress, “Organs inthe Basque Country,” July 9–13. Theprogram will include a presentation ofhistorical organs of the 18th, 19th and20th centuries in France and in Spain(Biarritz, Bayonne, Bilbao, San Sebast-ian Baigorri, St. Jean Pied de Port, Loy-ola, Azkoitia, Guernika, etc.), theBasque repertory, and traditions, gas-tronomy, and Basque culture. Concertswill be played by Susan Landale, ElkeVölker, Noël Hazebroucq, Jesús MartínMoro, Esteban Elizondo, Daniel Oyarz-abal, Esteban Landart, Thomas Monnet,and others. For information: 33+380-77-93-96; ;.

The Association des Amis, Saessol-sheim, has announced its summer organacademy, July 22–29 in Saessolsheim(Alsace), France, featuring an organbuilt by Bernard Aubertin, 1995, andother organs in the surrounding area(Marmoutier). Instructors include Fred-dy Eichelberger, Paris; Willem Jansen,professor at the Academy of music ofToulouse; Claude Roser, professor atthe School of Music of Saverne; andBenjamin Righetti, Switzerland.

The program includes private instruc-tion, classes, and concerts. The academyis open to organists of every age andlevel. For information: tel.-fax 33 88 7052 75; e-mail: ; web: .

The International César FranckCompetition will take place September25–29 in the Roman Catholic Cathedraland Basilica of St. Bavo in Haarlem, TheNetherlands, on the “Willibrordus-organ” (Adema, 1923/1949/1971, 1978,IV/81), featuring compositions of CésarFranck and Jehan Alain. Candidates areexpected to send a cassette tape, Mini-Disk, CD-R or DAT of Franck’s PièceHéroïque to give proof of their ability;the deadline is June 1. The recordingshould be sent to: International CésarFranck Competition, Leidsevaart 146,2014 HE Haarlem, The Netherlands.

A maximum of 10 candidates will beinvited to participate in the first roundon September 25. The results will bepublished before July 1. There are threerounds in the competition.

On Friday, September 28, a recital

Emmanuel Church, Chestertown,Maryland, continues its music series:April 6, Evensong; May 5, the Choir ofthe Church of the Redeemer, Balti-more; 5/16, Evensong; June 8, KenCowan. For information: 410/778-3477; .

The Franciscan Monastery, Wash-ington, DC, continues its organ recitalseries on Saturdays at noon: April 14,Anthony Nardino; 4/28, Keith Reas;May 12, Donald Sutherland; 5/26, ScottHanoian; June 9, Dana La Rosa, 6/23,Victoria Shields Harding. For informa-tion: ;.

St. Bartholomew’s Church, NewYork City, presents its Eastertide series:April 11, Stephen Tharp; 4/18, GerreHancock; 4/25, Vincent Edwards; May2, Anthony Newman; 5/9, Daniel Mori-arty; 5/16, William Trafka, with brass;5/23, James Litton. For information:.

The Cathedral of St. Patrick, NewYork City, continues its organ recitalseries on Sundays at 4:45 pm: April 15,David Chalmers; 4/29, Arthur LaMi-rande; May 13, Philip E. Baker; 5/27,

Kimberly Hess; July 8, Scott Foppiano;7/22, Douglas Kostner; August 5, CraigCampbell. For information: 212/753-2261 x245; .

First Presbyterian Church, Arling-ton Heights, Illinois, concludes its2006–07 music series on April 15 with aperformance of the Requiem by JohnRutter. For information: 847/255-5900;.

The Baldwin-Wallace Bach Festi-val takes place April 20–22 in Berea andCleveland, Ohio. The schedule includesvocal and orchestral works by Bach andHandel, an organ recital by UllrichBöhme, the Mass in B Minor, and theDave Brubeck Quartet. For information:440/826/2207; .

St. Paul’s Church, Doylestown,Pennsylvania, continues its 17th seasonof concerts: April 21, Court Street BrassQuintet; May 5, Solemn Evensong andBenediction; June 1, Mozart, Vesperaesolennes de Confessore, K. 339, TeDeum laudamus, K. 141, Parry, An Eng-lish Suite; June 2, Solemn Evensong andBenediction. For information: 215/230-7098; .

Here & There

The Cathedral Church of St. John,Albuquerque, New Mexico, presentedthe premiere of Judith Bingham’s newanthem The Morning-Watch. Based onthe text of Henry Vaughan, the anthemwas commissioned for the cathedral byThe Rev. Gary Meade as part of itsCathedral Commissions program, which

began in 2005. The anthem was sung bythe Cathedral Choir, directed by IainQuinn (director of cathedral music) andaccompanied by Maxine Thevenot(associate organist-director). Pictured (lto r) are Maxine Thevenot, The VeryRev. Gary W. Kriss, Judith Bingham,and Iain Quinn.

Maxine Thevenot, The Very Rev. Gary W. Kriss, Judith Bingham, and Iain Quinn

4 THE DIAPASON

Sir Sydney Nicholson (May 30, 1947).In the UK, a new festival to encouragesinging is being launched. So far thereare eight major events planned aroundthe UK as part of the RSCM YoungVoices Festival 2007. For information:.

The National Association of Pas-toral Musicians has announced theresults of a survey on “What helps con-gregations to sing?” The NPM surveyasked people to select from among 13factors those that helped them to sing inthe liturgy. The top three responsesfrom non-musicians: familiar melody(52.2%), easy to sing (51.4%), and tradi-tional song (47.9%). Among thoseinvolved in music ministry, the topresponses were leadership of organ orinstruments (66.4%), meaningful text(65.6%), leadership of cantor or director(60.9%), and music linked to the liturgyof the day or season (59.6%). For infor-mation: .

Concert Artist Cooperative, begin-ning its 20th anniversary year in April,welcomes organist, harpsichordist, and

conductor Cristina Garcia Banegas,organist, harpsichordist, and recordingartist Shin-Ae Chun, organist and lec-turer Leon Couch, organist, pianist, andharpsichordist Ines Maidre, and organ-ist, lecturer, and recording artist RomanPerucki to its roster of soloists andensembles from around the world.

Cristina Garcia Banegas is a mem-ber of the organ faculty, as well as thechair, at the University of the Republic,Montevideo, Uruguay.

Shin-Ae Chun is director of musicand organist at Redeemer LutheranChurch in St. Clair Shores, Michigan.University of Michigan Forum

28thInternational Organ and Church Music Institute

June 24, 25, 26, 2007

Lectures: Richard Benedum, Marijim Thoene, Margarete Thomsen,Johan Van Parys

Recitals: Luke Davis, Kim Kasling, Abigail Woods, Michele Johns,Tapani Yrjola and UM faculty

Information: Marionette Cano (canom@umich.edu)

UM Historic Tour 54“In the Steps of Bach and Buxtehude”

with Marilyn Mason July 9 – 22, 2007Conlin Travel: 3270 Washtenaw Ann Arbor, MI 48104

Attention: Sharon 888-426-6546

UM Historic Tour 55“Three Great Cities: Budapest, Vienna, Prague”

with Marilyn Mason September 14 – September 25, 2007In conjunction with the

International Congress of the New EvangelizationCentury World Travel: 326 N. Lafayette, St. Lyon, MI 48178

Attn: Carol 246-486-1347 (cell) 248-719-1956

The 47thConference on Organ MusicSept. 30 – Oct. 3, 2007

“BACH AND BUXTEHUDE”In commemoration of the 300

thanniversary of the Buxtehude’s death

Lectures: Michael Barone, Peggy Kelly Reinburg,Kerala Snyder and Christoph Wolff and UM faculty

Pamela Ruiter-Feenstra

For additional information:Marilyn Mason, Professor of Music, University Organist

The University of Michigan School of Music, Theatre and Dance1100 Baits Drive, Ann Arbor, MI 48109

734-764-2500mamstein@umich.edu

Appointments

Andrew Forrest

will be given by the members of the juryon the Cavaillé-Coll organ of the Phil-harmonie, the concert hall of the townof Haarlem. The jury consists of Marie-Claire Alain, David Sanger, and Ton vanEck. For information: ;.

The Royal School of ChurchMusic (RSCM) has announced plans tocelebrate its 80th anniversary. Theseinclude special services in London,Cardiff, New York, Washington, DC,San Francisco, South Africa, and NewZealand, and a new initiative in the UKaimed at young people—the RSCMYoung Voices Festival 2007. The RSCM(which now has over 8,500 affiliatedchurches and individual members inover 40 countries) was founded by SirSydney Nicholson on December 6,1927, when he held the inaugural meet-ing in the Jerusalem Chamber in West-minster Abbey.

The first special anniversary event, onEaster Monday, April 9, is a FestalEvensong in St. Paul’s Cathedral, Lon-don, sung by the three national divisionsof the RSCM Cathedral Singers. Theywill be directed by conductor and for-mer King’s Singer Brian Kay, now a vicepresident of the RSCM. The founderand benefactors of the RSCM will alsobe remembered at the annual Celebra-tion Day service, which this year takesplace in Llandaff Cathedral, Cardiff,Wales, May 12.

Three anniversary services are to beheld in the United States where theRSCM is expanding its work: November24 at Grace Cathedral, San Francisco;February 2, 2008, at WashingtonNational Cathedral; and May 17 at St.Thomas Church, Fifth Avenue, NewYork. Psallam, a new anniversary servicebook themed on the psalms, is beingprepared for these celebrations byRSCM America, and will be publishedfor worldwide circulation by the RSCMPress in June 2007.

In addition, 2007 also marks the 60thanniversary of the death of the founder

Cristina Garcia Banegas

Shin-Ae Chun Leon Couch

Ines Maidre Roman Perucki

Leon Couch is assistant professor oforgan and music theory at ConverseCollege in Spartanburg, South Carolina.

Ines Maidre is associate professor oforgan at the Grieg Academy of Music inBergen, Norway.

Roman Perucki is director of theFrederic Chopin Polish Baltic Philhar-monic in Gdansk, Poland.

Further information can be obtainedfrom founder and director Beth Zucchi-no, 7710 Lynch Rd., Sebastopol, CA95472; tel. 707/824-5611; fax 707/824-0956; ; .

Fernand Létourneau, president ofOrgues Létourneau Limitée of Saint-Hyacinthe, Québec, has announced theappointment of Andrew Forrest to theposition of artistic director. Mr. Forresthas been with the company since 1999,and has most recently served as assistantartistic director. In his new position, hetakes on additional responsibilities forthe tonal and artistic direction of thecompany working in conjunction withMr. Létourneau as well as the compa-ny’s many clients around the globe.

Over the past three years, Forrest hasplayed a key role in the successful com-pletion of two large instruments at theEpiscopal Church of St. John the Divinein Houston, Texas (V/144) and ChristEpiscopal Church in Bradenton, Flori-

da (III/75). In addition to developingspecifications for new instruments incollaboration with clients, he will active-ly oversee the company’s proposals fororgan cases as well as supervise consoledesign. Forrest continues to take a keeninterest in the history and art of pipescaling, with a particular interest in thescaling and voicing practices of NorthAmerican organbuilders from the 20thcentury. He carried out a study of vari-ous string ranks at Philadelphia’s Wana-maker organ on behalf of the companyin 2004 and is looking forward to docu-menting the company’s forthcomingrestoration of the 1955 Aeolian-Skinnerorgan at Winthrop College in Rock Hill,South Carolina.

A native of Toronto, Forrest lives inOtterburn Park, Québec with his wifeand their two children. He continues tosubstitute on a regular basis for severalchurches in the Montréal area.

APRIL, 2007 5

Faythe FreeseOrganist/Lecturer

Associate Professor of OrganSchool of Music

University of AlabamaTuscaloosa, Alabama

Johan HermansOrganist / Lecturer /

Recording ArtistConservatory of MusicSt. Quintinus Cathedral

Organ Concert SeriesCivic Organist

Hasselt, Belgium

Michael KaminskiOrganist

Director of Music MinistriesSaint Francis Xavier ChurchBrooklyn College FacultySt. Francis College Faculty

Brooklyn, New York

Leon CouchOrganist/Lecturer

College OrganistAssistant Professor of Organ

and Music TheoryConverse College

Spartanburg, South Carolina

Laura EllisOrganist

Associate Professor of Organ and CarillonUniversity of FloridaGainesville, Florida

Angela Kraft CrossOrganist/Pianist/Composer/

Recording ArtistOrganist

Congregational ChurchSan Mateo, California

William KuhlmanOrganist

Professor of Music EmeritusLuther CollegeDecorah, Iowa

Tong-Soon KwakOrganist

Professor of OrganCollege of MusicYonsei UniversityArtistic Director

Torch International Organ AcademySeoul, Korea

Colin AndrewsOrganist/Lecturer/Recording Artist

Lecturer, Organ Performance & Sacred Music StudiesEast Carolina University

School of MusicGreenville, North Carolina

Cristina Garcia BanegasOrganist/Harpsichordist/Conductor

Organ Faculty and Chair University of the RepublicConductor, De Profundis

Vocal/Instrumental EnsembleDirector, International Organ Festival

Montevideo, Uruguay

Emanuele CardiOrganist/Lecturer/Recording Artist

Organ and Soprano withPolina Balva (St. Petersburg)

Titular OrganistSt. Maria della Speranza

Battipaglia, Italy

Shin-Ae ChunOrganist/Harpsichordist/

Recording ArtistDirector of Music and Organist

Redeemer Lutheran ChurchSt. Clair Shores, Michigan

Maurice ClercInterpreter/Improviser/

Recording ArtistTitular Organist

St. Benigne’s CathedralFaculty

National ConservatoryDijon, France

Maija LehtonenOrganist/Pianist/Recording Artist

Senior Lecturer, Organ FacultyOulu PolytechnicOrgan and Violin

with Manfred GrasbeckHelsinki, Finland

ConcertArtistCooperative

David K. LambOrganist/Choral Conductor/

Oratorio AccompanistDirector of Music/Organist

First United Methodist ChurchColumbus, Indiana

www.ConcertArtistCooperative.comBeth Zucchino, Founder and Director

7710 Lynch Road, Sebastopol, CA 95472PH: (707) 824-5611 FX: (707) 824-0956

Established in 1988

20ththANNIVERSARY

Sean Elliot Beachy of Grantsville,Maryland, won the First Annual AnthemCompetition of the First Baptist Churchof Worcester, Massachusetts. Beachy’swinning anthem for SATB choir andorgan, Then I Saw a New Heaven, basedon the assigned biblical text of Revela-tion 21:1–6, garnered the $1,200 prize.Sean Beachy was born and raised in

Requirements for the 2008 SecondAnnual Anthem Competition of the FirstBaptist Church of Worcester, Massachu-setts, will be announced on the churchwebsite: in April. Dead-line for entries is January 2, 2008.

Els Biesemans is featured on a newrecording, Symphonic Organ Musicfrom Brussels & Paris, on theET’CETERA label. Recorded on thehistoric Van Bever organ at the Domini-can Church in Brussels, the programincludes works of Franck, Gilson,Moulaert, Jongen, Aubertin, andVierne. For information: .

Craig Cramer is featured on a newCD (JAV Recordings 151), recorded onthe Fritts Organ at the University ofNotre Dame, South Bend. In 2004 theuniversity completed the Marie P.DeBartolo Center for the PerformingArts, in which Paul Fritts built his Opus24, designed after north GermanBaroque organs of Bach’s time. The

program includes works by Bach,Johannes of Lublin, Bruna, and Buxte-hude. The CD comes with an extensivebooklet containing an interview withCraig Cramer, notes on the organ byPaul Fritts, notes on the music, and aphoto essay on pipe making and trackeraction. For information: .

Emma Lou Diemer has been com-missioned to write several new works.Evensong and Shift, for women’s chorusand organ, on texts by Sr. Mary Eliza-beth Micka of the College of St. Cather-ine, was commissioned by Patricia Con-nors for WomanVoice 2007, St. Paul,Minnesota. The choral work Considerthe Lilies was commissioned by Con-stance Speake and St. Peter Church,Northbrook, Illinois, in honor of herretirement. I Danced in the Morning,for organ, was commissioned by MarthaChapman and First PresbyterianChurch, Albemarle, North Carolina, tocelebrate the church’s new pipe organ.Variations on Endless Song was com-

Maryland, and began studying piano atage 8. He majored in piano at Alderson-Broaddus College in Philippi, West Vir-ginia, and earned a master’s degree incomposition at Shenandoah University,Winchester, Virginia. He is currentlypursuing a DMA in composition fromWest Virginia University. Beachy is co-music director and organist for Frost-burg United Methodist Church in Frost-burg, Maryland.

Judges for the 2007 competition wereRobin Dinda, Fitchburg State College,Fitchburg, Massachusetts; MargaritaMerriman, Professor Emeritus, AtlanticUnion College, South Lancaster, Massa-chusetts; and Robert M. Speed, Profes-sor Emeritus, Grandview College, DesMoines, Iowa. Beachy’s anthem will bepremiered on April 22 in the 10 am wor-ship service by the Chancel Choir underthe direction of William Ness, Ministerof Music & Arts, at First Baptist Church.In 2006 an award was given to ChristinaWhitten of Los Angeles, California forher anthem The Raising of Lazarus forSATB choir and organ.

Sean Elliot Beachy

Here & There

6 THE DIAPASON

Zamalek district. The inner move-ments—II. The majesty of the law; III.A philosopher; IV. The curious reticenceof the gazelle; V. Another philosopher;VI. The serenity of the shepherd—reflect various specific aspects of thisancient, Coptic, and Islamic culture. Atthe same time, each is a portrait of a per-son and therefore the style of writingchanges from movement to movement.The fourth movement is completely ser-ial while the remaining movements aremodeled on various baroque models.Dr. Freese was an active collaborator inthe composition of the work, assisting inselecting the registrations and sendingMP3 files to Dr. Baboukis for soundreviews. Freese gave the Georgia pre-miere on February 18 at Emory Univer-sity and plans to perform the Egyptianpremiere in May 2008.

Felix Hell will play the completeorgan works of J. S. Bach in a series ofrecitals at Wesley United MethodistChurch, Bethlehem, Pennsylvania,April 26–30. The opening recital onApril 26 is at 7:30 pm; 4/27, 6 pm and8:15 pm; 4/28, 1 pm, 4 pm, 8 pm; 4/29,2 pm, 5 pm, 8:15 pm; 4/30, closingrecital at 7:30 pm. For information:George Boyer, 610/533-8623.

Zarex Corp., parent company for thePro Organo CD label founded by organ-ist Frederick Hohman, has launched anew product line of organ music underthe label “Zarex Scores,” sold throughthe same website that sells Pro OrganoCDs and Midnight Pipes videos. In addi-tion to a virtuoso Easter concert organwork by Carlos Xavier Santiago, entitledIberian Feast of the Resurrection(ZS1006), the Zarex Scores line featuresthree newly published organ arrange-ments and original works of FrederickHohman: Mutations (ZS1003), contain-ing two “merged” organ preludes; Exten-sions (ZS1001), four classic organ works,each with added material that extendsthe work’s length considerably (andwhich contains Hohman’s signature con-cert version of Bach’s Arioso [Air on GString]); and an original Hohman organ

work, A Patriot’s Processional (ZS1002).The Bach Arioso, one of four pieces

in the volume Extensions, is recordedon Frederick Hohman’s Pro OrganoCD entitled Symphohmania. Theremaining three works in Extensionsand both items in the volume Mutationsare all heard on the complimentary CDrecording Unseen Servants. Thousandsof units of the CD have been distributedsince its launch at the 2006 AGO con-vention in Chicago. These CDs are alsoavailable from Pro Organo.

A key feature of Zarex Scores is amore detailed registration and expres-sion notation than is typically found inpublished organ music. Additional organscores from both American and Euro-pean composers are planned for releasein the Zarex Scores brand through 2008.For information: .

Jeannine Jordan presented “FromSea to Shining Sea,” an organ and mediaevent, at The Old Church in Portland,Oregon, on January 31. Presented aspart of the Wednesday recital series onthe historic Hook & Hastings organ, theprogram featured the music, anecdotes,and images of the first 200 years of theorgan in the colonies and United States.Dr. Jordan’s research into the lives ofearly American organists, organs, andorgan music led her to create this pro-gram in conjunction with media artistDavid Jordan, whose images invited thelisteners to experience a visual connec-tion with the music and stories of theprogram. “From Sea to Shining Sea”took the listeners on a narrated musicaland visual historical journey. For infor-mation: .

Freedom by Dan Locklair was heardas part of Classical Matinee, a concertby the eXpress! ensemble of the Port-land Gay Men’s Chorus, Mary McCartyconducting, on February 18 at The OldChurch, Portland, Oregon. The NewYork City Gay Men’s Chorus commis-sioned the Locklair work, which is based

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NATIONAL ASSOCIATION of PASTORAL MUSICIANS

2007 NATIONAL CONVENTION

Indianapolis, IndianaJuly 9–13

Nearly 200 Workshops 5 Major Addresses2 Special Lecture SeriesMaster Classes and ClinicsOrgan CrawlPerformancesNoontime Organ RecitalsPrayer and EucharistChoir and Handbell Festivals

Phone: (240) 247-3000Web: www.npm.org

missioned by Marilyn Mason for Morn-ingStar Music Publishers’ “MarilynMason Music Library” series.

Faythe Freese, associate professorof organ at the University of Alabama,performed the world premiere of Out ofEgypt, composed by John Baboukis,director of the music program at theAmerican University in Cairo (Egypt),on January 28. The work, a suite of char-acter pieces connected to Cairo, consistsof seven movements, opening and clos-ing with a call to prayer such as Baboukisheard from a nearby minaret in the

Faythe Freese

John BaboukisFelix Hell

Frederick Hohman

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Dan Locklair

A four-manual Allen Renaissance Heritage™ console in a special two-tone finish has been recently installed in Philadelphia’s Leverington Presbyterian Church, located in the heart of the Roxborough section. The 24 Mudler-Hunter pipe ranks and 79 Allen digital voices are controlled by individual drawknobs. The handsome console features rosewood manual and pedal sharps, rosewood rocker tablets, rosewood drawknob faces with maple stems, and Skinner-style key cheeks. The manual naturals are Laukhoff Ivora. Cathedral-style side panel mouldings complement the inspired console design. An adjustable bench, adjustable music rack and console dolly are finished to match the console’s exterior finish, which is custom-matched to the existing woodwork of the sanctuary. The digital audio is located behind the pipe façades, in and near the pipe chambers.

150 Locust Street, P.O. Box 36 Macungie, PA 18062-0036 USA

Phone: 610-966-2202 Fax: 610-965-3098

E-mail: aosales@allenorgan.com

LEVERINGTON PRESBYTERIAN CHURCHPHILADELPHIA, PENNSYLVANIA

PEDAL 2nd Voices/Pipes64 Resultant32 Contre Bourdon32 Contra Violone16 Diapason Prinzipal16 Gedeckt Pipes only16 Bourdon16 Bourdon doux (Sw)16 Contra Gamba (So)16 Violone8 Principal Pipes only8 Octave Oktav8 Bass Flute Pipes only8 Bourdon Pipes only8 Gedacktflöte8 Gamba (Solo)4 Prestant Pipes only4 Choralbass4 Fife Pipes only4 Flûte2 Octave Pipes onlyIV Fourniture Pipes onlyIV Mixture32 Contre Bombarde32 Contre Dbl. Trumpet (Gt)16 Bombarde Posaune16 Double Trumpet (Gt)8 Trompette4 Clarion

SWELL English Swell/Pipes16 Bourdon doux8 Geigen Diapason Open Diapason8 Bourdon8 Gedeckt Pipes only8 Flute Celeste II Erzähler Celeste II8 Erzähler Pipes only8 Viola Pipes only8 Viola Celeste Pipes only8 Salicional Viole d’Orchestre8 Voix Celeste Viole Celeste4 Principal Pipes only4 Octave Geigen Octave4 Rohrflöte Pipes only4 Traverse Flute

2 2/3 Nasard2 Octavin Pipes only2 Flautino Pipes only2 Piccolo

1 3/5 TierceIV Fourniture Mixture VIII Plein jeu Pipes only16 Contre Trompette Double Trumpet8 Trompette Trumpet8 Hautbois Orchestral Oboe8 Vox Humana Vox Humana4 Clairon Clarion

Tremulant16 Swell to Swell

Swell Unison Off4 Swell to Swell

English SwellChimes mechanical

(in Swell chamber)

GREAT Second Voices/Pipes16 Double Diapason Quintaton16 Bourdon8 Principal Pipes only8 Diapason Prinzipal8 Bourdon8 Gedeckt Pipes only8 Harmonic Flute Metalgedackt8 Gamba4 Prestant Pipes only4 Octave Oktav4 Spitzflute4 Harmonic Flute Pipes only

2 2/3 Twelfth Sesquialtera II2 2/3 Nazard Pipes only

2 Super Octave Pipes only2 Fifteenth2 WaldfluteIV MixtureIII Cymbale Pipes onlyIII Sharp Mixture16 Double Trumpet8 Tromba

TremulantChimes Carillon

SOLO (no pipes)16 Gamba Celeste II8 Flauto Mirabilis8 Solo Gamba8 Gamba Celeste4 Gambette Celeste II16 Trompeta Real 8 Trompeta Real 8 French Horn8 Corno d’Bassetto8 Cor Anglais4 Trompeta Real

TremulantCelesta

CHOIR (no pipes)16 Contra Viole8 Holzgedackt8 Viole8 Viole Celeste4 Prinzipal4 Koppelflöte4 Violes II2 Oktav

1 1/3 QuintflöteIII Cymbale16 Bass Clarinet 8 Petite Clarinette

TremulantPI

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8 THE DIAPASON

on Maya Angelou’s poem Equality. Locklair performed his organ music

on February 6 at St. Paul’s EpiscopalChurch, Winston-Salem, North Caroli-na. Selections from his Salem Sonata(2003) and Æolian Sonata (2002) werefeatured, along with his Triptych forManuals (1974) and the premiere ofDance the Joy (2004), in addition toSchumann’s Sketches in F minor and Cminor (op. 58, nos. 1 and 3) and Han-del’s Sonata in F Major for Flute (op. 1,no. 11) (with flutist Kathryn Levy).

James R. Metzler will be playingorgan recitals in England at King’s Col-lege Chapel, Cambridge, on May 5 andat Westminster Cathedral (RC) in Lon-don on May 6. He has previously per-formed at Westminster Abbey on threeoccasions, as well as at St. Paul’s Cathe-dral (London), Norwich Cathedral, andNotre Dame Cathedral (Paris). Metzlerrecently moved to Grand Rapids, Michi-gan, to become organist and director ofmusic at Park Congregational Church,UCC. He previously served at TrinityEpiscopal Cathedral, Little Rock,Arkansas, and before that at Trinity Epis-copal Church, Toledo, Ohio. He contin-ues as director of the CanterburySingers, based in Toledo, with which hehas toured in England on ten occasions.

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We are pleased to announce the commissioning of a newpipe organ for Christ Church United Methodist inLouisville, Kentucky. Our Opus 107 will enjoy pride ofplace at the front of an all-new sanctuary designed bySherman Carter Barnhart Architects in collaboration withacoustician Dennis Fleischer. The stoplist was prepared inconsultation with Dan Stokes, Director of Music, and willoffer a total of 53 stops over three manuals and pedal,including two divisions under expression, an 8’ Tuba stopon high wind pressure and two 32’ ranks. For moreinformation about this instrument and others, please visitour redesigned website at www.letourneauorgans.com.

CHRIST CHURCH UNITED METHODISTLouisville, Kentucky

On January 19, Stanford UniversityOrganist Robert Huw Morgan per-formed Frank Ferko’s Hildegard OrganCycle. Each of the cycle’s ten move-ments is a musical depiction of one ofthe holy visions of Hildegard von Bin-gen, who lived 1098–1179. Composedin 1991, Ferko’s music is reminiscent ofthe style of French composers such asMessiaen, Dupré, Langlais, and Guillou.The live acoustics of Stanford MemorialChurch, and the tonal resources of the1901 Murray Harris organ complement-ed Morgan’s outstanding reading of thislandmark composition, which has beenheard in venues such as St. AlphonsusChurch, Chicago; Cathedral of St. Mary,San Francisco; St. Patrick’s Church,Washington, DC; and the Domkerk inUtrecht, The Netherlands. It has beenrecorded by the composer on the Arsislabel. Ferko, who holds degrees in musicfrom Valparaiso, Syracuse, and North-western universities, now holds a posi-tion in Stanford University’s Archive ofRecorded Sound.

—James Welch

Robert Parris is featured on a newrecording, Land of Rest, on the Loftlabel (LRCD 1080). Recorded on theC. B. Fisk organ at Christ Church,Macon, Georgia, the program includesworks of Buxtehude, Bach, Franck,Sowerby, and Dupré, and is the pre-miere recording of the Fisk Opus 115(II/38). For information: .

Douglas Reed, professor of organ atthe University of Evansville, playedthree recitals in England in September2006. His performances included a ben-efit concert at Worksop Priory andrecitals at St. Wulfram’s Church inGrantham (near the University ofEvansville’s Harlaxton campus) and St.Magnus-the-Martyr Church in London.Dr. Reed performed music by Bach,Schumann, Sowerby, and Vierne, andgave the first performances in Englandof William Albright’s Flights of Fancy.St. Magnus-the-Martyr Church was

built by Sir Christopher Wren(1671–76) at the north end of themedieval London Bridge. Pedestrianshad to walk across the church’s porch togain access to the bridge. The church’sfirst pipe organ (1712) featured the firstuse of a swell box. In the 13th-centuryWorksop Priory, Reed performed sever-al encores on the accordion, includingTico-Tico, Beer Barrel Polka, and QueSera, Sera (Whatever Will Be, Will Be).

First Church of Christ in Wethers-field, Connecticut, recently celebratedDavid Spicer’s 20th anniversary asMinister of Music and the Arts. Spicer isan avid model railroader, so the churchgave him and his wife, Dana, a dinnerand ride on the Essex Steam Train inthe picturesque coastal town of Essex,Connecticut. Spicer was allowed toblow the whistle several times, after

James R. Metzler

Wilma Jensen masterclass at the Curtis Institute of Music (photo credit: Jean E. Brubaker)

Wilma Jensen conducted a master-class for organ students of Alan Morrisonat the Curtis Institute of Music. Picturedare (back row) Professor Alan Morrison,Ahreum Han, Dr. Wilma Jensen,Stephanie Liem; and (front row) Nathan

Laube, Joshua Stafford. Dr. Jensen’s2007 schedule continues with recitals atWest End Methodist Church, Nashville,Tennessee; St. Paul’s Episcopal Church,Greenville, South Carolina; and St.Mark’s Episcopal Church, Philadelphia.

Douglas Reed performs accordionencores in the 13th-century WorksopPriory during his visit to England

David and Dana Spicer boarding theEssex Steam Train

which he remarked it was as loud as anyen chamade reed he has ever played.

David Spicer directs a multiple vocaland handbell program and produces amonthly concert series at First Churchof Christ. As a recitalist, Spicer is knownfor his transcriptions, and he is houseorganist at the Bushnell Center for Per-forming Arts in Hartford. In 1997Spicer and Dr. Harold Robles foundedthe Albert Schweitzer OrganFestival/USA. This national competi-tion, now in its tenth year, is for organstudents in high school or college(through age 26).

Before assuming the Wethersfieldposition in October 1986, Spicer wasdirector of music at the First Presbyter-ian Church in Lincoln, Nebraska, andtaught church music at Nebraska Wes-leyan University. Prior to this he wasorganist/choirmaster at the Wayne(Pennsylvania) Presbyterian Church.

A native of Austin, Texas, Spicerreceived his first musical training from

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10 THE DIAPASON

Mary Ann Dodd died January 1 inCooperstown, New York. She was Uni-versity Organist Emerita at ColgateUniversity in Hamilton, New York,where she had served as universityorganist and special instructor in organfrom 1973–93. In 1976 she selectedHoltkamp to build the three-manualBrehmer Memorial Organ. She alsotaught at the State University of NewYork in Binghamton as an adjunct lec-turer 1987–90 and as the Link VisitingProfessor in organ in 1989.

Born and raised in Pullman, Wash-ington, Dodd held the BMus degreefrom the University of Arkansas (1956)and the MMus degree from the Univer-sity of Tennessee (1971). She per-formed and lectured throughout theUnited States with special emphasis oncontemporary organ music. An activemember of the American Guild ofOrganists, she had been a member of its

national committee on new music andthe committee for the AGO improvisa-tion competition, and served on thenational council as Region II councillor.Her reviews and articles appeared fre-quently in The American Organist andTHE DIAPASON. She was co-author (withJayson Engquist) of the book GardnerRead: A Bio-bibliography (1996). At thetime of her death, Mary Ann Dodd wasworking on a book on contemporaryorgan music, focusing on the career ofthe late Leonard Raver.

She is survived by her husband of 55years, Jack G. Dodd, a son, a daughter,and three grandchildren.

H. Ronald Poll, age 70, passed awayJanuary 28 at home in Salt Lake City,Utah. A charter member of the Ameri-can Institute of Organbuilders, heserved three years as the organization’spresident. He also served on severalcommittees and was dedicated to strongpositive goals, art and technology, andin furthering the cause, reputation andexpansion of true pipe organs.

Ron’s love for the pipe organ had itsroots as a young boy when he and hisbrother David would sit for hours listen-ing to their organist mother’s 78-rpm,and later 331⁄3-rpm LP, recordings. Hewas impressed with the beauty andmusical expression of the pipe organ.

After a time with the Utah NationalGuard and service as a missionary forthe Church of Jesus Christ of Latter-daySaints, Ron worked for a period doinginstallation, voicing and tuning with hisM. P. Möller representative brotherDavid, the Wicks Organ Co., and oth-ers. He was employed by the Church ofJesus Christ of Latter-day Saints as anorgan technician and supervisor. Among

the dozens of organs he worked on isthe Salt Lake Mormon Tabernacleinstrument of G. Donald Harrison.

Ron organized his own organ buildingand service firm, H. Ronald Poll & Asso-ciates, employing two sons, Michael andTimothy, who are continuing the firm’soperation. Ron’s code was well stated byHenry Ward Beecher: “Hold yourselfresponsible for a higher standard thananybody else expects of you. Neverexcuse yourself.” Ron constantly soughtfor perfection. He was faithful to thehighest ethical and performance stan-dards and in bringing joy to othersthrough his creation.

Ron worked on many instrumentsfrom coast to coast. Among his morerecent accomplishments are the three-manual instruments for St. Paul’s Epis-copal Church in Salt Lake City and theProvo L.D.S. Tabernacle.

Ron is survived by his wife, Mary,nine children, 19 grandchildren and twogreat-grandchildren, his mother, fourbrothers and five sisters. Services wereheld February 2 in Taylorsville, Utah,where Mormon Tabernacle organistClay Christiansen provided the musicon one of Ron’s smaller instruments.

—David Poll

Bruce V. Schantz died on January 5in Orrville, Ohio, at the age of 93. BornOctober 17, 1913, in Orrville, he beganstudies at Oberlin College, but left tohandle the sales department of theSchantz Organ Company with hiscousin Paul Schantz. He covered terri-tory in Ohio and Indiana during theDepression and took night classes at theUniversity of Akron. He was hired byGoodyear Aircraft just before the U.S.entered World War II, and workedthere in management during the waryears. He then returned to Orrville tojoin the family business.

Bruce Schantz managed the SchantzOrgan Company along with his brotherJohn, his son Victor, his cousin Paul, andJack Sievert. He served as the company’spresident, chairman of the board, andchairman emeritus. He was involved inmany community projects, including thetransformation of the Community Chestinto the Orrville United Way and chair-ing the drive that made Wayne Collegepossible. He was a past president of theOrrville Chamber of Commerce and theExchange Club. In 1970 he was namedthe Paul L. Powell Citizen of the Yearfor the City of Orrville.

He is survived by his wife Grace, twodaughters, five sons, a brother, and 12grandchildren. A funeral was held Janu-ary 13 at Christ Church, United Churchof Christ, and a memorial service washeld January 21 at Wayne College.

Malcolm Wechsler died November16, 2006 in New Fairfield, Connecticut,at the age of 70. Born in the Bronx, NewYork, and raised in Stamford, Connecti-cut, he studied piano as a child and

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his parents, playing the organ in churchat the age of eight. He is a graduate ofthe Curtis Institute of Music inPhiladelphia, where he studied underAlexander McCurdy. Graduate studieswere completed at Eastern Baptist The-ological Seminary, also in Philadelphia.Further organ study was done withRobert Elmore. David Spicer is marriedto Dana, an artist and designer. Theyhave a blended family of seven childrenand six grandchildren. Spicer’s interestsinclude biblical studies, model railroad-ing, astronomy and sports cars.

Nunc Dimittis

Mary Ann Dodd

H. Ronald Poll

Bruce V. Schantz

12 THE DIAPASON

since the Renaissance, and extensiveindices; it is fully documented and illus-trated with numerous photographs.Author Michael Markovits holds aPh.D. in musicology, history, and artfrom the University of Berne.

eMedia Music Corp., publisher ofthe series of guitar tutorial CD-ROMs,is offering the eMedia Learn to PlayKeyboard Pack, which includes every-thing needed to learn keyboard, straightout of the box, an affordable solution forlearning piano or keyboard that is alsogreat for kids. Included are a USBMIDI keyboard, eMedia Piano Key-board Method CD-ROM, and a USBcable (through which the keyboard isconnected and powered). The key-board, with 49 full-size touch-sensitivekeys, conveniently fits on one’s comput-er desk and plays through the comput-er’s speakers. Piano teacher Irma IreneJusticia, M.A., who has taught at theJuilliard School of Music, provides over70 video demonstrations of techniques.More than 100 popular songs can belearned from the music notation and ananimated keyboard. With the MIDIkeyboard, specific feedback on playingmistakes is provided, including wrongnotes and rhythms. The eMedia Learnto Play Guitar Pack and Learn to PlayKeyboard Pack, each priced at $149.95,are available at music retail and com-puter stores nationwide and online .

Goulding & Wood, Inc. has pub-lished volume 3, issue 1 of its newslet-ter, The Coupler. Included are articleson the renovation of Aeolian-SkinnerOpus 884 at East Liberty PresbyterianChurch, Pittsburgh; Goulding & WoodOpus 45 for Ball State University,Muncie, Indiana; Opus 46 for St.George’s Church, Germantown, Ten-nessee, to be installed in the 2007; and anew contract, Opus 47, III/70, for Loy-ola University, Chicago. For informa-tion: 800/814-9690; .

Hendrickson Organ Company, St.Peter, Minnesota, has announcedrecent projects. When an attic electricalfire in the American Lutheran Churchof Windom, Minnesota, destroyed theold Möller organ and much of the inte-rior of the church after Christmas 2005,the Hendrickson Organ Company wascalled upon for a new instrument.Working with organist Karen JonesWojahn, the organ committee at thechurch, and the architectural firmSMSQ of Northfield, Minnesota, Hen-drickson developed a plan for a 25-rankelectric-action organ to be installed in2008. The organ will be installed front-center, directly above and behind thenew choir location. A movable 2-manu-al drawknob console will be built.

For Trinity Episcopal Church inExcelsior, Minnesota, Hendricksoncoordinated with Rev. Andrew Waldo,organist Luke Tegtmeier, and formerorganist Monte Mason in the design of anew 2-manual, 28-rank, tracker-actionpipe organ to be installed front-center.Revisions to the church have been coor-dinated with Station 19 Architects ofMinneapolis, who are also designing arevision to the sanctuary, new lighting,seating, chancel, and floors. Hendrick-son has also supplied and installed archi-tectural wall sections for the chancel.

The organ from Trinity LutheranChurch of Fort Collins, Colorado, isundergoing rebuilding and enlarging,with installation this spring. The organis being enlarged to 17 ranks on twomanuals and pedal.

The new tracker-action studio organat Minnesota State University, Manka-to, was dedicated in March 2006 with arecital by Linda Duckett. In October2006, David Geslin played the dedicato-ry recital on the Hendrickson installa-tion at Family of God Lutheran Churchin Brooklyn Park, Minnesota. Also ded-icated was the 13-rank organ at ZionChurch in Le Sueur, Minnesota, with arecital by Charles Parsons in Septem-ber. For information: 507/931-4271; .

JAV Recordings has announced anew release, Reflections from Riverside(JAV 168, $40), which features fiveRiverside organists (John Walker, Timo-thy Smith, Robert MacDonald, Fred

Swann, and Christopher Johnson) in liverecitals at The Riverside Church in NewYork City. In the summer of 2006 theliving organists of the church were invit-ed back to play in the church’s Tuesdaynight organ recitals. These were allrecorded live and assembled onto thistwo-CD set. Repertoire consists ofmusic commissioned for the Riversideorgan, and by musicians that had strongties to the church. A 32-page bookletincludes written notes on each composi-tion, biographies of each organist andnumerous photographs. For informa-tion: .

Quantum has released The Well-Tempered Clavier I, a world premiererecording on organ, piano and harpsi-chord, all tuned to Werckmeister IIItemperament. Performers are PascalVigneron, organ; Dimitri Vassilakis,piano; Christine Auger, harpsichord,with an introduction by Michel Chapuisand Gilles Cantagrel. For information:.

Brill has announced a special offer forreaders of THE DIAPASON: Die Orgel imAltertum, by Michael Markovits (2003,ISBN-13: 978 9004125 75 9, hardbackxxiv, 783 pp. in German; list price €217 /US$293). The book is now available at adiscount of 50% off the list price. Toorder, visit the website and mention the source code “47340” toqualify for the discounted price. Thespecial offer will run until June 1.

This history of the organ in antiquityprovides a wide overview of the techni-cal development, use and recognition ofthe organ as an instrument. The inter-disciplinary study relies on a compre-hensive collection of literary works andarchaeological monuments from Hel-lenistic, Roman, Jewish, Early Byzan-tine, Syrian and Western civilizationsfrom 270 B.C. to 630 A.D., and discuss-es the survival of this heritage in Byzan-tium, the Islamic countries, and duringthe Latin Middle Ages until about 1200.

The volume concludes with anaccount of the relevant scholarship

Preston HollowPresbyterianChurch(Dallas, TX)Opus 41200369 ranks

Annette Albrecht, organist

Terry Price,director of music

823 Massachusetts Avenue • Indianapolis, Indiana 46204Telephone: 800.814.9690 or 317.637.5222

www.gouldingandwood.com

David Petty & AssociatesOrganbuilders

27 Marlboro Lane • Eugene, OR 97405(541) 521-7348 d.r.petty@att.net

earned a bachelor’s in organ perfor-mance at Oberlin College. In 1963 hereceived a master’s in organ perfor-mance from the Juilliard School ofMusic. He held a number of churchpositions and in 1966 was appointedmusic director at St. Paul’s AnglicanCathedral in London, Ontario, alsoteaching at the University of WesternOntario. He later taught at LaurentianUniversity, Sudbury, Ontario.

In 1985 Wechsler returned to NewYork to work with the Opera Orchestraof New York and begin Ph.D. studies atCity College of New York. In 1987 hewas appointed American sales represen-tative for N. P. Mander, and in 1994 hebecame organist of St. Andrew’s Epis-copal Church, Stamford, Connecticut.An active member of the AGO and theOHS, he reported on the OHS conven-tions in 2001 (North Carolina) and 2003(Pennsylvania) for THE DIAPASON. Afuneral service was held at St. Andrew’sChurch on November 21, 2006.

Martin H. Wittig, 66, of North Lit-tle Rock, Arkansas, died at his home onJanuary 18. Born August 12, 1940 inWaymart, Pennsylvania, he was a Viet-nam War veteran who served with theU.S. Air Force in Okinawa, Japan. Atthe time of his death, he was organist atSt. Patrick’s Catholic Church in NorthLittle Rock. He previously served asorganist at St. Mary’s Catholic Churchin North Little Rock. His many businessventures included ownership of a gasstation and three car washes. He is sur-vived by his wife of 41 years, Diane Wit-tig, seven grandchildren, and two great-grandchildren.

Here & There

Abe Batten, John Panning, Dean Zenor, Lynn Dobson and Kirk Russell of DobsonPipe Organ Builders, with the north case of the National Cathedral organ in thebackground (photo credit: Donovan Marks)

Dobson Pipe Organ Builders ofLake City, Iowa, and WashingtonNational Cathedral have announced thatDobson has been selected to design andbuild a new pipe organ for the NationalCathedral. This instrument will replacethe current organ, which was originallybuilt by Ernest M. Skinner & Son in1938 and rebuilt on several occasions as

the cathedral building was enlarged andcompleted. The decision has been madeto build a new organ that retains the his-toric casework as well as a number ofbeautiful voices from the present instru-ment. Details of the project can befound on the cathedral’s website at.

APRIL, 2007 13

Iowa State University CarillonFestival

The Iowa State University CarillonFestival, sponsored by The StantonMemorial Carillon Foundation, will beheld on April 14. Guest artists includeDon Cook, University Carillonneur atBrigham Young University, and JeffreyPrater, Professor of Music at IowaState University. The festival willinclude carillon concerts, master class,and seminar.

In conjunction with the festival, a car-illon composition competition is held toencourage the writing of original caril-lon compositions by young composers.Prizes include one cash award of $500and the premiere performance of thewinning composition at the carillon fes-tival. For information: 515/294-2911;; .

2007 GCNA Congress atUniversity of the South, Sewanee

The 65th annual congress of theGuild of Carillonneurs in North Ameri-ca will be held at the University of theSouth in Sewanee, Tennessee, June17–22. The centerpiece for the congresswill be the 56-bell Leonidas Polk caril-lon in Shapard Tower of All Saints’Chapel. Featured performers will beJanet Tebble, Eddy Mariën, Sam Ham-mond, Todd Fair, Bill DeTurk, and JeffDavis. Koen Cosaert will present anillustrated talk on “Piano versus Caril-lon: professional musicians versus ama-teur carillonneurs, people in search of abetter carillon.” Bill DeTurk will talkabout Arthur Bigelow, the man whodesigned and installed the Sewanee car-illon in 1958–59, and there will be apanel discussion on performance andcopyright issues.

Workshops include classes on Finale,a comparison of Finale and Sibelius,arranging music for carillon, interpreta-tion of carillon music, and improvisa-tion. Excursions include change ringingin Breslin Tower, two Casavant organs,the Meeks-Watson 23-bell carillon at St.Francis Episcopal Church in Ooltewah,the Grand Ole Opry, and the JackDaniel’s Distillery.

The theme of the congress will be“The Music of Appalachia from ShapeNote Singing to the Grand Ole Oprywith Stops along the Way at White Spir-ituals and Folk Music.” Register for thecongress online at or contact con-gress host John Bordley at 931/598-1801or .

Belgium gives bells to VirginiaUnion University

His Excellency Dominique Struye deSwielande, Belgian Ambassador to theUnited States, announced recently thatthe Belgian Government will give afour-bell peal to Virginia Union Univer-sity for installation in the BelgianFriendship Building. The ambassadorindicated that the gift was prompted bythe commitment of “Bells for Peace,Inc.” to the restoration of the BelgianFriendship building that has graced theVirginia Union University campus forover 60 years. According to AmbassadorStruye, “Bells have been a significantand joyful element in Belgium’s culturallife for centuries. It seems thereforevery appropriate that it will be throughbells that we renew the special link thatexists between Virginia Union and Bel-gium, and a happy coincidence that thebells we have chosen, the ACD and Enotes, are called joyous random ring-ing.” The Government of Belgium willpurchase the bells from the VerdinCompany of Cincinnati for $69,000.The bells are to be installed and func-tioning by the end of 2007. Other bellsare being solicited to form a full caril-lon. The Belgian building’s 161-footVann Memorial Tower has been with-out bells for more than 60 years. Mil-lions visited the Belgian Pavilion, an

JOHANNUSthe revolution

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Carillon Newsby Brian Swager

Dianne Watkins

The Belgian Pavilion in its setting at the New York World’s Fair in 1939

exhibition hall, at the 1939 New YorkWorld’s Fair. At the close of the Fairand after World War II had begun, thestructure could not readily be returnedto occupied Belgium, so Belgiumawarded the pavilion complex to VUUbecause of its educational mission andlocation. The building’s carillon of 35bells, however, was purchased by theBelgian American Educational Founda-tion for presentation to former Presi-dent Herbert Hoover for his new library

at Stanford University. The gift toHoover was in appreciation for hishumanitarian relief efforts to Belgiumafter WWII. Neither university had arecord of their common history untilMarch, 2004, when the connectioncame to light.

Dianne Watkins, who has been activein the field of education, both as a class-room teacher and administrator,received a fellowship in 2003 to Stan-ford University’s Executive LeadershipProgram in Urban Education, repre-senting Richmond Public Schools. She

heard the carillon on the Stanford cam-pus, not at that time knowing its con-nection to Virginia Union University.With her brother, Alan Nelson, sheunveiled the connection between thetwo institutions in March 2004.

Watkins then founded “Bells forPeace, Inc.,” a non-profit charitableorganization whose mission is to restoreand endow the Belgian FriendshipBuilding and educational programs forhumankind’s peaceful endeavors inmemory of John Malcus Ellison, Sr.,first African American president of

14 THE DIAPASON

crazy amounts of money installing opu-lent instruments in their luxurious andenormous homes.

Brothers John (1864–1920) andHorace Dodge (1868–1920) were insep-arable from early childhood, sharingcommon employment throughout theircareers. Early on they both worked for amanufacturer of marine boilers inDetroit, Michigan. Later, on thestrength of an improved ball bearingpatented by Horace, they built a suc-cessful business manufacturing bicycles.The mammoth Dodge Motor Companywas the result of logical progression.John was the more volatile of the two,Horace was a passionate music lover (hewas an early and important patron of theDetroit Symphony Orchestra).2 Horacebuilt a tremendous house at 17800 Jef-ferson Avenue in Detroit, and like manymusic-loving industrialists contractedwith the Aeolian Organ Company fortheir Opus 1175 (II/15), which wasinstalled in 1911. He “upgraded” in1916, ordering #1319b (IV/80). Johnresponded by installing #1444 (III/76)in his home in Grosse Pointe, Michi-gan—perhaps justifying the smallerspecification by recognizing that, afterall, Horace was the music lover. Horaceended the debate by ordering a moremodest instrument (#1478, II/16) for agrand location without fixed address—his 258-foot steam yacht, The Delphine.The rivalry ended somewhat unrequitedas Horace’s death meant that #1319bwas never installed. Although his deathalso preceded Delphine’s launching, hiswidow Anna (along with her secondhusband, the actor Hugh Dillman) wasleft to enjoy that grand vessel launchedin 1921. Delphine burned and sank atNew York City’s 95th Street Pier onSeptember 21, 1926, and Anna orderedit to be refloated and refitted, includingAeolian #1639 with specification identi-cal to its predecessor except for theaddition of a Duo-Art Player.3

Amazingly, the age of such sea-goingluxury is not over. Built by HodgdonYachts of East Boothbay, Maine, andlaunched in 1999, the 126-foot sloopAntonisa features a five-rank, one-man-ual, tracker-action pipe organ in its mainsalon. Built by Stefan Maier of Athol,Massachusetts, enhanced with carvingsin scallop-shell motifs, and epoxied intoits home, the organ undoubtedly relieson the constant high humidity of itslocation to counteract the effects of theopen fireplace in the same cabin!(Somehow the fireplace on the boatseems nuttier than the organ.) You cansee photographs and read specificationsand articles about the organ and theboat at .

Another floating nutNew York City is home to dozens,

even hundreds of performance venues,none more unusual than Bargemusic, afloating recital hall tied up at the FultonFerry Pier at the Brooklyn end of theBrooklyn Bridge. Cross the gangwayonto the barge, step inside to take oneof about 150 seats. Behind the stage is awall of large plate-glass windows

The world according to nutsYears ago I read an essay by Andy

Rooney in which he claimed he wouldalways rely on a nut for a descriptionabout what the nut is nuts about. It’sinspiring to meet someone who is crazyabout something—the church memberwho has been giving tours of the build-ing at noon every Sunday for 30 years,the baseball fan who really understandsthe bunt, the fisherman who choosesself-tied flies depending on light andtide conditions, or the oenologist whocan actually explain the differencebetween fruity and sassy! I recall a love-ly encounter with a woman who livednext to the famed Concord Bridge inConcord, Massachusetts (By the rudebridge that arched the flood, Their flagto April’s breeze unfurled, Here oncethe embattled farmers stood, And firedthe shot heard round the world.1), whoconsidered it a privilege to live thereand her responsibility to tell visitors allshe could.

In this sense, the word nut is syn-onymous with buff. Ever meet an organbuff? Most of my colleagues are organbuffs, and come to think of it, most ofthem are also some other kind of buff.I know organ nuts who are gardeningbuffs, wooden-boat buffs, steam-rail-road buffs, antique-car buffs, evenbeer buffs.

In this sense, the word buff is synony-mous with the word aficionado. I knoworgan people who are aficionados ofopera, baseball, silent movies, and jazz.

Nuts, buffs, and aficionados are inter-ested in subjects that have deep histo-ries and lots of technical facts to master.I’ve gone bleary-eyed on more than oneoccasion listening to a colleague recite

and compare stoplists wonderingwhether, for the sake of a given conver-sation, it really matters if the 8 Flute onthe Great was a Melodia or a Clarabella(yes Virginia, there is a difference!).Likewise, while participating in a sail-boat race I met an old salt sitting on adock bench who demanded thatpassers-by give him compass headingsso he could show off by giving the recip-rocal course. We all know that South(180º) is the reciprocal of North (0º) butwe have to stop and think before statingthat the reciprocal of North-by-north-east-a-half-east (33.75º) is the reciprocalof South-by-southwest-a-half-west(213.75º). The guy on the bench had agood point. Any serious blue-watersailor should master that information—you must be able to steer a reciprocalcourse when someone falls overboard inthe middle of the night. But the recita-tion did not make interesting conversa-tion. I expect I would have learnedmore had Salty talked about hiddenledges or tidal currents in the localwaters, or what to expect of the windwhen the day heated up. And if I were anovice and he was hoping to win meover, he should have taken an entirelydifferent tack.

I mentioned a hypothetical baseballfan. Any experienced fan can rattle offstatistics. Sitting with my father in sec-tion 26 at Fenway Park in Boston (he’shad Sec. 26, Row 4, seats 13–14 sincethe 1970s), I’ve heard people recite RedSox starting lineups from the 1950s.That’s a fun interchange between seri-ous fans, but a terrible way to introducesomeone to the game.

In spite of criticism of overpaid andchemically enhanced players, profes-sional baseball seems to have a prettystrong foothold in popular culture. Howdoes the strength of the organ’s footholdcompare? Church membership is gen-erally in decline, electronic substituteshave grown in convenience, availability,and popularity, and many churches withstrong active memberships are focusingon contemporary worship formats thatdon’t involve stopknobs at all, whethercontrolling pipes or digital voices.

The Grammy Awards wereannounced last weekend, recognizingrecordings in 108 categories. The firstcategory to mention “classical” music(whatever that means) is number 94,Best Engineered Album, Classical.This comes after things like Best PopPerformance By A Duo Or GroupWith Vocal (the winner: My Humps,sung by The Black Eyed Peas), BestHawaiian Music Album (the winner:Legends Of Hawaiian Slack Key Gui-tar—Live From Maui, Various Artists,Daniel Ho, George Kahumoku, Jr., PaulKonwiser & Wayne Wong, producers),and Best Compilation SoundtrackAlbum For Motion Picture, Televi-sion Or Other Visual Media (the win-ner: Walk The Line, Joaquin Phoenix &Various Artists). This is not to mentionBest Boxed Or Special Limited Edi-tion Package or Best SurroundSound Album. (Don’t believe me?Look at .)

Yikes! If this is popular culture,what’s the future of the pipe organ? Inote that there is not a single Grammycategory that even mentions the organ.If the Grammies are so genre-specific,why isn’t there at least a category forBest Baroque Album (the winner,Four Seasons with the Red Priest, Vari-ous Artists)?

I am not suggesting that the pipeorgan will ever compete with hip-hop,rap, ska, reggae, R&B, or soul. (Twentyyears ago I was asked to play reggae at awedding. I have to admit that was thefirst time I heard of it, but realizing nowthat was barely 20 years after the genrewas invented I don’t feel so bad—I toldthem no.) I am suggesting—and not forthe first time—that we must be payingattention to how we present the organto our audiences. How do you popular-ize the music of Buxtehude in a worldthat celebrates dozens of musical genresthat are less than a generation old? Theother side of the question is what hap-pens if you don’t? Or, how do we intro-duce a novice to the organ without bor-ing them with details?

Join me in celebrating the organ ashigh culture in the modern age. Look forways to make the organ, its history, andits music relevant and exciting to yourlisteners. Let’s aim for the day whenGrammy category 109 is announced,Best Classical Performance On ThePipe Organ. Why not?

Many happy returns (or CannedNuts)

I’ve seen lots of creative strategies forraising funds for organ projects, buthere’s one for the books. The EpiscopalChurch of St. Mary of the Harbor inProvincetown, Massachusetts, neededan organ, and an elderly couple wasdetermined to make it happen. Ernieand Bob collected return cans and bot-tles until there was enough to purchasea three-rank organ built by Bedient PipeOrgan Company. I don’t know what theexact price of the organ was, but I knowthat a beer can returned is worth fivecents in Massachusetts—it takes200,000 cans to equal $10,000. Thosenuts must have collected at least500,000 cans to pay for the organ. Ithink I did pretty well earlier with themathematics of reciprocal courses solet’s try for the cubic volume of 500,000cans. I have an empty can on my desk(cranberry-lime seltzer as it’s about onein the afternoon), and I have my handy-dandy organ-pipe-scaling ruler fromOrgan Supply Industries. The can isroughly 21⁄2 in diameter and 43⁄4 tall.Using � = 3.14, the volume of the can is23.3 cubic inches. 500,000 cans take up11,650,000 cubic inches or 6742 cubicfeet—the equivalent of a 30 x 30 roomwith a 71⁄2 ceiling full of cans.

Sibling rivalry for more thanpeanuts

As I have been working with the relo-cation and renovation of an Aeolian res-idence organ, I’ve enjoyed getting toknow something about the history ofthat company and its illustrious clients.Fabulously wealthy music-lovers spent

A.E.. Schlueterr Pipee Organn Co.. Current Projects for 2006-2007

New Organs: Atlanta First United Methodist Church: 5-manual, 120 stopsNew Orleans Baptist Theological Seminary, Leavell Chapel: 4-manual, 78 ranks Midway Presbyterian Church, Powder Springs, GA: 3-manual, 55 ranksFirst United Methodist Church, Carrollton, GA: 3-manual, 42 ranksNew Orleans Baptist Theological Seminary, Recital Hall: 3-manual, 33 ranks

(new & existing pipes) Newberry A.R.P., Newberry, SC: 2-manual, 13 ranks (new & existing pipes)

Rebuilds: St. John’s Church, Savannah, GA:4-manual, 76 rank Wicks - additions, tonal revisions & revoicing

First Baptist Church, Orangeburg, SC:3-manual, 31 rank M.P. Moller - complete rebuild with additions

Selwyn Avenue Presbyterian Church, Charlotte, NC:3-manual, 22 rank M.P. Moller - complete rebuild with additions

First United Methodist Church, Jackson, GA:2-manaul, 20 rank Austin - complete rebuild with major additions

Cumberland United Methodist Church, Florence, SC:2-manual, 10 rank M.P. Moller - complete rebuild with additions

First United Methodist Church, Tennille, GA:2-manual, 8 rank Tellers, complete restoration

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VUU and VUU graduate, and his wife,Elizabeth Balfour Ellison. It wasthrough the actions of the Ellisons, andcompassionate donors, that $500,000was given to transport and reconstructthe Belgian building in Richmond in the1940s. Supporters provided the moraland financial support that helped theuniversity to become a highly respectedand admired institution. Virginia UnionUniversity is a historic African Americaninstitution that opened in Richmond in1865 out of Lumpkin’s Jail, a formerslave holding pen.

For contributions or further informa-tion, go to or contact Dianne Watkins at804/359-3009.

Send items for “Carillon News” to Dr.Brian Swager, c/o The Diapason, 3030W. Salt Creek Lane, Suite 201, Arling-ton Heights, IL 60005-5025;. For infor-mation on the Guild of Carillonneurs inNorth America: GCNA, 37 Noel Dr.,Williamsville, NY 14221; .

In the wind . . .by John Bishop

APRIL, 2007 15

through which you see the skyline oflower Manhattan. The acoustics arebright and clear, there’s a fine Steinwaypiano, and a fireplace crackles on theport side. Our Bargemusic experienceinvolved performances by the DaPonteString Quartet, an excellent permanentensemble that lives and works in ourneighborhood in mid-coast Maine.

The nut behind all this is OlgaBloom, founder and chairman of Barge-music. Olga is elderly and slight, a gra-cious hostess, and a true music lover.She is stationed right inside the doorgreeting the audience as they come andgo. It’s fun to imagine her moving upand down the New York waterfrontshopping for a barge—she told us thatthe barge was purchased for $800. Hervision was the origin of this uniqueplace. The website tells how the barge was origi-nally used in the mid-20th century fortransporting sacks of coffee beans toand from the tracks of the Erie Lack-awanna Railroad. It goes on,

Our present cargo in this small floatingroom is sound: potent, ephemeral andmagical. We respond to it like a bird,which, suddenly released from restraininghands, flutters in upward flight towardsreality.

Next time you’re in New York, plan tovisit Bargemusic. An extensive calendarof concerts is published on the website.The views from the site, both inside andoutside, are spectacular. There areexcellent restaurants nearby along witha specialty ice cream store. You’ll love it.

At the close of the concert, a mem-ber of the audience collapsed. He hadbeen sitting in the front row so he fellonto the stage. Dozens of cell phonesdialed 911, the EMTs arrived. Turnedout the fellow was overcome by thewarmth and closeness but was other-wise okay. Lying on his back on thestage floor surrounded by the New YorkFire Department, he turned to thequartet’s cellist and said, “It was aknock-out performance.” �

Notes1. Ralph Waldo Emerson (1803–1882), Con-

cord Hymn, sung at the completion of the ConcordBattle Monument, April 19, 1836.

2. The Dodge brothers .

3. Smith, Rollin, The Aeolian Pipe Organ andIts Music, The Organ Historical Society, AppendixA. 1 (Opus List).

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Atlanta, Georgia

Whitsunday (Pentecost)

Faith is to believe what you do not yet see;the reward for His faith is to see what youbelieve.

—St. Augustine (350–430 A.D.)

The period from Christmas to Pente-cost is a roller coaster of emotions with-in the church. Epiphany, Ash Wednes-day, Lent, Holy Week, and Easter areall part of a journey that finds meaningin Christ’s redemptive work as seen inthe descent of the Holy Spirit upon theApostles. Some of the skepticism thatemerged, such as that of “DoubtingThomas,” quickly faded as the churchwas formed. Igor Stravinsky’s commentthat “All you have to do is close youreyes and wait for the symbols” is areflection of faith as stated by St. Augus-tine above.

Historically its numerological andeven eschatological symbolism is mysti-cally associated with the number seven,since the period from Easter to Pente-cost is derived by seven times sevendays. In England the common namefor Pentecost is Whitsunday, which wasderived from the Anglo-Saxon “huitaSumandarg” (white Sunday). Althoughunclear, one theory is that this mayrefer to the white baptismal robe wornwhen baptism by total immersion wasadministered at Pentecost if it had notbeen possible at Easter.

The church is built on faith, and its

“birthday” is celebrated on Pentecost.From that moment on, the church hasbeen a living, growing entity whoseinfluence spread throughout the world.As St. Francis of Assisi said so long ago:“Grant that we may not so much seek tobe understood as to understand.” Thisspecial commemoration is one that tran-scends denominations.

Music brings the celebration intofocus. The most profound theme is theancient melody Veni creator spiritus,the opening words of a hymn that hasbeen attributed to the Benedictineabbot Rabanus Marius (776–656). Itsprimary liturgical function is to be sungat Vespers on Pentecost, and the musichas been set in numerous arrangementsin both Protestant and Catholic services,as can be seen in reviews below.

Pentecost also signals the ending ofthe year for many church choirs whothen typically go on a summer hiatus. So,this year give some consideration toinvoking the seven “Gifts of the HolySpirit” by singing a setting of that famoushymn whose music has been attributedto Stephen Langston (d. 1228), the for-mer archbishop of Canterbury (not hisfriend Pope Innocent III who often isgiven credit for it); the hymn Veni SancteSpiritus (Come Holy Spirit) has becomethe traditional music for Pentecost. Thereviews below include a setting of it andother choral works appropriate for use onPentecost Sunday.

Veni Sancte Spiritus (Come, ThouHoly Spirit Bright), Randall Giles.Unison, 14 handbells, and tabor,Paraclete Press, PPM00707, $1.60(E).

The tabor could be a hand-helddrum, and it plays the same rhythmthroughout the piece. Both Latin andEnglish versions are provided for thechoir. There are 10 verses, which couldbe sung by diverse groups (women,men, mixed) to give variety to the colorof the sound. The handbells are accom-paniment to the voices, and they playthroughout, usually in three-notechords. The setting closes with anAmen and Alleluia. Very easy musicand useful for small church choirs.

Veni Sancte Spiritus, Gabor Lehot-ka. SATB and organ, ECS Publish-ing, No. 5943, $2.85 (M).

This ancient chant melody comesfrom the 9th century and also is associ-ated with Pentecost. Lehotka is a Hun-garian composer and organist. Theorgan part, on three staves, includesbrief interludes between the choralphrases. Half of the music is in two orthree parts; the full-voiced choir is notused until about two-thirds of the waythrough the setting. Both Latin andEnglish texts are given for perfor-mance. Some mild dissonances occur,but the organ usually doubles the voic-es for security in those areas. Interest-

ing, somewhat repetitive music that iswell crafted.

The Spirit, Like a Mighty Wind,William Rowan. SATB and optionalkeyboard, GIA Publications, Inc.,G-5963, $1.30 (E).

There are four verses and a refrain inthis brief two-page setting. An accompa-niment is included on the back cover asan alternative for singing the anthemunaccompanied. The music is fast andvigorous with the chorus notated on twostaves. Easy music.

Holy Ghost, Dispel Our Sadness,Michael Larkin. SATB and key-board, Concordia PublishingHouse, 98-3697, $1.35 (M-).

The choral parts are on two staveswith brief optional passages that couldbe sung by a soloist. The keyboard part,also on two staves, is very simple. Uni-son, syllabic music with a melodictheme in various arrangements, thisflowing anthem moves through a widerange of dynamics. Useful for a smallchurch choir.

Dove of Discipleship, John Helgen.SATB, oboe, and piano, ConcordiaPublishing House, 98-3706, $1.75(E).

The choral score contains a separateoboe part and a reproducible congrega-tional page. There are five verses with

Music for Voices and Organby James McCray

16 THE DIAPASON

Bach trios would go well only on the bigorgans of Freiberg and Dresden, whileBach’s “big” preludes and fuguesdemand resources only available onthose same organs. (The inclusion of aMendelssohn prelude and fugue is jus-tifiable, perhaps, as an illustration ofMendelssohn’s debt to Bach!)

Friedrich and his colleagues wiselyplay major Bach works, those requiringtruly independent pedal, only on the bigFreiberg and Dresden instruments.Most of us will find some interestingand new (to us) works by little-knowncomposers like Müthel and Homilius.Most of the music on these discs mayvery well have been played on theseinstruments. The technical demands aremostly modest, and many of the workswould likely have been playable by theincumbents of the small churches. Thismusic does require in many cases neatfingerwork and attention to phrasingand articulation if it is to be effective.

The performances here are by peopleconversant with the organs and themusical style. Böhme is the organist ofthe Thomaskirche, Leipzig; Baumgratzis cathedral organist in Bremen; Wagleris organist of Freiberg Cathedral; andScholze is organist of the Hofkirche/Cathedral in Dresden. All of them makeexcellent use of the various organs andmake the music come to life. Perhapsbecause I have heard him most fre-quently, both live and on recordings, Ifind Böhme a specially convincing per-former. Wagler and Scholze, on discsVII and VIII, with more involved musicand larger organs, have more opportuni-ties to show off their technical skills.

Like all Querstand issues, these discshave a luxurious and useful accompany-ing booklet, in German, English, andFrench. It contains the specificationsand sketchy accounts of the vicissitudesundergone by the organs, a detailed listof the stops used, a list of Silbermann’swork, extant or not, and biographies ofthe performers. The inclusion of regis-trations actually used is invaluable indiscs like these. There are two pho-tographs for each organ, most in color.There are also brief notes on every com-poser and every composition.

Anyone interested in organs will bedelighted with these discs and, I feelsure, with the other half of the project.Those interested chiefly in repertorywould perhaps be well advised to look atthe table of contents. Actually, I thinkthat anyone who likes organ soundshould run to buy all of the discs.

—W. G. MarigoldUrbana, Illinois

Die Orgeln von Gottfried Silber-mann. Vols. 5–8. Querstand 0302-05;available from Querstand , the Organ HistoricalSociety , andelsewhere.

Kamprad, the parent of Querstandrecordings, began recording all of theextant Silbermann organs in 2003, tomark the 250th anniversary of Silber-mann’s death. The eight discs were soldindividually. Later they were madeavailable in two volumes of four discseach. The discs under review here areVols. V, VI, VII, and VIII.

One can assume that the assignmentof performers and the choice of worksto be performed were arrived at by closeconsultation between the general orga-nizer and editor, Felix Friedrich, andthe performers. Vol. V is played by Ull-rich Böhme on the organs in Forchheim(II/20), Pfaffroda (I/14), Nassau (II/19),and Ponitz (II/27). The music includesVariationen über Ach was soll ich Sün-der machen, by Johann Pachelbel;Suonata prima: Der Streit zwischenDavid und Goliath, by Johann Kuhnau;Concerto h-Moll del Signr. Vivaldiappropriato all’Organo, and threechorale preludes by J. G. Walther;Allein Gott in der Höh sei Ehr, Christe,der du bist Tag und Licht, Aria Vaterunser im Himmelreich, and Praeludiumund Fuge C-Dur, by Georg Böhm.

Vol. VI is played by WolfgangBaumgratz on organs at Freiberg St.Jakobi (II/20), Bremen CathedralCrypt (I/8), Castle Church Burgk(I/12), and Mylau (II/21). The musicincludes Fantasia C-Dur (BWV 570),Canzona d-Moll (BWV 588), andAllabreve D-Dur (BWV 589), by J. S.Bach; Die Orgelchoräle aus derNeumeister-Sammlung and Toccataper ogni modi, by G. A. Sorge; Prae-ludium g-Moll, by Johann Schneider;Praeludium c-Moll, by G. E. Bestel;Variationen über Allein Gott in derHöh sei Ehr, and Praeludium c-Moll,by J. P. Kirnberger; Variationen überJesu meine Freude, by J. G. Müthel;Variationen über Schmücke dich, oliebe Seele, by J. C. Vogler; Ricercar C-Dur, by J. C. Altnickol; Schmücke dicho liebe Seele, by G. A. Homilius; Triog-Moll, by F. C. Mohrheim; Variatio-nen über Wer nur den lieben Gott läßtwalten, by J. C. Kittel.

Vol. VII is played by Dietrich Waglerat Freiberg (two organs in the cathedral,III/44 and I/14), Helbigsdorf (II/17),and Oederan (II/25). Music includesFantasie und Fuge g-Moll (BWV 542)and Trio super Herr Jesu Christ, dich zuuns wend (BWV 655), by J. S. Bach; Toc-cata A-Dur, by Johann Kuhnau; Can-zona 4 e-Moll and Canzona 5 C-Dur, byJ. K. Kerll; Toccata septima, by GeorgMuffat; Weg, mein Herz, mit denGedanken, and Straf mich nicht indeinem Zorn, by G. A. Homilius;Präludium und Fuge c-Moll, op. 37, Nr.1, by Felix Mendelssohn; Toccata d-Moll, Capriccio G-Dur, and Canzona G-

Dur, by J. J. Froberger; Praeludium undFuge G-Dur, by Johann Schneider.

Vol. VIII is played by HansjürgenScholze on the organs at Dittersbach(I/14), Crostau (II/20), Großkmehlen(II/22), and the Katholische Hofkirche/Cathedral in Dresden (III/47). Themusic includes Praeludium und FugeC-Dur and two chorale preludes, by J.L. Krebs; Variationen über eineGagliarda von John Dowland, bySamuel Scheidt; three pieces fromEtwas zum Vergnügen oder einigeschöne Orgelstücke, by Frater Nepo-muk Heyne; Suonata seconda Saulmalinconico . . . , by Johann Kuhnau;Praeludium und Fuge g-Moll (BWV535), and Toccata E-Dur (BWV 566),by J. S. Bach; Drei Choralbearbeitun-gen, by G. A. Homilius.

These discs constitute half of a trib-ute to Silbermann for the 250thanniversary of his death. There are 32extant Silbermann organs in Germany.Actually, there are two organs, Mylauand Reichenbach, which are Silber-mann organs only by courtesy, since intheir present state they are reconstruc-tions at best. These instruments arediscussed in my review of Silbermann-Orgeln im Vogtland. Mylau undReichenbach in the August 2002 issueof THE DIAPASON. All of the organshave been recorded before this—sev-eral of them, of course, many times—but a complete sampling, like that pro-vided by Querstand, which allows atleast some comparisons, is more thanwelcome. This is not the place forextended discussion of the instru-ments, but a few remarks may helpthose unfamiliar with Silbermannorgans. The one-manuals have eitherno or one or two pedal ranks, and onlythe famous three-manuals have whatcan be considered a complete indepen-dent pedal division. Manual reed stopsare rare and the second manual (nor-mally Oberwerk) does not always havea satisfying secondary chorus.

It is difficult to consider problems ofacoustics without actually being in thebuilding. Many of Silbermann’s organsare in places with ceilings scarcely afoot above the tops of the pipes and avery dead acoustic. The small organ inFreiberg Cathedral, never intended forits present home, does not sound evenmoderately well from the nave. Toenjoy that organ properly one must bein the gallery in front of the very fine lit-tle organ!

These recordings were made todemonstrate the organs, not the music.The music on these discs is by com-posers who were familiar with Silber-mann organs, or who knew Silbermann,or, in one or two cases who could haveknown him. The selections also presentmusic that could have been and possi-bly was played on the organs recordedhere. There is a great deal of music forwhich Silbermann’s organs, despitetheir beautiful tone, are not suitable.They are not at all suitable, for exam-ple, for North German works, and noneof these are played on these discs,unless one considers Böhm’s workNorth German. Quite a number of

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the congregation joining on numbersthee and five. The lyric oboe plays onthree of the five verses; two verses arefor unaccompanied four-part choir. Thecongregation joins the women for thecoda, which primarily is a repeat of theopening theme with the men singing aharmony part and the oboe playing anobbligato line.

Where You Are, Brent Alderman.SAB and piano, Abingdon Press,068707763X, $1.25 (E).

Listed as a general or Pentecostanthem, almost half of this short settingis in unison. The repetitive music haseasy vocal ranges above a piano accom-paniment that also is quite easy.

Come, Holy Ghost, William Ferris(1937–2000). SATB and organ, Par-aclete Press, PPMO0512, $2.80 (M).