the diapason - wasabi
TRANSCRIPT
OCTOBER, 2006
T H E D I A PA S O N
St. Mark’s Pro-CathedralHastings, Nebraska
Cover feature on pages 31–32
OCTOBER, 2006 3
THE DIAPASONA Scranton Gillette Publication
Ninety-seventh Year: No. 10, Whole No. 1163 OCTOBER, 2006Established in 1909 ISSN 0012-2378
An International Monthly Devoted to the Organ,the Harpsichord, the Carillon and Church Music
Editor & Publisher JEROME [email protected]
847/391-1045
Associate Editor JOYCE [email protected]
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: [email protected]
Prepress Operations DAN SOLTIS
CONTENTS
FEATURES
Introducing Charles QuefForgotten master of La Trinité in Paris
by Steven Young 20
Ann Arbor Summer Festival Classical Music Series27th International Organ and Church Music Institute
by Gordon Atkinson and James Wagner 23
Searle Wright as a Teacherby Bruce Bengtson 24
E. Power Biggs in Mozart Country, Part 4by Anton Warde 26
NEWS
Here & There 3, 4, 5, 6, 8, 10, 12Appointments 5Nunc Dimittis 8In the wind . . .
by John Bishop 14
REVIEWSMusic for Voices and Organ 14Book Reviews 16New Recordings 17New Organ Music 19
NEW ORGANS 32
CALENDAR 33
ORGAN RECITALS 37
CLASSIFIED ADVERTISING 38
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ica and Great Britain. The festival willuse two of the most significant instru-ments in London for its Exhibition-Concerts: the original 1883 “Father”Willis organ in St. Dominic’s Priory(Haverstock Hill) and the newlyrestored 1963 Walker organ in St. Johnthe Evangelist (Islington).
The first two Exhibition-Concerts inLondon take place on October 7 and 14,and both are preceded by pubic discus-sions on organ composition today. Addi-tionally, there are three ‘new music’concerts at Westminster Abbey, West-minster Cathedral and St. Dominic’sPriory. Full details can be found on thefestival website <www.afnom.org>.
Trinity Episcopal Church, SantaBarbara, California, has announced itsfall music events: October 8, David A.Gell, organ and MIDI keyboards;November 5, young artists in concert;December 3, 10, 17, Advent organseries; 12/15, Christmas carol sing-alongand wassail party. For information:<www.trinitysb.org>.
The 7th Annual InternationalFestival of Spanish Keyboard MusicFIMTE 2006 takes place October11–15 in Almeria-Andalousia, with con-certs, courses, exhibitions and the 7thInternational Symposium on SpanishKeyboard Music “Diego Fernández”.This year the central theme for discus-sion is “Domenico Scarlatti in Spain: theNeapolitan Connection.” Following thesymposium held in the Parador deMojácar from October 12–14, FIMTEwill host excursions to the collections ofSpanish harpsichords and early pianos,including the Royal Palace. LuisaMorales is director of FIMTE; Tel/Fax:34-950132285; <[email protected]>; <www.fimte.org>.
Carolina Baroque, Dale Higbee,music director, in its 19th season in2006–07, will present a three-concertSalisbury Bach & Handel Festival withvoices and period instruments in thechapel of St. John’s Lutheran Church,Salisbury, North Carolina. Programs are“Handel at the Opera House” on Octo-ber 13, “18th Century Genius: Bach,Handel & Mozart” on March 16(repeated on March 18 in West MarketUnited Methodist Church, Greensboro,North Carolina), and “Handel in Italy”on April 13. For information: <www.carolinabaroque.org>.
Christ Church, New Brunswick,New Jersey, has announced its fallmusic series: October 14, NewBrunswick Chamber Orchestra;December 3, Handel, Messiah. TheSunday Vesper series: October 15,
Matthew Lewis; 10/22, Thomas Spacht;10/29, Justin Hartz; November 5, Rut-gers Collegium Musicum; 11/12, MarkPacoe; 11/19, David Schelat; 11/26,organ students of the Mason GrossSchool of the Arts, Rutgers; December10, Vox Fidelis; December 17, AdventLessons & Carols. For information: <christchurchnewbrunswick.org>.
St. James Episcopal Cathedral,Chicago, Illinois, continues its musicseries: October 14, Mozart chambermusic; 10/15, The Cathedral Choir,soloists, and chamber orchestra;November 5, Choral Evensong; 11/19,Louise Bass, with CINCO BrassEnsemble; December 3, AdventLessons & Carols; 12/17, Anonymous 4.For information: 312/787-7360; <www.saintjamescathedral.org>.
South Church, New Britain, Con-necticut, has announced its 2006–07music series: October 15, winners of theConnecticut State Music TeachersAssociation’s young artist piano compe-tition; November 19, the AmericanString Quartet and pianist David West-fall; December 17, Candlelight Lessons& Carols. For information: <www.musicseries.org>.
The Church of the Covenant,Cleveland, Ohio, has announced its fallmusic events: October 15, sopranoBrenda Pickett-Watson; November 5,Duruflé, Requiem; December 3, Brit-ten, A Ceremony of Carols. For infor-mation: 216/421-0482; <www.covenantweb.org>.
Park Congregational Church,Grand Rapids, Michigan, has announcedits fall concerts: October 15, James Metz-ler; 10/17, North American Choral Com-pany Singers; 10/24, John Hamersma;November 14, Joel Vander Zee. For infor-mation: <www.parkchurchgr.org>.
The Cathedral of St. Mary of theAssumption, San Francisco, continuesits series of organ recitals on Sundays at3:30 pm: October 15, Alan Blasdale;10/22, Susanna Veerman; 10/29, JohnHirten; November 5, Christoph Tietze;11/12, David Hatt; 11/19, Angela KraftCross; 11/26, Mark Bruce. For informa-tion: <stmarycathedralsf.org>.
Trinity Church & St. Paul’sChapel, New York City, present fallmusic events: October 17, Purcell, Dio-clesian; December 17, Handel, Messi-ah. For information: <www.TrinityWallStreet.org>.
Duke University, Durham, NorthCarolina, has announced its new season
From July 30 through August 11, thechoirs of the Church of the GoodShepherd, Lexington, Kentucky,served as choirs in residence for Lich-field Cathedral and Durham Cathedral,England. The 30-strong choir of treblesand adults was led by organist/choirmas-ter John Linker and assistant organistZachary Ullery. This was the second
international tour in the history of thechoirs, and plans are underway for areturn to England in 2009. The choir’stravel plans for this year include severaldiocesan events and a trip to St. Philip’sCathedral in Atlanta in the spring. Forfurther information on the choirs of theChurch of the Good Shepherd visit<www.johnlinker.com>.
It’s time to reserve your advertising inTHE DIAPASON 2007 Resource Direc-tory. Be sure your company is includedin the only comprehensive directory andbuyer’s guide for the organ and churchmusic fields. The Directory is printed ina 53⁄4 x 8 handbook format and mailedwith the January issue of THE DIAPASON.It features an alphabetical listing of com-panies and individuals, with completecontact information, including web ande-mail addresses, and a product/servicedirectory.
Advertising deadline is November 1,2006. Contact the editor, JeromeButera, at 847/391-1045; <[email protected]>.
Old Presbyterian Meeting House,Alexandria, Virginia, has announced itsfall concerts: October 1, Renée AnneLouprette; November 12, MaryMozelle with narrator, “Sights andSounds of the Pipe Organ.” For infor-mation: <www.opmh.org>.
First Presbyterian Church, Arling-ton Heights, Illinois, presents a series oforgan recitals on Wednesdays at 12:10pm: October 4, William Schnell; 10/11,Donald Mead; 10/18, Christine Krae-mer; 10/25, Peggy Massello; November
1, Rich Spantikow; 11/8, Chris Urban;11/15, George Williams; 11/22, Lee Nel-son; 11/29, Douglas Williams. For infor-mation: 847/255-5900; <fpcah.org>.
All Saints’ Parish, Beverly Hills,California, has announced its fall musicevents: October 6, Choral Evensong;November 3, Choral Evensong;December 3, Advent Lessons & Carols;12/13, Handel, Messiah. For informa-tion: <www.allsaintsbh.org>.
The Annual Festival of NewOrgan Music (AFNOM) is beinglaunched in London this October. Thisnew venture brings together composers,performers and audiences to hear newmusic for organ. Each event featurescontemporary organ music (many firstperformances) played by the composersthemselves or a selected interpreter,providing composers with an outletthrough which they can promote theirown work by meeting with their audi-ence and selling scores. Furthermore,public forums have been scheduled toinvolve composers and performers indiscussions over matters related to mod-ern organ composition.
Seventeen composers are featuredthis year, from Finland, Holland, Amer-
The choirs of the Church of the Good Shepherd, Lexington, Kentucky
Here & There
4 THE DIAPASON
tors. The conference featured a curricu-lum based on the theological and practi-cal aspects of the art of musical liturgy,prayer with the Benedictine communi-ty, and resources and skills for thechurch musician. “Music, Theology,Liturgy and Rites: Baptism/RCIA/Con-firmation/Wedding/Funeral” was thetopic that inspired the program fol-lowed by 60 participants.
Keynote presenters included MaryBirmingham, Fr. Douglas Dandurand,Sr. Kathleen Harmon, Judith Kubicki,and Johann van Parys. Workshops inorgan technique and repertoire wereled by James and Marilyn Biery on theHoltkamp organ in Abbey Church. St.John’s faculty members (including KimKasling, Axel Theimer and ThomasSpeckard) and guest teachers offeredlessons in voice, piano, guitar and hand-bells. Choral Vespers was led by aschola from St. Olaf Church, Minneapo-lis, Lynn Trapp, director. The CathedralChoir from Cathedral of St. Paul, St.Paul, Minnesota (co-directors/organistsJames and Marilyn Biery) led the musicof the Eucharist.
Two open forums with presentersand participants addressed issues relat-ed to the institute topic. Liturgical Presshosted a luncheon for all, and anevening sing-along took place with TwinCities piano entertainer Jimmy Martin.World Library Publications and Liturgi-cal Press served as primary sponsors ofthis conference with St. John’s Universi-ty. For information: <www.csbsju.edu/music/litmusic.htm>.
The international organ festival pre-sented at Trinity Church Wall Streetis now available for on-demand viewingat <www.trinitywallstreet.org>. Thefestival ran from June 29 throughAugust 3 and featured AlexanderFiseisky, Sean Jackson, Jean-Christophe Geiser, Jeremy Filsell,Alexander Frey, and Cameron Carpen-ter. It was sponsored by Torrence &Yaeger, representative for Marshall &Ogletree, builder of the organ.
Gustavus Adolphus College, St.Peter, Minnesota, recently received agift in excess of $1 million to endowmusic scholarships from Walter L.Youngquist ’42 of Eugene, Oregon, inhonor of his wife, Elizabeth PearsonYoungquist ’42. The Elizabeth PearsonYoungquist Music Scholarship will beawarded under the Jussi Björling Schol-arship program, with preference for stu-dents focusing on piano, cello, or organ.
For application information, contactthe admission office at <http://admis-sion.gustavus.edu> or David Fienen,chair of the music department, at<[email protected]>.
The American Guild of Organistsbestowed its President’s Award onPleasant T. Rowland at its annual meet-ing on July 3 at the University of
Chicago’s Rockefeller Memorial Chapel.The award is presented biennially inconjunction with the AGO national con-vention to recognize outstanding contri-butions to the art of the organ in theUnited States. The guild recognizedRowland for her extraordinary gift of theOverture Concert Organ to the peopleof Madison, Wisconsin, and her devo-tion to the King of Instruments.
On June 30 during its EasternRegional Convention in Stamford, Con-necticut, the National Association ofPastoral Musicians (NPM) presentedits annual Jubilate Deo Award toJacques Berthier (posthumously) and tothe Community of Taizé. The award wasaccepted by Brother Jean-Marie, one ofthe community’s cantors and composers,who also addressed the convention par-ticipants on the brothers’ ministry of rec-onciliation that is nurtured andexpressed in their praying and singing.
Beginning in 1974, Jacques Berthier,composer and organist of St. Ignace inParis, began to compose some canonsfor worship with large crowds of inter-national pilgrims at Taizé. The songs ofBerthier and the Taizé Communityhave become widely known and havefostered a contemplative form of sungcommon prayer not only in Europe butalso in the United States and through-out the world. Over the span of abouttwenty years—until his death in 1994—Berthier composed 232 works in about20 different languages.
The award was presented on the finalday of the NPM Eastern Regional Con-vention, which gathered more than 900musicians, clergy, liturgists, and otherleaders of worship from 36 states andfive nations. For further information,<www.npm.org>.
First United Methodist Church ofCharlottesville, Virginia, held its own“pipe organ encounter.” At the urging ofthe president of the church choir, minis-ter of music C. Ralph Mills invited organcurator Xaver Wilhelmy to give a talkabout the pipe organ before choir
The Chancel Choir of First Presby-terian Church, Lynchburg, Virginia,toured Iceland, Norway, Denmark,Sweden, and Russia for 19 days in Julyon their fourth European tour. Thechoir sang one unaccompanied programand one accompanied program. Concertvenues included the concert hall in
Troldhaugen (Edvard Grieg’s home),Roskilde Cathedral, the Tivoli Gardensin Copenhagen, and the Storkyrkan andUppsala Cathedrals in Sweden. Gordonand Barbara Betenbaugh are the organ-ists and choirmasters of the church. Thechoir plans to return to Germany,Prague, and Budapest in 2008.
The Chancel Choir of First Presbyterian Church, Lynchburg, Virginia
Wichita State University
College of Fine Arts is proud to announce
the appointment of
Lynne Davisas the ANN & DENNIS ROSS
ENDOWED FACULTY
of DISTINCTION in ORGAN.
http://finearts.wichita.edu
B.M, B.M.E. and M.M. degrees in organ.
Scholarships available,
for information call 316-978-3532.
Marcussen & Son Organ (1986 IV /65)
Phelps Organ (1976 I I /5)
Casavant Organ (1965 I I /15)
Holy Trinity Lutheran Church,New York City, presents its 39th seasonof Bach Vespers: October 29, Cantata80, Ein feste Burg ist unser Gott;November 5, Cantata 157, Ich lassedich nicht, du segnest mich; November12, Cantata 89, Was soll ich aus dirmachen, Ephraim; 11/19, Cantata 139,Wohl dem, der sich auf seinen Gott;11/26, Cantata 26, Ach wie flüchtig, achwie nichtig; December 3, Cantata 140,Wachet auf, ruft uns die Stimme; 12/10,motets by Vulpius, Gesius, Jacob Handl,and Praetorius; 12/17, CandlelightLessons & Carols, Magnificat, BWV243. For information: 212/877-6815; <www.holytrinitynyc.org>.
The Old West Organ Society hasannounced the International ArtistSeries for 2006–07. Recitals take placeat 8 pm at the Old West Church,Boston, Massachusetts: November 3,Susan Ferré (Titelouze, Dupré,Langlais, and Tournemire); April 13,Carolyn Shuster Fournier (Bach, deGrigny, Marchand, Chauvet, Pinkham,Ibert and Widor). For information:617/739-1340; <[email protected]>.
CONCORA presents its fall season:November 4, Legacy of St. Francis ofAssisi; December 2 and 3, Bach, Christ-mas Oratorio, Part II. For information:860/224-7500; <www.CONCORA.org>.
The Case Western Reserve Uni-versity Department of Musicannounces the 21st season of Chapel,Court & Countryside: Early Music atHarkness. The series is presenting threeconcerts by artists of internationalrenown: November 5, Fretwork; Janu-ary 28, The Hilliard Ensemble; andMarch 3, Spiritus Collective. For infor-mation: 216/368-2402; <[email protected]>, <www.music.cwru.edu/ccc/>.
St. John’s University, Collegeville,Minnesota, presented its annual liturgi-cal music conference June 26–30, withKim Kasling and Lynn Trapp, co-direc-
of concerts: October 22, Stephen Tharp;November 12, David Arcus; January 21,David Higgs; February 25, WilliamPeterson; March 25, Robert Parkins.For information: <www.duke.edu>.
The Cathedral of St. Patrick, NewYork City, continues its organ series onSundays at 4:45 pm: October 22, OlivierEisenmann; November, 19, Terrance J.Flanagan. A three-organist spectaculartakes place October 5, featuring Jen-nifer Pascual, Donald Dumler, andStanley Cox, celebrating the 95thanniversary of the dedication of thecathedral. For information: <www.saintpatrickscathedral.org>.
The Church of St. Ignatius Loy-ola, New York City, has announced its2006–07 “Sacred Music in a SacredSpace” series: October 25, music byHandel, Thompson, and C.P.E. Bach;November 15, works by Janácek, Hin-demith, and Bruckner; December 10,Respighi and Lauridsen. For informa-tion: <www.saintignatiusloyola.org>.
Friends of the Kotzschmar Organannounce a new season of concerts inMerrill Auditorium at City Hall, Port-land, Maine: October 27, Scott Foppi-ano, with silent movie; November 6,Richard Hills; December 19, RayCornils, with brass, choir, and handbells.For information: <www.foko.org>.
Grace Episcopal Church, ThePlains, Virginia, has announced its con-cert series: October 29, The AmericanBoychoir; December 17, CandlelightFestival of Nine Lessons & Carols; Janu-ary 7, Amahl and the Night Visitors. Forinformation: <www.gracechurch.net>.
The Cathedral Church of St. Paul,Detroit, Michigan, has announced itsmusic series: October 29, The NathanielDett Chorale; November 12, ChoralEvensong; December 3, Advent Proces-sion; 12/17, Nine Lessons & Carols; Jan-uary 14, An Epiphany Procession. Forinformation: <detroitcathedral.org>.
Brother Jean-Marie
OCTOBER, 2006 5
Michael GailitOrganist/Pianist
Organ Faculty Conservatory of Music
Piano Faculty University of MusicOrganist St. Augustine’s Church
Vienna, Austria
Johan HermansOrganist/Lecturer/Recording Artist
Instructor of OrganConservatory of Music
Organist and Artistic DirectorSacred Heart ChurchOrgan Concert Series
Hasselt, Belgium
Michael KaminskiOrganist
Director of Music MinistriesSaint Francis Xavier ChurchBrooklyn College FacultySt. Francis College Faculty
Brooklyn, New York
Janette FishellOrganist/LecturerProfessor of Music
East Carolina UniversityGreenville, North Carolina
Faythe FreeseOrganist/Lecturer
Associate Professor of OrganSchool of Music
University of AlabamaTuscaloosa, Alabama
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
Also:David K. LambMaija Lehtonen
Sabin LeviDavid F. OliverLarry Palmer
Gregory PetersonStephen Roberts
Clair RozierLisa Scrivani-Tidd
Jeremy David TarrantHeinrich Walther
Jane WattsBrador Brass Quintet
Duo Majoya
Colin AndrewsOrganist/Lecturer/Recording Artist
Solo RecitalsSolo/Duo with Janette Fishell
East Carolina UniversityGreenville, North Carolina
Emanuele CardiOrganist/Lecturer/Recording Artist
Organ and Soprano withPolina Balva (St. Petersburg)
Titular OrganistSt. Maria della Speranza
Battipaglia, Italy
Maurice ClercInterpreter/Improviser/
Recording ArtistTitular Organist
St. Benigne’s CathedralFaculty
National ConservatoryDijon, France
Joan DeVee DixonPianist/Organist/Recording Artist
Associate Professor of MusicFrostburg State University
Frostburg, Maryland
Laura EllisOrganist
Associate Professor of Organ andCarillon
University of FloridaGainesville, Florida
Bach BabesBaroque Music Ensemble
Variable GroupingsSoprano, Strings, Flute, Oboe, Continuo
Milwaukee Symphony Orchestra AssociatesMartha H. Stiehl, Artistic Director
Organ and HarpsichordUniversity of Wisconsin-Milwaukee
ConcertArtistCooperative
Beth Zucchino, Director, [email protected] K. Lamb, Associate Director, [email protected]
7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956 www.ConcertArtistCooperative.com
ConcertArtistCooperative
rehearsal one night. On a cold night,March 15 at 6 pm, a group of peoplefrom the church, the AGO, and othersturned out for the event. Mr. Wilhelmydemonstrated the glass pipes he makes,and also brought flutes made out of car-rots (with adjustable stopper for tuning).
director, effective October 1, 2006. Anorganist, choral conductor, and oratorioaccompanist, Dr. Lamb is director ofmusic/organist of the First UnitedMethodist Church in Columbus, Indi-ana. Additional biographical details canbe viewed on the association’s website,as below, or at his church’s website,<www.FUMCcolumbus.org>.
Information on all soloists andensembles can be obtained throughConcert Artist Cooperative’s director,Beth Zucchino, at 7710 Lynch Rd.,Sebastopol, CA 95472; 707/824-5611;707/824-0956 fax; <[email protected]>,<www.ConcertArtistCooperative.com>, as well as from David Lamb at <[email protected]>.
Frank Ferko has been appointedArchival Sound Recording Cataloger inthe Archive of Recorded Sound at Stan-
Concert Artist Cooperative, whichwill begin celebrating its 20th anniver-sary year in April 2007, has designatedDavid Kevin Lamb as its first associate
Xaver Wilhelmy demonstrates glasspipes
David Lamb
Appointments
Frank FerkoReserve your ad in the 2007
Resource Directory. Deadline isNovember 1.
Contact Jerome Butera, 847/391-1045; [email protected]
6 THE DIAPASON
organ literature software program TheOrganist’s Music Library Plus.
During his long tenure at the college,he sent over 30 students on to master’sand doctoral degrees. He acquired fournew instruments for the Luther organprogram and consulted on dozens ofnew organ installations and historicrestorations in Minnesota, Iowa, Wis-consin areas, including that of thefamous 1894 Pfeffer organ that Dvorákplayed during his sojourn in Spillville,Iowa. He has played many recitals hereand abroad, and was featured on nation-al radio programs including Perfor-mance Today, All Things Considered,and Pipedreams.
His successor as college organist andassistant professor of music at Luther isthe former director of music at Boston’sOld South Church, Dr. Gregory Peter-son. For information:<[email protected]>; <music.luther.edu/faculty/>.
Amy Beach’s Invocation for the Vio-lin, op. 55, her only composition for vio-lin and organ, is now available in a newedition prepared by The Murray/Lohuis Duo as recorded on theirRaven Recordings CD, Airs andRomances (OAR-510). Issued in 1904by Boston publisher Arthur P. Schmidt,the work has long been out of print.The Organ Historical Society is theexclusive distributor of the score, whichincludes Murray’s detailed violin editingin period style. For information: <www.ohscatalog.org>.
Jon Naples’ brass quintet and organarrangement of Ralph VaughanWilliams’ The Call-Canon was pre-miered on July 23 at St. James-by-the-Sea Episcopal Church, La Jolla, Califor-nia (Steve Townsend, music director), byMillennia Consort, Alison Luedecke,organ. The piece, a gift to Millennia Con-sort from the composer, was first per-formed on the day the church’s new rec-tor was announced.
On April 23, Nigel Potts presented aLife Saving Benefit Concert on behalf ofThe Rotary Club of Bay Shore, NewYork, at St. Peter’s by-the-Sea EpiscopalChurch in Bay Shore. Potts, a Rotarianhimself, came up with the idea to raisemoney for Rotary International’s pro-
ford University. Stanford has recentlybegun a project to catalog its collectionof more than 300,000 recordings, whichare currently housed in the Archive, incollaboration with similar archival pro-jects at Yale University and The NewYork Public Library.
Prior to his appointment at Stanford,Ferko held the position of music cata-loger at the Northwestern UniversityMusic Library, where he was responsi-ble for cataloging the General MusicManuscript Collection (including scoresand correspondence) and initiating thecreation of electronic archival findingaids for the music manuscript collec-tions. As a resident of the Chicago areafor nearly 30 years, he also held the posi-tions of director of music at St. Andrew’sLutheran Church (1977–1987) and atthe Church of St. Paul and theRedeemer (Episcopal) (1987–1993).
Best known as a composer of numer-ous organ works and a substantial body ofchoral and vocal solo music, Frank Fer-ko’s most recent organ work, Livred’Orgue, received its world premiere(performed by Janette Fishell) at the2006 AGO national convention in Chica-go. Ms. Fishell has subsequently releaseda new compact disc recording thatincludes Livre d’Orgue. Also performedat the AGO Convention was Ferko’s 35-minute Psalm-Cantata, for mixed chorus,children’s chorus, soprano solo andorgan, presented by the Motet Choir ofthe House of Hope Presbyterian Churchand the Glen Ellyn Children’s Choruswith Nancy Lancaster, organist, conduct-ed by Thomas Lancaster. (The House ofHope forces have already recorded thiswork on their own label, and it is avail-able directly from the church.)
Ferko continues to maintain a fullcompositional schedule in addition tohis work at Stanford University. Hemay be contacted at <[email protected]>.
ters, you also have brought new life andspirit to the Romantic repertoire. And youchampion contemporary organ works,including the magnificent œuvre of yourbeloved brother, Jehan.
Admired worldwide for your musician-ship, acclaimed for your research andrevered for your teaching, you are not justone of the great organists but one of thegreat musical artists of our time.
Italian organist and harpsichordistFrancesco Cera will present concertsand masterclasses in the U.S. this fall. Aspecialist in early Italian baroque reper-toire, Cera’s programs focus on worksby Frescobaldi, Pasquini, and Rossi; inSeptember he presented one of theinaugural concerts on the Antegnatiorgan at the reopening of the Basilica ofSanta Barbara in Mantua, Italy.
October 13–14, Cornell University,Ithaca, New York; 10/15, EastmanSchool of Music, Rochester, New York;10/19, University of Evansville andAldersgate United Methodist Church,Evansville, Indiana; 10/22, Holy NameCathedral, Chicago, Illinois; 10/24, Uni-versity of Illinois, Champaign-Urbana,Illinois; 10/27, First PresbyterianChurch, Springfield, Illinois; 10/28, Illi-nois College, Jacksonville, Illinois.
Felix Hell
Felix Hell will perform the completeorgan works of Bach November 3–6 atGriswold Hall of the Peabody Conserva-tory of Music, Baltimore. For details,dates, and times visit the Peabody web-site <www.peabody.jhu.edu> or that ofFelix Hell <www.felix-hell.com>, orcontact the Peabody box office at410/659-8100, x 2.
David Herman is featured on a newCD, Great Mixture!, performed on theJefferson Organ, Dobson Op. 74, at theUniversity of Delaware (University ofDelaware UDCD 0601). The discincludes works by de Grigny, Couperin,Pachelbel, Bach, Mendelssohn, Sousa,Walton, Tallis, Howells, and Dubois. Forinformation: <www.ohscatalog.org>.
William Kuhlman recently returnedfrom his year-long directorship of theLuther College Study Abroad programin Nottingham, England. While abroadhe played recitals at the Hofburgkapellein Vienna, Austria and at the medievalchurch of St. Mary the Virgin in Not-tingham, England.
After studies at Syracuse Universityin 1967, Kuhlman began his career asinstructor of music at Jamestown Col-lege before accepting a position atLuther College in Decorah, Iowa. Fol-lowing his 37-year career as collegeorganist and professor of music atLuther, he retired in May and will becontinuing his recital career as a mem-ber of the Concert Artist Cooperative,as well as writing and refining his sacred
Nigel Potts
Robert Bates Craig Cramer Aaron David Miller
425.745.1316 [email protected] www.organists.net
Here & There
Marie-Claire Alain received thedegree of Doctor of Humane Lettersfrom the Johns Hopkins University inMay 2006. A Peabody DistinguishedVisiting Artist at the Peabody Instituteof the Johns Hopkins University, Marie-Claire Alain’s achievements as per-former, scholar, and teacher were high-lighted in the degree citation:
Your brilliant performances and hun-dreds of masterful recordings emerge notonly from virtuoso talent but also fromsuperb scholarship. You study the music,of course. But you also investigate the texton which it is based; the composer’s life,work, and theology; the organ you areplaying; and even the historically accuratefingering and position of the hand on thekeyboard.
This unyielding pursuit of the ultimateinterpretation has led you to three magnif-icent recordings of Bach’s complete organworks. . . . You also have recorded defini-tive integrales of more than a dozen othercomposers. Known especially for yourwork on the 17th and 18th century mas-
Marie-Claire Alain with William R. Brody,president, Johns Hopkins University
Francesco Cera
William Kuhlman
THE DIAPASON2007 Resource Directory
• The only comprehensive directory of the organ andchurch music fields
• Includes listings of associations, suppliers, and theproducts and services they provide
Reserve advertising space now.Deadline: November 1
To reserve advertising space, contact Jerome Butera 847/391-1045; [email protected]
8 THE DIAPASON
gram Gift for Life. Monies raised fromthis concert paid for a child in CentralAmerica to have crucial open heartsurgery at Stony Brook Hospital, a uni-versity research hospital on Long Island.The program included works by Bach,Mozart, Schumann, Saint-Saëns, Waltonand Sousa. Potts not only supported aworthy cause, but also attracted some250 listeners to an organ concert whoprobably would have otherwise nevergiven the idea a second thought. Lastmonth, Potts was appointed organist andchoirmaster of Christ & St. Stephen’sChurch in New York City. For furtherinformation: <www.nigelpotts.com>.
The Concerto for Organ and Stringsby Chicago composer Richard Proulxhas received three recent performances,all played by Maxine Thevenot, associ-ate organist at The Cathedral of St.John, Albuquerque, New Mexico: onApril 28, with The Adelphi Orchestra atThe Cathedral of the Incarnation, Gar-den City, New York; on June 4, at theCathedral of St. John, Albuquerque,Iain Quinn conducting; and on July 2, atChicago’s Orchestra Hall for the 2006AGO national convention, Julian Wach-ner conducting.
The concerto was premiered in 2002at St. Olaf Church, Minneapolis, Min-nesota, with Jonathan Biggers, soloist,and Kenneth Freed, conductor; thisperformance has been featured onMPR’s Pipedreams.
Performance material for the Proulxconcerto is available from WayneLeupold Editions. For information:<www.wayneleupold.com/>.
Christa Rakich is featured on a newrecording, J. S. Bach: The LeipzigChorales, on the Loft label (LRCD
1078-1079). Recorded on the C. B. Fiskorgan at Old West Church, Boston, andthe Paul Fritts organ at Pacific Luther-an University, Tacoma, Washington, theprogram divides the chorales into twogroups of nine each, modeled afterBach’s fondness for the praeludium-chorales-fugue order. For information:<www.loftrecordings.com>.
John Weaver will retire from regularconcertizing following the 2007–2008season, his 49th year of concert workunder professional management. Along-time favorite artist for Americanorgan audiences, Weaver has dedicatednumerous important instrumentsthroughout his career and has per-formed on most of the major organrecital series across the country. Heserved as director of music at MadisonAvenue Presbyterian Church in NewYork City from 1970–2005, and washead of the organ department at theCurtis Institute of Music in Philadelphiafrom 1972–2003 and chair of the organdepartment at the Juilliard School from1987–2004.
Active as a concert organist sincejoining the Colbert-LaBerge manage-ment (now Karen McFarlane Artists,Inc.) in 1959, Weaver has playedthroughout the United States, Canada,Western Europe, the United Kingdom,and Brazil. Last summer he performedhis 50th annual recital at City Hall Audi-torium (Merrill Auditorium) in Port-land, Maine.
Weaver has made recordings for Aeo-lian-Skinner, the Wicks Organ Compa-ny, Klais Orgelbau of Germany, a CDon the Gothic label for the SchantzOrgan Company, a recording of theReuter organ at University PresbyterianChurch in Seattle on the Pro Organolabel, and a recent recording of his own
organ and choral works, which wasrecorded at Madison Avenue Presbyter-ian Church and released on the JAVlabel. A prolific composer, his publishedcompositions for organ, chorus/organand flute/organ are widely performed.
Weaver’s wife, Marianne, a fine flutist,frequently performs with him in concertsfeaturing flute and organ duets. TheWeavers currently reside in Vermontwhere, in addition to performing andcomposing, Dr. Weaver continues topursue his lifelong hobby and fascinationwith trains, both model and prototype.
Those interested in booking JohnWeaver for a concert prior to hisretirement should contact KarenMcFarlane Artists, Inc.: <www.concertorganists.com>.
On July 25 and 26, James Welchperformed with the Music@Menlochamber music festival held at MenloSchool in Atherton and at St. Mark’sEpiscopal Church in Palo Alto, Cali-fornia. Now in its fourth season, thefestival is directed by cellist DavidFinckel, a member of the EmersonString Quartet, and his wife, pianistWu Han, of Manhattan.
This is the first year the organ hasbeen used in the festival. James Welch,organist of St. Mark’s, was invited toperform three of Mozart’s ChurchSonatas, including the earliest (K. 67,1772), the latest (K. 336, 1780), and K.244, 1776. He performed with violinistsAni Kavafian and Tien-Hsin Wu, andcellist Peter Wiley (of the GuarneriString Quartet). David Francis Urrows,a member of the music faculty of HongKong Baptist University in Hong Kong,was commissioned to compose a caden-za for the Sonata K. 336, which Mr.Welch premiered at the festival. Forfurther information: <www.musicatmenlo.org>.
Jeffri W. Bantz, 52, died July 31after a brief illness. A native of Marion,Indiana, he moved with his family toFlorida in 1969 when his father, TheRev. Wayne Bantz, started FirstMethodist Church of Coral Springs. Agraduate of Deerfield Beach HighSchool, he was concertmaster of theschool orchestra. His first church job inFlorida was at the First Baptist Churchin Deerfield Beach. He served severalchurches including First MethodistChurch of Pompano Beach and St.Stephen’s Episcopal in Coconut Grove.In 1981 he became organist and associ-ate director of music at the First Pres-byterian Church of Pompano Beach(known as the Pink Church<www.pinkpres.org>), where he hadbegan organ study with ArdenWhitacre some eleven years prior. In1998 he became director of music atthe Pink Church, where he remaineduntil June 2006.
Bantz studied organ performance atFlorida Atlantic University and the Uni-versity of Miami. Throughout his con-ducting career he continued his studieswith such choral conductors as RobertShaw, George Bragg, Joseph Flummer-felt, David Willcocks, John Rutter,Howard Swan, Gerre Hancock, andJames Litton. In 2000, Bantz joined theFlorida Philharmonic Chorus as assis-tant director. When the orchestra fold-ed three years later, he and Jo-MichaelScheibe led the chorus in its new formas the Master Chorale of South Florida.
Bantz was associated with the Flori-da’s Singing Sons Boychoir for 20 years.During his 17-year tenure as musicdirector, the choir won numerousawards including at least four interna-tional first prizes during their many con-cert tours around the world. Theyincluded the 1996 Kathaumixw Interna-tional Choral Festival and Competitionin British Columbia, the 1997 PragueInternational Choir Festival in theCzech Republic, and the 1998 Prince-ton Invitational Choir Competition.Under Bantz’s direction, the boychoirwas featured in performances withJames Judd, Maureen Forester, Chanti-cleer, Audrey Hepburn, Liza Minnelli,Judy Collins, the Bee Gees (with whomthey recorded a CD) and many others.
A longtime member of ACDA,Bantz’s choirs were featured at state,divisional, and national ACDA conven-tions. He was the accompanist for theSchool of the Arts Singers, from theDreyfoos School of the Arts in WestPalm Beach, directed by his longtimefriend and colleague Arlene GrahamSparks, at their Disney Hall concert atthe 2005 national convention in LosAngeles. Bantz also served ACDA as theSouthern Division Boychoir Chair inthe 1990s.
Equally in demand as a solo artist oraccompanist, Bantz performed in SouthFlorida with the University of MiamiSymphony, the Palm Beach Opera, theMiami Beach Symphony, the FloridaPhilharmonic Orchestra, the Ft. Laud-erdale Symphony Chorus, the GoldCoast Opera, the Ft. Lauderdale Chris-tian Chorale, and the Nova Singers. Healso served as conductor or accompanist
Christa Rakich
John Weaver
James Welch
Nunc Dimittis
Jeffri W. Bantz
10 THE DIAPASON
for numerous international artists suchas Marvis Martin, Dean Peterson, Jan-ice Chandler, Steven Rickards, CurtisRayam and many others. An accom-plished organist, Bantz was active in theAmerican Guild of Organists, havingserved as Dean of the Ft. LauderdaleChapter. He served as adjudicator andguest clinician for numerous festivals,clinics, and symposia throughout hiscareer.
The recipient of many local, state,and national awards, Bantz was awardedthe Joseph Leavitt Award for outstand-ing achievement in the arts in 1993. In2005 he received the Distinguished Ser-vice Award from the Broward CountyMusic Teachers Association.
Jeffri Bantz is survived by his par-ents, The Reverend Wayne and Mari-lynn Bantz, his brother Gregg and sis-ter-in-law Julie, his aunt and uncle Carland Virginia Bantz, cousin Bradley andhis wife Janell, as well as additionalaunts and uncles. He is also survived byhis colleague and partner, organistMark Jones.
It was Bantz’s wish that there be nomemorial service. A celebration concertof his life will be held at a later date.Contributions in his honor may be madeto the Jeffri Bantz Memorial Fund,through the Foundation of the FirstPresbyterian Church, 2331 NE 26thAvenue, Pompano Beach, FL 33062.Personal expressions may be emailed to<[email protected]>.
—Mark Jones
Richard L. Krueger, 63 years old,died July 8 in Sunnyvale, California,after a valiant battle against recurrentmelanoma cancer. The founding ownerand chief recording engineer of ArkayRecords, Krueger was born January 6,1943, and took great inspiration fromhis entrepreneurial grandfather. Hestarted Arkay records in October 1960,having studied recording engineeringwith Howard Dinowitz at CBS Master-works, developing “360-Sound” using 3-channel recording. Mr. Krueger’s adap-tation of this approach to organ record-
First Presbyterian ChurchA L B E M A R L E , N O R T H C A R O L I N A
In the USA: 1220 L Street N.W.Suite 100 – No. 200
Washington, DC 20005-4018Toll Free: (800) 625-PIPE
Fax: (202) 737-1818e-mail: [email protected]
Orgues Létourneau Limitée
In Canada: 16355, avenue SavoieSt-Hyacinthe, Québec J2T 3N1Telephone: (450) 774-2698Fax: (450) 774-3008e-mail: [email protected]
We are pleased to announce the design and construction of a new
mechanical action pipe organ for First Presbyterian Church of Albemarle,
North Carolina. With
26 stops over two
manuals and pedal, the
organ will be played
from a detached two-
manual console with
terraced stopjambs.
Currently under
construction in our
workshops, the
instrument will be
completed during the
first quarter of 2007.
GREAT:Bourdon ...................... 16’
Open Diapason ........... 8’
Chimney Flute ............. 8’
Salicional ....................... 8’
Principal ........................ 4’
Open Flute ................... 4’
Fifteenth ....................... 2’
Mixture ........................ IV
Cornet ......................... III
Trumpet ........................ 8’
SWELL:Stopped Diapason ...... 8’
Viola di Gamba ........... 8’
Voix Celeste ................. 8’
Harmonic Flute ........... 4’
Piccolo .......................... 2’
Mixture .................. III-IV
Trumpet ........................ 8’
Oboe .............................. 8’
Tremulants for Greatand Swell divisions.
PEDAL:Subbass ....................... 16’
Bourdon (GT) ............... 16’
Principal ........................ 8’
Flute ............................... 8’
Choral Bass .................. 4’
Trombone ................... 16’
Trumpet ........................ 8’
Usual unison couplers, plusSwell to Great Suboctave.
organ compact disc and from1983–2006, he released 123 albumsinvolving 80 artists, of which 63 wereconcert organists, in venues across theUnited States, France, Switzerland,Germany and Austria. He was an activemember of the Peninsula Chapter ofthe AGO. He is survived by his two sonsRobert and Christopher Krueger.
Among the artists who recorded forArkay Records are Janice Beck, CraigCramer, Angela Craft Cross, PamelaDecker, Jonathan Dimmock, DelbertDisselhorst, Paul Fejko, Faythe Freese,Stephen Hamilton, Barbara Harbach,James Higdon, Wilma Jensen, BoydJones, Marilyn Keiser, James Kibbie,Thomas Murray, Douglas Reed, SandraSoderlund, Burton Tidwell, JamesWelch, David Westfall, and others.
Prayer of the Church, edited by PhilipH. Pfatteicher, priced at $45.00. Thiscomplete prayer book “in the ancientway of offices” includes text and musicfor Evening and Morning Prayer, Com-pline, Proper antiphons with canticles, atwo-year BCP-LBW daily lectionary, anecumenical course of collects, andmore. Useful for clergy and laity in theAnglican, Lutheran, and RomanCatholic traditions, this is a companionbook to the four-volume For All theSaints. For information: <www.lutheranupress.org>.
New England Conservatory haslaunched an opportunities database,Bridge: Worldwide Music Connection,with customizable search results. Thedatabase provides musicians and artsadministrators with extensive listings forjob openings, grants, competitions, andfestivals; new listings are added daily.Subscribers can tailor their searches byinstrument, voice type, geographic loca-tion or type of work. Results are e-mailed each night. Bridge replaces theformer NEC Job Bulletin, and includesover 1800 national and internationallisting. Subscriptions are available for ayearly fee of $55 ($75 for institutions).For information: <www.newenglandconservatory.edu/career>.
Sheet Music Plus (www.sheetmusicplus.com) has increased its Christianmusic catalog by adding an additional10,000 titles, and is now offering the fullsheet music catalogs for Word Music,Integrity Music, David E. Smith andVineyard. In addition, the company hasincreased its in-stock selection of otherChristian publishers, such as Brent-wood-Benson, Hinshaw, GIA Publica-tions, Lillenas, Lorenz, and Hope Pub-lishing and carries stock from HalLeonard Publishing and EMI CMG.
Sheet Music Plus offers nearly400,000 titles, which now includes morethan 50,000 titles from a wide variety ofreligious artists and composers. The cat-alog covers all types of Christian music,including praise and worship, choral,hymnals, contemporary Christian, tradi-tional gospel, and even Taizé music. Forexample, the popular hymn “O God,Our Help in Ages Past” is available forchoral SATB, piano solo, organ, piano/vocal/guitar, classical guitar, dulcimer,handbell, concert band, and evenPianoSoft for self-playing pianos.“Amazing Grace” is available in over1,000 different collections. Many hymnsand Christian pieces are also available ininstrumental versions for flute, clarinet,trumpet, French horn, violin and more.
Extensive search features, includingan instrument search, best-seller listsand customer ratings and reviews helpguide users to the right music. In addi-tion, sheetmusicplus.com has recentlyimplemented a “Look Inside” featurethat allows buyers to preview thousandsof pieces of sheet music before buying.
Specific features of the site are espe-cially tailored to worship leaders, choirdirectors and music teachers. Buyersare offered a 10 percent discount whenbuying multiple copies of the same title,and choral six-packs are offered at a 10percent discount. Additionally, SheetMusic Plus offers $2.99 budget shippingregardless of the order size.
ing produced a sense of realism. From 1962–1965, Arkay Records was
based in Chicago with 125 recordings ofschool and church music programs. Inaddition to recording choirs and organs,Krueger was also passionate abouttrains, recording thousands of trains,releasing 16 train albums and workingfor the railroad throughout the UnitedStates as an engineer and fireman. In1967, Arkay Studios moved to SanMateo, California, and offered bothrecording and photography services.After a brief closure in 1969, Arkay relo-cated to Sunnyvale, specializing in trainrecording and selling hobby products.His recorded train sounds were used byMGM, Disney, Warner Brothers, Uni-versal Studios and George Lucas Filmsin a total of seven motion picturesincluding “The Love Bug.”
In the 1970s, he also continued torecord school and church music pro-grams and helped to develop Westape, acompany specializing in high qualitycassettes and high-speed duplication.From 1967–1982, he recorded 150record albums involving 72 artists. InOctober 1983, he released his first
World Library Publications hasannounced two new releases. TheChicago Centenary Anthology (WLP003074, $25.00), by various composersincluding Richard Hillert, Carl Schalk,Alan Hommerding, Paul French, andRichard Proulx, contains specially com-missioned organ works by these Chica-go composers plus rare pieces by earlierChicago organists, including previouslyunpublished works of Leo Sowerby.The volume also includes BailandoBrasileiro by Richard Proulx, the AGO’s2006 Composer of the Year. SymphonieV: Toccata for Organ, Brass Quartet,Quintet, or Sextet, Timpani (WLP003077, $25.00) is an arrangement ofCharles-Marie Widor’s work by RichardProulx. For information: <www.wlp.jspaluch.com/wlp/>.
The Vermont Organ Academy hasannounced three new releases in theseries “The Aeolian-Skinner Legacy.”Volume I, Lorenz Maycher plays the1962 Aeolian-Skinner at St. Mark’sEpiscopal Church, Beaumont, Texas($16.50); Volume II, Albert RussellPlays Three Great Organs: The River-side Church, Philharmonic Hall, andNational Presbyterian Church ($16.50),a collection of historic recordings from1957–1974; and Volume III, CharlesCallahan, George Markey, and WilliamWatkins Play Three Great Organs inWashington, D.C.: Church of theEpiphany, Georgetown PresbyterianChurch, National Presbyterian Church(2 CDs, $22.50), historic recordingsfrom 1960–1985. For information:<www.vermontorganacademy.com>.
Faith Alive Christian Resourceshas released Sing! a new creation, asongbook with more than 270 songs,chosen from the best of new hymns andchoruses from sources such as Iona,Maranatha, Taizé, and Word. Spokenprayers, litanies, and responsorial psalmsare also included. Every song—at leasttext or tune—has been written withinthe past 50 years. The songbook is co-published with the Reformed Church inAmerica and the Calvin Institute ofChristian Worship, and is available invarious editions including CD-ROM;the songbook edition (#400200) is pricedat $12.95 single copy. For information:<www.FaithAliveResources.org>.
Lutheran University Press hasannounced the publication of The Daily
Here & ThereRichard Krueger
Bedient Pipe Organ Company
got pipes?
We do.
800.382.4225 [email protected] Saltillo Rd, Roca, NE 68430
www.bedientorgan.com
Now is the time to reserve your ad inTHE DIAPASON 2007 Resource Directory:847/391-1045; [email protected]
Vtà{xwÜtÄ Éy itÄÄtwÉÄ|wVALLADOLID, SPAIN
79 STOP FOUR-MANUAL RENAISSANCE QUANTUM™ BY ALLEN
T he 79-Stop Four-Manual all-digital instrument recently installed in the historic Cathedral of Valladolid, Spain, is a new Quantum™ instrument by Allen Organ
Company. It contains four completely-independent specifications: American Classic,English Cathedral, French Romantic, and Neo-Baroque.
At the request of Spain’s premier concert organist, Pilar Cabrera, the American Classic specification was customized to a more Spanish Classic tonal scheme, including a special “Trompeta Reál” that crowns the Solo Division.
Allen designed a custom audio system for the organ, taking great care to preserve the magnificent aesthetics of the early 1600s building. The instrument speaks from the front of the church. The moveable console can be connected in multiple locations, allowing for either worship or concert use.
The organ was introduced to the public at a special First Communion Mass celebrated by the Archbishop of Valladolid. The Cathedral plans a regular concert series, with the first performance by Ms. Cabrera.
www.allenorgan.com150 Locust Street, P.O. Box 36, Macungie, PA 18062-0036 USA / Phone: 610-966-2202 / Fax: 610-965-3098 / E-mail: [email protected]
12 THE DIAPASON
about the company, the company’s staffand forthcoming instruments. Visitorsto the site will also have a choice ofmusical selections to listen to, with eachof the ten tracks taken from live perfor-mances on Létourneau instruments.
An Allen Renaissance™ Quan-tum™ 79-stop four-manual organ wasrecently installed in historic St. PetersChurch, Speightstown, Barbados. TheQ405 organ replaces an Allen 1203 cus-tom dating from the late 1970s. Theinstallation involved new scaffolding forthe speaker complement. The organwas installed with divisions dividedbetween the two front locations. Inaddition, a full antiphonal was installedhigh in the rear of the church. This par-ticular installation features the optionalOrchestral Suite as part of its QuantumQuadSuite™ voicing. The organ alsowas installed with AllenVista™, whichallows for additional sounds via theMIDI system of the organ along withsequencing and playback abilities.
The organ was formally dedicated onSunday, June 25, 2006, during thechoral evensong service. Guest organistfor the mini-concert was Phillip Forde,with St. Peter’s choir performing after-wards. The church’s organist and choir-master is Julian Bowen.
Torrence & Yaeger, worldwide salesand marketing for Marshall & Ogle-tree of Needham, Massachusetts,announces the completion of the three-manual, 49-stop, 79-voice virtual pipeorgan in St. Luke’s Episcopal Church,Montclair, New Jersey. Charles Hunteris organist and director of music.
The church’s E. M. Skinner organ—60 ranks dating from the early 1920s—had suffered water damage early in itslife, and had never dealt satisfactorilywith the acoustics of the church. Theorgan committee examined the Marshall
AA.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
800-836-2726 � www.pipe-organ.com
& Ogletree Opus 1 (“The Epiphany”) atTrinity Church Wall Street, and decidedto purchase a more modest three-manu-al Marshall & Ogletree organ.
The console was built by SouthfieldOrgan Builders of Massachusetts. P&Sof England built the bone and ebonykeyboards, Classic Organ Works ofToronto provided the console systems,and all console controls were suppliedby Harris Precision, California. Theamplifiers are from Crest Audio, andthe speakers from Definitive Technol-ogy—including the “Trinity Signa-ture” subwoofer specifically designed
for Marshall & Ogletree after theinstallation of Opus 1 at TrinityChurch. Sound Advice of Southbury,Connecticut installed and wired theorgan. Douglas Marshall, DavidGranz, and George Sargeant tonallyfinished the instrument.
The formal inauguration of the organtakes place on October 22 with a choralservice of dedication. Plans are beingmade for an inaugural organ concert inthe near future, and David Ogletreelooks forward to making a recording onthe instrument. For information:<www.VirtualPipeOrgan.org>.
With 1,300 in attendance, WayneMarshall and David Briggs engaged in a“Battle of the Organs” concert in Sym-phony Hall in Birmingham, England.The organists played the Rodgers Tril-lium Masterpiece Series 928 and thehall’s Klais pipe organ during the pro-gram in June. In advance of the pro-gram, the BBC aired a 15-minute seg-ment on the Radio 3 “In Tune” programthat included interviews with the per-formers and an opportunity for listenersto guess whether they were listening tothe pipe organ or the Rodgers organ.
With Marshall playing the Rodgersand Briggs playing the Klais organ, themusic ranged from classics by Bach,Mozart and Boëllmann to a light-heart-ed improvisation on football themes inhonor of the World Cup. Although theBBC did not release a recording of theinterview due to copyright reasons,more than 150,000 people heard the
national radio program in addition tothose who tuned in via BBC’s website.
Installed and voiced on-site in Sym-phony Hall by Mark Underwood andhis associates at Rodgers U.K., the 3-manual Rodgers organ included a 34-channel audio system placed on andaround the level of the pipe organ.Eight large sub-woofer speakers wereplaced within the hall’s acoustic cham-bers, and a separate 2-channel audiosystem provided antiphonal Tuba andFestival Trumpet stops.
Symphony Hall opened in 1991 andhas been acknowledged both as theU.K.’s finest concert hall and one of thebest in the world because of its moderndesign and superb acoustics. In 2001,the hall was completed with the installa-tion of the 6,000-pipe Symphony Organ,built by Klais Orgelbau of Bonn, Ger-many. It is the largest mechanical-actionorgan in the U.K.
Buzard drawing for St. Mark the Evangelist Catholic Church, San Antonio, Texas
John-Paul Buzard Pipe OrganBuilders, of Champaign, Illinois, hassigned a contract with St. Mark theEvangelist Catholic Church in SanAntonio, Texas for a new pipe organ.The three-manual organ, of 35 stopsand 43 ranks of pipes, will be thebuilder’s Opus 38, and is scheduled fordelivery and completion in 2009. Thisinstrument will be Buzard’s first inTexas. St. Mark the Evangelist Churchseats 1,500, and its director of musicministries is Ms. Lena Gokelman. TheRev. Jim Brobst served as the church’sconsultant in selecting the builder.
The main portion of the instrument,shown in the illustration, will beinstalled in a shallow case high on thewall at the front of the church. The topsof the façade frames are gently archedto balance the visual motion of Christ’sarms in the brick sculpture below and tothe left of the organ. The main portionof the organ will comprise the Great,Swell, and Pedal divisions. A smallchoral accompanying organ, playablefrom a third manual keyboard, and withits own soft pedal register, will be locat-ed in its own free-standing case behindthe choral singers, located to the rightoff the axis of the worship space.
The organ will include a set of flamedcopper horizontal Tubas projectingfrom the case, and a set of polished cop-per Pontifical Trumpets mounted overthe entry door. The instrument’s tonaldesign and execution is of John-PaulBuzard’s mature balanced eclectic style.
Orgues Létourneau Limitée of St-Hyacinthe, Québec, Canada welcomesvisitors to its newly redesigned web siteat <www.letourneauorgans.com>. Theupdated site includes information on allnew Létourneau pipe organs and sever-al instruments that have been rebuilt orrestored by Létourneau over the past 27years. The site also offers information
Battle of the Organs at Birmingham Symphony Hall
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14 THE DIAPASON
Boston’s Symphony Hall. Now they’rereplacing the floorboards on the stage.
In a column published in The Ameri-can Organist in August 2003, I referredto an excellent book on acoustics byEmily Thompson, The Soundscape ofModernity (MIT Press, 2002). The bookdiscusses the history of the science ofacoustics starting with the inaugurationof Boston’s Symphony Hall on October15, 1900.
The construction of a new hall wasmade necessary by the city of Bostonmaking plans to run a new streetthrough the middle of the old MusicHall (original home of the famousMethuen organ). The Boston Sympho-ny Orchestra was the Music Hall’smost visible tenant, and Henry LeeHigginson, who owned and controlledthe BSO, embraced the opportunity tocreate a new venue for the orchestra.Charles McKim of McKim, Mead &White was engaged to design the newhall, and Higginson charged them toconsider its acoustics, excluding thesounds of the world outside andenhancing the music. He wrote toMcKim, “Our present hall gives apiano better than a forte, gives an ele-gant rather than a forcible return ofthe instruments—noble but weak—Iwant both.”1
Higginson was a visionary. He trav-eled the world visiting famous concerthalls, and gave his architects a list of thebest of them. Considering the form ofthe Greek amphitheater, McKim soughtthe counsel of several eminent orchestraconductors. One replied, “I don’t knowanything about acoustics, but my firstviolin tells me we always get the bestresults in a rectangular hall.” As therewas no precedence for a concert hallbuilt to that model, the idea was reject-ed as too risky. At one point in hissearch for information, Higginson saidto McKim, “I always feel like hearing[musicians’] opinions most respectfullyand then deciding.” Following up onthis thought, Higginson consulted hisclose friend Charles Eliot, a scientistand president of Harvard University.Eliot in turn introduced Higginson toWallace Sabine, a professor of physics atHarvard who had recently done work toimprove the sound in one of Harvard’slecture halls.2 This was the birth of themodern science of acoustics.
If Higginson was a visionary, he wasalso a diplomat. Embracing Sabine’searly advice, he wrote to McKim sayingin effect “don’t do any more work untilyou get the letter I’m writing,” intro-duced Sabine to McKim, and helpedthem build a relationship that resultedin the design and construction of a hallthat has been universally celebrated asone of the finest in the world.
So the stage needs new flooring.Richard Dyer writes, “The floor wasuneven and pockmarked by a century’sworth of stabbing cello and string bassend-pins, rolling pianos, risers comingonstage and off. Boards squeak when youwalk on them, and some are close tobuckling.” BSO management was intouch with officials at other halls of simi-lar importance and found that such
venues as the Musikverein in Vienna andthe Concertgebouw in Amsterdam bothhave recently replaced their stage floors.In fact, the stage floor at the Musikverein(built in 1870) has been replaced every 40years or so because the original flooringwas soft wood and the management wasreluctant to change anything.
I’ll rely on you to read Dyer’s articlefor all the details. Suffice it to say thatthe BSO management is making everyeffort to replace the flooring and under-lying felt exactly. They are taking greatcare not to change the sub-floor, and areencasing the entire project in plastic soas to protect the newly renovated organ(and of course the rest of the place)from dust.
Many modern church buildings arebuilt without any thought given toacoustics. We build the building andthen call in the sound guy to install aP.A. system. Can’t hear the singer, turnup the volume. Install a digital instru-ment. Want to play Widor, turn on theartificial chimpanzees. Phillips Brooks(1835–1893) was one of America’sgreatest preachers, serving Boston’sTrinity Church as rector from1869–1891. Trinity Church is one ofAmerica’s great church buildings,designed by H. H. Richardson and builtin 1872. I’ll guess it seats 1,800 people.There was no P.A. system. People musthave been able to hear Rev. Brooks thenin order for us to know today that he wasa great preacher.
Many of today’s opera singers are fit-ted with wireless microphones. I sup-pose that means that the conductormust confer with sound engineers toestablish the balance between singersand orchestra. Enrico Caruso(1873–1921) was one of the world’sgreatest singers. Audiences must havebeen able to hear him in order for us toknow today that he was a great singer.
In Emily Thompson’s book TheSoundscape of Modernity you will readabout the antithesis of natural acoustics(or acoustic sound, if you will), which ispresent in those halls built expressly forartificial sound enhancement. WhileSymphony Hall in Boston was the firstconcert hall to be built consideringacoustics as a science, New York’s RadioCity Music Hall was the first to be builtexpressly for artificially enhancedsound. Every effort was made to deadenthe room’s natural sound so the soundengineers would have free reign.
Organists and organbuilders will befurther interested to read chapters aboutSt. Thomas Church on Fifth Avenue inNew York, about the development andintroduction of Gustavino tiles, andmany other topics that resonate with ourwork. And by the way, purchase or orderyour copy at your favorite independentbookstore—your local merchant willappreciate the support!
I admire the vision of Mr. Higginsonof Boston who understood the uniqueopportunity open to him. Thanks to hiscreation and patronage of the collabora-tion between Charles McKim and Wal-lace Sabine, many wonderful churchbuildings and auditoriums have beenbuilt according to this relatively new sci-
Acoustics: science or mystery?Ten years ago the Organ Clearing
House was involved in the relocation ofan E. & G. G. Hook organ fromWoburn, Massachusetts to Berlin, Ger-many. The Woburn Unitarian Churchhad a wood frame with plaster walls—very ordinary 19th-century Americanacoustics, and the organ was installed ina chamber in the front of the church.It’s a wonderful organ, so in spite of theacoustics we always thought it soundedgreat. The Kirche zum Heiligen Kreuzin Berlin is a glorious ornate brick build-ing with a lofty spacious interior. Thereis plenty of resonance and just the rightamount of reverberation. The organsounds fabulous. Hearing the sameorgan in two different rooms is anunusual experience, and it sure can tellyou a lot about the importance ofacoustics. I attended a symposium on19th-century American organs at thatchurch—several of my colleagues and Iwere presenting papers. We werethrilled to be hearing an historic Ameri-can organ in such a setting. A colleaguewhispered to me, “now we need toimport some churches to the U.S.”
Organists and organbuilders habitual-ly clap their hands when they walk into achurch building. They nod their headsknowingly and mouth the seconds, onechimpanzee, two chimpanzee, threechimpanzee . . . An organist brags aboutthe acoustics at his church: “It has three-and-a-half seconds.” (I always wonderhow you count that half-chimpanzee.)Imagine John Brook (a.k.a. JohannSebastian Bach) improvising—a mor-dent in octaves on A (the dominant),high on the keyboard. (One chimpanzee,two chimpanzee . . . ) A little riff down tothe tonic by way of C-sharp. (One chim-panzee, two chimpanzee . . . ) Anothermordent, another chimpanzee . . . OrMr. Widor, playing grand chords inarpeggio, four-to-a-measure. Here ismusic that relies on grand acoustics. Itwas written for grand acoustics. Withoutgrand acoustics it sounds like marblesrolling down metal stairs.
I know some beautiful little organsin beautiful little rooms. You savorevery note. You hear the attack andrelease of each note. As a player you’reon edge because there is no forgive-ness—my riff on life in Oberlinreminds me of those practice roomsthat are the next thing to being tied toa grating and flogged. But unless you’repracticing for a senior recital, you don’tplay Widor on them.
I got to thinking about acoustics whenI read an article by Richard Dyer, long-time music critic for the Boston Globe,published on August 6, 2006: After 105Years, BSO to enter a new stage (Offi-cials hope to replace floor, not acoustics)<http://www.boston.com/ae/music/arti-cles/2006/08/06/after_105_years_bso_to_enter_a_new_stage/>. Last year we cel-ebrated the renovation of the organ in
ence. I wonder if he foresaw howimportant and influential his observa-tions and decisions would be.
One further note. Emily Thompson,author of “Soundscape,” is leaving herposition at the University of Californiaat San Diego to accept one at PrincetonUniversity. Thompson was awarded aMacArthur Fellowship, a “genius”award accompanied by $500,000. She’sa great scholar. Her writing is terrific.Read her book. �
Notes1. The Soundscape of Modernity, Emily
Thompson, MIT Press, 2002, page 15.2. Ibid., page 17.
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Music for Voices and Organby James McCray
Christmas Eve Settings
The Lord Christ Jesu, God’s son dear,Was a guest and a stranger here:Us for to bring from misery,That we might live eternally.Kyrieleison.
All this he did for us freely,For to declare this great mercy;All Christendom be merry therefore,And give him thanks for evermore.Kyrieleison.
— Miles Coverdale (1487–1568)
Christmas Eve services usually havethe largest attendance of the year forboth choir and congregation. At thatspecial time people have a need to betogether. Emotions, which have beenbuilding since the first Sunday inAdvent, are at a peak.
Music significantly contributes tothese emotional experiences. The ser-vice should be organized as a decrescen-do, starting with a loud festive introit,then moving toward a quiet, introspec-tive, gentle closing as the congregationpasses candlelight throughout the sanc-tuary. Structuring the service from loudto soft moves the congregation towardgreater unity. Loud separates; softunites.
Easter services tend to end in a flurryof bombastic alleluias; Christmas ser-vices should end with a feeling of calm.Everything leading up to that momenthas been frantic. Shopping, decorating,and numerous social events all havecontributed to a month-long frenzy thatis suddenly silenced in that extraordi-nary stillness.
Singing a simple hymn or choralarrangement such as “Away in aManger,” “Infant Holy,” or “Jesus, JesusRest Your Head” will give warmth to theheart. High drama indeed! As J. Bonnetpointed out in his 1725 book, Histoirede la Musique: “The music of thechurch must be expressive . . . The pas-sions of opera are cold in comparison tothose of our church music.”
So, dear readers, the music thismonth follows that recommended ser-vice organization. Reviews are dividedinto two parts: the first and last half of a
16 THE DIAPASON
Christmas Eve service. Those items atthe end will be especially useful for thatquietness just before the congregationallighting of candles. A wide variety ofchoral forces (mixed, women, children,and youth) has been chosen for review.Merry Christmas to each of you.
First half of service
Christmas Jubilations, DanielPinkham. SA or TB and wind quin-tet or piano, ECS Publishing Co.,No. 6158, $4.40 (M).
There are five movements; all are inLatin only. Full score (#5972) andinstrumental parts (#5973) are availablefrom the publisher. The choral parts arerelatively easy with the majority of thedissonances coming from the instru-mental accompaniment; the choir isoften in unison. These brief texts arechosen from both the Old and New Tes-taments. Sophisticated music, best per-formed with quintet.
To Bethlehem, arr. James Machan.SATB with percussion, AlliancePublications, Inc., 1-57193-455-3,$1.10 (M).
Designed for junior high singers,the setting has a limited range in thetenor and bass parts. Percussionincludes tambourine, triangle or fingercymbal, indicated beneath the choralparts. There is some divisi for thewomen; tenors are written in bass clef.The music is light, joyful, and rhyth-mic with syllabic writing—useful foryouth choirs.
What Ya Gonna Name Your BabyBoy?, David Lantz III. SATB unac-companied, Beckenhorst Press, Inc.BP 1723, $1.50 (M).
Fast and energetic, this rhythmicspiritual is generally loud throughoutand builds to a gigantic fff ending as thetext finally reveals the answer to therepeated question by saying “call HimJesus!” Using repeated chords, basspedal tones, and close harmony, this dri-ving setting is somewhat repetitive butwill be an exciting addition to serviceswhere youth choirs are involved.
Last half of service
Carols of the Night, Craig Courtney.SATB, congregation, and keyboardwith optional full or reducedorchestral accompaniment, Becken-horst Press, Inc., BP 1345, $1.95(M).
This 18-page setting incorporatesfavorite carols “O Holy Night” and“Silent Night” into the music, which isquietly flowing and not difficult. Thesyllabic choral parts are on two staveswith the arrangement designed so thateach of the two carols could be per-formed individually if desired. The con-gregation joins the choir on “SilentNight.” A sure winner.
And the Word Became Flesh, WalterPelz. SATB, organ, oboe, AugsburgFortress, 0-8006-2017-8, $1.75 (M).
The oboe part is on the back cover; it
is expressive and an important elementof this anthem. The organ part, on threestaves, is not difficult yet separate fromthe choral lines. Choral parts are on twostaves, syllabic, and chordal in structure.The music builds to the middle of thesetting as the text becomes a modified“Gloria Patri,” then quietly subsides intothe opening material, which ends softly.
Jesus, Jesus, Rest Your Head, CarlSchalk. SATB unaccompanied, Con-cordia Publishing House, No. 98-2349, $.50 (E).
The refrain that opens and closes thistwo-page setting serves as a frame forthe two verses, which may be sung by asoloist. The choral harmony is simple,gentle, and syllabic. This traditionalAmerican hymn has quiet, warm har-monies and will be a favorite among thesingers and congregation.
O Magnum Mysterium, RichardBusch. SATB unaccompanied, Para-clete Press, PPM 00321, $1.60 (M).
This Latin motet is written in a 16th-century style dominated by contrapun-tal lines throughout. The music flowsgently and has comfortable ranges forall parts—a somewhat austere setting.
Wood of the Cradle, Francis PatrickO’Brien. SAB, children’s choir,assembly, keyboard, guitar, withoptional flute, oboe, and cello, GIAPublications, Inc. G-5923, $1.60 (E).
The instrumental parts are notincluded in the choral score but areavailable from the publisher (G-5923INST). There are four verses for variouscombinations of voices; the childrensing verse one in unison. The refrainsvary in arrangement of voices, but themelody remains constant so that thecongregation is able to join easily; theirpart, on the back cover, may be dupli-cated in the bulletin. Chord indicationsfor the guitar are above the score.
A La Nanita Nana (Sweet LittleBaby Jesus), David Dusing. SSA,flute, and guitar or keyboard, withoptional finger cymbals, DavidMusic Publishers (Theodore Press-er, Co.), 392-02555, $1.85 (M).
The macaronic text (Spanish/Eng-lish) also uses expressions such as “doo,ba, and doon.” The accompanimentspecifies flute and guitar but may beplayed on piano one octave lower. Theopening refrain in Spanish recurs sever-al times; later repeats have an optionalEnglish text, but the arrangement’sintent is to establish a Spanish charac-ter to the music.
O Thou Who Camest from Above,arr. Ken Berg. SATB with piano ororgan, National Music Publishers(Emerson Music Distributors), CH-179, $1.65 (E).
This arrangement of the S. S. Wesleyhymn has four verses with only one in atrue four-part choral setting, and thatone is unaccompanied. Two verses arein unison and one adds a descant. Thesimple keyboard accompaniment is ontwo staves.
Infant Holy, Adrian Williams. SATBwith organ, Roger Dean PublishingCo., 10/3106R, $1.70 (M-).
The familiar melody is somewhat dis-guised in this arrangement of the popu-lar Polish carol. Verse one is unaccom-panied, then the keyboard enters quiet-ly. The music later builds to strongblock punctuations in the keyboard, butthe setting ends quietly.
Away in a Manger, arr. Jantz Black.Two-part mixed, piano and optionalflute and oboe or two C instru-ments, Augsburg Fortress, 0-8006-2388-6, $1.75 (E).
The instrumental parts are very easyand their music is included as a separatescore at the end of the choral score.There are four verses with two in uni-son. The calm music uses a flowing key-board accompaniment, limited vocalranges, and an unhurried tempo. Thiswould be especially useful for smallchurch choirs.
Sleep, Little Child, Dana Mengel.SATB, optional soli and piano,Abingdon Press, 0687495415, $1.50(M-).
The optional soli are quite brief; theirshort phrases open the setting. Subtitled“a Christmas Eve Anthem,” the choralmusic has repeated sections in differentvocal arrangements for the singers. Theeasy accompaniment tends to doublethe parts.
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Book Reviews
Thine the Amen: Essays on LutheranChurch Music in Honor of CarlSchalk, ed. Carlos R. Messerli,Foreword by Martin E. Marty. Min-neapolis: Lutheran UniversityPress, 2005, 320 pp. ISBN 1-932688-11-0 (paper), $26.00, <www.lutheranupress.org>.
The title alludes to a hymn born inthe 1980s of a partnership between the-ologian Herbert F. Brokering andmusician Carl Schalk: fitting becausethe book’s thirteen essays might all beseen as about partnership—betweentheologian and composer, betweenhomilist and musician, between musi-cologist and performer. Although ori-ented toward American Lutheran prac-tice, the collection’s running themeswill be of interest to choral directorsand worship planners in all Christiandenominations. The individual authorscombine expertise in musicology, litur-gics, theology, childhood education andchoral conducting. Their scholarshiphonors the ecumenical and non-dog-matic ideals that Carl Schalk has upheldin his teaching, writings, compositionsand musicianship.
Church music is here defined aseither song for the assembly (includingchildren) or music for liturgical choirsthat is oriented toward the lectionary forthe day. Genres of organ music arementioned peripherally in connectionwith the organ’s historic role of alternat-ing with singers. Part One presents sixessays on topics ranging from issues intranslating Luther’s hymns into English(R. Leaver) through a 16th-centuryLutheran worship book (D. Zager) andliturgical vocal music by Johann Krieger(M. Stahlke), Johann Kuhnau (E. Rim-bach) and J. S. Bach (C. Wolff and N.Jenne). Part Two presents six essaysconcerning application of the Lutheranliturgical heritage—and the widerProtestant musical heritage—to Christ-ian worship in the 21st century. Writtenby J. Herl, B. Resch, P. Westermeyer,W. Braun, P. Bouman and F. Senn, theyare a synthesis of the best of what hasgrown out of, on the one hand, researchby 20th-century American scholars intoearly Protestant liturgical practice and,on the other, North American Luther-ans’ experience over the past 25 years ofusing Lutheran Worship and theLutheran Book of Worship. The authorsaim to establish strong philosophicaland theological bases for music in wor-ship in the 21st century.
Some readers might choose to perusePart Two first because each of its essaysincorporates a survey of some aspect ofhistorical Lutheran (or Protestant) prac-tice in conjunction with demonstratinghow knowledge of historical practicecan address some of today’s thornyproblems. Then turning to Part One,the reader will more easily make thesame sort of connections between thehistorical works here described andtheir implications for present-day choirsand congregations.
In Part Three, “The Life and Worksof Carl Schalk,” Steven Wente revealsSchalk to have been a prime mover increating an eclectic as well as historical-ly informed church music practice inNorth America. All three parts of thebook are highly recommended to pas-tors and musicians who, like Schalk, arepondering the question of how musiccan best serve the Word.
—Lynn CavanaghThe University of Regina
Regina, SK, Canada
OCTOBER, 2006 17
Reuter is Pleased to Announce the 6th Annual AugustanaArts/Reuter National Undergraduate Organ CompetitionDate ..........................................................................................................................................March 15-18, 2007
Location ......................................................................................Augustana Lutheran Church • Denver, Colorado
Featured Performer/Judge ......................................................Professor Alan Morrison, Curtis Institute of Music
Award Information
First Prize
• $5,000 cash award provided by Reuter Organ Co.
• Featured performance with Musica Sacra
Chamber Orchestra on March 18, 2007 evening
concert, part of Augustana Arts series
• Career development sponsorship by Reuter Organ
Co., offering two recitals during the 2007 - 2008
season
Second Prize
• $2,000 cash award provided by Reuter Organ Co.
• Performance on March 18, 2007 evening concert,
part of Augustana Arts series
Honorable Mention (Two Prizes)
• $500 cash award provided by Reuter Organ Co.
• Performance during competition weekend March
17-18, 2007
Schools Represented2001 - 2005Asbury College
Augustana College
Baylor University
Brigham Young University
Carnegie Mellon University
Cleveland Institute of Music
College of the Holy Cross
Dordt College
Duke University
Duquesne University
East Carolina University -
Greenville
Eastman School of Music
Friends University
Houghton College
Indiana University
Manhattan School of Music
Martin Luther College
McDaniel College
Mercer University
Mount Marty College
North Carolina School of the Arts
Northwestern University
Oberlin Conservatory of Music
Rutgers University
Southern Adventist University
St.Olaf College
Stetson University
The Hartt School
The Juilliard School
The Peabody Institute
University of Illinois at Urbana-Champaign
University of Kansas
University of Michigan
University of Missouri - Kansas City
University of Nebraska - Kearney
University of North Texas
University of Northern Iowa
University of Wisconsin - Madison
Utah State University
Wartburg College
Wayne State University
Wittenberg University
Reuter congratulates the finalists and winners from 2001 to 2005, and we applaud all the participating schools for encouraging their students to
enter our competition over the last five years. We honor each one here with this listing. Because of the hospitality and organization of the host
institutions (Augustana Arts and Augustana Lutheran Church – Cindy-Lindeen Martin, competition director), and in large part due to the exceed-
ingly fine level of musicianship on display each year, this event takes its rightful place as the premier undergraduate organ playing competition
in the United States. Thank you to everyone involved for making this unique partnership a success. Join us in Denver from March 15 - 18, 2007
and help us inaugurate the new biennial Augustana Arts/ Reuter National Undergraduate Organ Competition.
2001 Finalists
• First Prize - Fred Teardo, Eastman
• Second Prize - Rico Contenti, Eastman
• Honorable Mention
Christopher Lees, Michigan
Brett Maguire, Holy Cross
2002 Finalists
• First Prize - Christian Lane, Eastman
• Second Prize - Rico Contenti, Eastman
• Honorable Mention
Christopher Jacobson, St. Olaf
Lars Gjerde, Augustana
2003 Finalists
• First Prize - Jonathan Ryan, Cleveland
• Second Prize - Vincent Carr, Indiana
• Honorable Mention
Daniel Tappe, Oberlin
Colin Lynch, Northwestern
2004 Finalists
• First Prize - Jeffrey Wood, Holy Cross
• Second Prize - Jared Ostermann,
Kansas
• Honorable Mention
Chelsea Chen, Juilliard
Eric Gunderson, Utah State
2005 Finalists
• First Prize - Chelsea Chen, Juilliard
• Second Prize - Adam Brakel,
Duquesne
• Honorable Mention
Nathan Davy, Asbury
Clayton Roberts, Utah State
Finalists & Awards 2001 – 2005
For more information and application: Augustana Arts/Reuter National Undergraduate Organ Competition, Augustana Lutheran
Church, 5000 East Alameda Avenue, Denver, CO 80246 • Phone: 303/388-4678 Email: [email protected] •
www.reuterorgan.com/augustana.htm
Entry Deadline: January 19, 2007
Circle, Kirnberger; Voluntary, op. 7, no.7, Voluntary, op. 7, no. 9, Stanley.
On this generously timed CD, Ter-ence Charlston plays an excellent selec-tion of pieces from the late 17th and the18th centuries on the 2-manual organdesigned by Peter Collins in 1989 in thestyle of Andreas Silbermann and theFrench branch of the latter’s family. TheGrand Orgue contains ten flues from 16to 2 with a 3-rank Cornet and Fourni-ture, a Cymbal and a Trompette; thePositif contains eight flues from 8 to 1including three mutations to give a Cor-net décomposée, plus a Cromorne and aTrompette; the six ranks on the Pedaleinclude 16 and 8 flute tone, 8 and 4Montre tone borrowed from the GrandOrgue, an 8 Trompette (taken from theGrand Orgue), and a 16 Bombarde.
Terence Charlston opens with themulti-sectional Toccata Secunda byGeorg Muffat, a dark, sombre workeven in the allegros, well played herewith the right amount of improvisation-al feel in the freer movements andstrictness in the impressive fugue; right
from the start we can hear the excellentvoicing of the glittering full choruswork. This is followed by a gentle ver-sion of Purcell’s Voluntary in G, whichis also indebted to the Italian style. Inthe five movements from FrançoisCouperin’s Messe pour les Paroisses, wecan hear in particular the incisive pene-tration of the Trompette giving out theplainchant in the first and final Kyrie, itsblending with the Bourdon and Montrein the fugue, and the rounded mellow-ness of the Cromorne in the Récit, heretaken at a deliberate pace that suits themost effective added ornamentation.The Dialogue between Trompette andCromorne features rapid response fromthe former in the fast arpeggio passage-work in the left hand.
Charlston continues with a well-con-sidered rendition of Bach’s prelude onAllein Gott in der Höh sei Ehr, thechorale in this setting being given outhere in the tenor with long restsbetween each line using the Cornetranks on the Positif. This is followed bya sprightly performance of the Dorian
Toccata followed by a more relaxedfugue that is most successful on this rel-atively small instrument. A short settingby Bach of Jesu, meine Freude with theornamented melody in the RH is playedon the Positif 8 , 4 and 22⁄3 with tremu-lant. Before Bach’s setting of Herr JesuChrist, dich zu uns wend, which againhas the chorale given out in the RH, thistime on the Cornet ranks, Charlstonplays the chorale prelude Ich dank dirschon by Johann Kirnberger; written fortwo manuals and pedals, the chorale isagain given out in long notes in the lefthand against typical galant figuration.
The Prelude and Fugue in C byGeorg Böhm introduces the splendorsof the North German compositionalstyle, complete with virtuoso pedal soloplayed here on the full resources of thatdivision. A setting by Bach of the Whit-sun hymn Komm Gott Schöpfer isplayed on full organ without theTrompette, and the Cromorne is heardagain to good effect in Couperin’s Bene-dictus—this time the tremulant adds afurther dimension.
New Recordings
Sounds Baroque. Terence Charlstonplays the IOFS (International OrganFestival Society) organ in St Sav-iour’s Church, St Alban’s, UK. Lam-mas Records LAMM 181D, record-ed 2004, TT 79:11, <www.lammas.co.uk>.
Toccata secunda in G minor, Muffat;Voluntary in G major, Purcell; Kyries(Messe pour les Paroisses), FrançoisCouperin; Allein Gott in der Höh seiEhr, BWV 663, Toccata and Fugue in Dminor “The Dorian,” BWV 538, Bach;Jesu, meine Freude, BWV 753, Bach(completed Charlston); Ich dank dirschon, Kirnberger; Herr Jesu Christ,dich zu uns wend, BWV 709, Bach; Pre-lude and Fugue in C major, Böhm;Komm, Gott, Schöpfer, Heiliger Geist,BWV 667, Bach; BenedictusChromhorne en Taille (Messe pour lesParoisses), F. Couperin; Sonata in Aminor, Wq 70/4, C. P. E. Bach; Musical
Master Tallis’s Testament, Howells, Par-tita, Mathias. Played by Flor Peeters onthe Walker organ in Liverpool Metro-politan Cathedral: L’Orgue mystique,Suite No. 24, Tournemire. Played byNoel Rawsthorne at Liverpool Metro-politan Cathedral: Invocations, Mathias.Played by Jeanne Demessieux at Liver-pool Metropolitan Cathedral: Trans-ports de joie, Messiaen.
Forty years ago, in the infancy of theEnglish Cathedral tourist shoppe, quitea few cathedrals used to sell seven-inch45 rpm “extended play” recordings oftheir organs as “samplers” to give peoplean impression of the instrument. Inter-ested tourists could purchase such arecord for the relatively modest sum oftwelve-and-sixpence. A London record-ing studio named Ryemuse producedquite a few of these sampler records.The Ryemuse studio, opened in 1960 byWilliam Johnson and John Gregory, hadtwo outstanding recording engineers inJohn Timperley and Dag Fjellner. Nor-man Austin was in charge of production,and the music critic Felix Aprahamianwrote the sleeve notes—quite a star-studded cast in those days. Furthermore,these records often included very inter-esting repertoire performed by out-standing players. I still have a few ofthese Ryemuse recordings in my ownrecord collection, but, alas, in these daysof compact discs they largely gounplayed. It is good, therefore, that Pri-ory Records had the idea of buying therights to these old recordings and thatthey are in the process reissuing them oncompact disc.
The Liverpool CD features threeleading organists of the last century—Jeanne Demessieux, Flor Peeters, andNoel Rawsthorne—playing the organs ofLiverpool’s Anglican and RomanCatholic cathedrals. The organ in Liver-pool Cathedral (Church of England) is afive-manual, 145-stop instrument byHenry Willis III. The completion of thewest end of the cathedral took placeafter these recordings had been made,so that when the recordings were madethe organ was housed in a cathedral that
was somewhat smaller than it now is.The other organ, in Liverpool Metropol-itan Cathedral (Roman Catholic), is afour-manual, 88-stop organ by J. W.Walker & Sons. Dedicated on May 14,1967, both the Metropolitan Cathedraland the Walker organ were brand new atthe time these recordings were made. Anote at the end of the leaflet that comeswith the compact disc notes that therecordings from Liverpool MetropolitanCathedral were made from the originalmaster tapes. Unfortunately, however,the original master tapes from the Angli-can Cathedral had been lost and theserecordings therefore had to be masteredfrom a copy of the gramophone record.Apart from a tiny bit of upper-frequencydistortion in a couple of very loud pas-sages, I was unable to notice any loss ofquality associated with this, and indeedit is hardly perceptible that one is listen-ing to recordings from forty years ago.
On the first section of the compactdisc, Noel Rawsthorne plays the five-manual Willis organ in Liverpool Cathe-dral. A student of Marcel Dupré andFernando Germani, Noel Rawsthornebecame assistant organist to Harry Goss-Custard at Liverpool’s Anglican Cathe-dral in 1937. He succeeded Dr. Goss-Custard on his retirement in 1955, andthen held the position of Organist &Master of the Choristers down to hisown retirement in 1980. The first track,devoted to Healey Willan’s Chorale Pre-lude on “Gelobt sei Gott,” provides anauspicious start in which the tutti of theWillis organ is heard to good effect andleads to a crescendo in which the piecebuilds up to full organ at the end. This isfollowed by the highly modal and attimes dissonant Hymne d’Actions degrâces, “Te Deum,” written by JeanLanglais in 1935; its medieval feelingwell suits the reverberant cathedral. Theboisterous mood established by the firsttwo works continues with Simon Pres-ton’s Alleluyas, inspired by the hymn,“Let all mortal flesh keep silence,” inwhich the voices of the cherubim cease-lessly cry “Alleluia.” The famous WillisTuba on 30-inch wind pressure makes itspresence felt at the end. The mood thenchanges to one of calm with the fourthtrack featuring Flor Peeters’ well-knownAria, op. 51, giving Noel Rawsthorne theopportunity to demonstrate some of thequieter stops of the organ. After this wetravel to the former Soviet Union for theToccata from the Suite Founded onUzbek Folk Tunes by Georgi Mushel, formany years a professor at the Universityof Tashkent in Uzbekistan. Rawsthornemade several recordings of this piece,and was in large part responsible for itspopularity in England during the 1960sand 1970s. After this, with HerbertHowells’s Master Tallis’s Testament, we
C. P. E. Bach’s three-movementSonata in A minor is given a sterlingperformance, taking the listener to theheart of the Empfindsam style, therelaxed middle movement being framedby restless allegros. Kirnberger’s Musi-cal Circle traverses the minor keys usingthe Cornet Décomposée, and the CDfinishes with two voluntaries by JohnStanley from his op. 7—that in E minoruses the Grand Cornet for the secondmovement after a Diapason introduc-tion, while in the closing piece in G,Charlston eschews the printed markingof full organ for both the introductionand the fugal second movement, prefer-ring to add registers as the piece pro-gresses, finishing with a splendid caden-za and flourish on full organ.
The booklet gives excellent informa-tion about the instrument, with photos,as well as about the composers andpieces played, including the registrationsused. Throughout the recording Charl-ston exhibits a great awareness of perfor-mance practice and is particularly suc-cessful in adding ornamentation in themost tasteful manner. His technical dex-terity is apparent in every piece, as is hisability to register using smallerresources; this plus the exemplary quali-ty of the voicing makes for the happiestmarriage. This CD is most highly recom-mended as an introduction to the Euro-pean style, its generous length being abig plus.
—John CollinsSussex, England
Organ Music from the Two Cathe-drals in Liverpool. Noel Rawsthorne,Flor Peeters and Jeanne Demes-sieux, organ. Priory Records PRCD931, <www.priory.org.uk>. Avail-able from the Organ Historical Soci-ety, 804/353-9226; <www.ohscatalog.org>.
Played by Noel Rawsthorne on theWillis organ in Liverpool Cathedral: Pre-lude on “Gelobt sei Gott,” Willan; TeDeum, Langlais; Alleluyas, Preston;Aria, op. 51, Peeters; Toccata, Mushel;
return to England, though at the sametime to the calmer mood of the FlorPeeters Aria and the more medieval feelof Langlais’ Te Deum. The rest of theLiverpool Cathedral section of the com-pact disc is devoted to a work by the20th-century Welsh composer, WilliamMathias, his Partita, op. 19. Written in1962, the Partita has three movements.The first of these commences as aMaestoso and then develops into adancelike Allegro ma non troppo sec-tion. The second movement is a Lentoalla marcia in which a slightly ominous-sounding theme provides a more seriousnote, commencing quietly and buildingup to a climax before dropping backagain to a quiet section at the end. Thefinal movement is an Allegro in whichthe motifs from the first movement arereintroduced and elaborated, culminat-ing in an exciting cadenza.
We then move a short way across thecity to Liverpool Metropolitan Cathe-dral, where the Belgian organist andcomposer Flor Peeters introduces us tothe four-manual Walker organ. Peeters’contribution to the recording consists ofplaying the twenty-fourth suite ofCharles Tournemire’s L’Orgue mys-tique. Tournemire wrote this suite forthe Sunday after Ascension Day, and it isnot surprising that Flor Peeters shouldhave chosen to play this particular suitesince he himself was the dedicatee. Bothof Liverpool’s cathedral organs are nom-inally eclectic instruments, representingthe British equivalent of “AmericanClassic” design. Nevertheless, the Willisorgan has some leanings toward theorchestral style, while the Walker organwas built at the height of the neo-baroque era. This contrast is very appar-ent in Peeters’ use of the Walker organin the Tournemire suite. He exploits thearticulate and colorful character of theWalker instrument in the numeroustransitions and solos that make up its fivemovements, which, like all of the suitesof L’Orgue mystique, is made up ofIntroit, Offertoire, Élévation, Commu-nion and Postlude. The Walker organsounds impressive in the relatively inti-mate surroundings of the MetropolitanCathedral and the Tuba—this one ononly 10-inch wind pressure—soundsevery bit as exciting as its big brother inthe Anglican Cathedral, though it is ofcourse a little less smooth in its tone asone might expect from its date.
The Walker Tuba also features in dia-logue with the full organ on the nexttrack of the compact disc, in which theorganist of the Anglican Cathedral, NoelRawsthorne, reappears as a visitor to theRoman Catholic Cathedral in order toperform another piece by William Math-ias. Mathias was commissioned to com-pose Invocations by the Dean & Chap-
18 THE DIAPASON
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mentions the newly appraised JohannPraetorius, and argues from the stand-point of style to back his attributions ofthose works transmitted anonymously.As in other volumes in the series (seeSarah Hughes’s review of the volumesdevoted to Jakob and Johann Praeto-rius—THE DIAPASON, December 2005),he keeps the original notation where adotted note is carried over a barline,which can at first be quite misleadingand confusing, not being as obvious asthe newer notation of using ties, but theseparation of certain rhythmical pat-terns into smaller units may well have acritical bearing on the articulationimplicit in such groupings.
There is a most comprehensive criti-cal commentary (in German only,which, if they do not have a fluency inthe language, will certainly deprivethose players who wish to read the mostimportant comments on source trans-mission, and a possible bearing on inter-pretation) listing the contents of theClausthal-Zellerfeld and Pelplin manu-scripts, and only here is found a briefdiscussion of the ornament sign of twoparallel lines. The individual listings foreach work also give the origin of thecantus firmus and extensive compar-isons of detail differences in thesources. Fock’s edition of 1966 alsogives the melody and the text for thefirst verse in each case at the head of themusical score, which is sufficiently rele-
ter of the Anglican Cathedral as their giftto the Roman Catholic Cathedral at thetime of its dedication in 1967. The pieceis inscribed to Noel Rawsthorne, whoplayed it during the dedicatory recital onthe Walker organ.
The player on the last track of thecompact disc is the legendary Frenchorganist Jeanne Demessieux, who madea number of recordings on the Walkerorgan at Liverpool Metropolitan Cathe-dral, including more than one of thisparticular work, the Transports de joiefrom Messiaen’s suite, L’Ascension.The recording of the piece on this com-pact disc is interesting in being one ofrather more dignity and gravitas thanwas normally characteristic of JeanneDemessieux’s treatment of this toccata-like movement.
These are all classic recordings, and itis commendable that Priory Records hasreissued them. They provide a veryinteresting window onto the Britishorgan scene in the third quarter of thetwentieth century.
—John L. SpellerSt. Louis, Missouri
vant that it ought to be followed by allscholarly editions of chorale settings.
And what of the contents? For thosenot acquainted with Scheidemann, asWerner Breig pointed out as early as1967, in his surviving output we have thelargest collection of organ music fromthe 17th century from the North afterBuxtehude and Scheidt. These 33chorale settings, many of which are stillsuitable for liturgical integration, offer adeep insight into what was essentially animprovised art, ranging from nine single-verse settings to two four-verse settingsin various styles, the great majority hav-ing two verses.
Nearly all of them require pedal, eitherfor giving out the chorale melody in longnotes beneath figuration (i.e., Gott derVater wohn uns bei, and sometimes, as inthe first verse of Mensch, willst du lebenseliglich, in the tenor) or as a basso con-tinuo supporting the manual work, with ahighly embellished melody in the righthand (i.e., third verse of Mensch, willst duleben seliglich and second verse of firstsetting of Vater unser im Himmelreich);in some there is an interplay between theRückpositiv and the Oberwerk. Thereare, however, several verses for manualsonly, and the second setting of Vaterunser is a particularly lovely example withits skilful interplay between manuals.Two pieces, Jesus, du wollst uns weisenand O Gott wir danken deiner Güt are formanuals only.
OCTOBER, 2006 19
New Organ Music
Heinrich Scheidemann: CompleteKeyboard Works; Part 1, ChoraleSettings, edited by Klaus Beck-mann. Schott ED9728, 34.95 euros,<www.schott-music.com>.
This, the first of three volumesdevoted to Scheidemann’s organ worksedited by Klaus Beckmann and pub-lished by Schott in the Masters of theNorth German Organ School series,contains 22 settings attributed toScheidemann and a further 11 settings,which, although anonymous in thesources, are attributed to Scheidemannby Beckmann through analogous com-positional tendencies.
A comparison with Gustav Fock’s edi-tion for Bärenreiter of the chorale set-tings in 1966 shows that the followinghave been dropped by Beckmann: Esspricht der Unweisen Mund wohl(although verses 1–3 carry the ascrip-tion H.S.M. in the Berlin MS40335), afour-verse setting of Herr Christ, dueinige Gottessohn, a simple one-versesetting of Herzlich lieb hab ich O Herr,a five-verse setting of Jesus Christus,unser Heiland, and a three-verse settingof Vom Himmel hoch da komm ich her.Fock’s first setting of In dich habe ichgehoffet Herr is here printed as thefourth verse of a composite setting.Added to the canon are Gott der Vaterwohn uns bei and a further setting ofJesus Christus, unser Heiland, to befound in the Pelplin manuscript, whichalso contains a series of magnificentchorale fantasias by various North Ger-man masters (there are five ascribed toScheidemann, but Beckmann hasargued that two of these are really byFranz Tunder).
One valuable feature of Beckmann’snew edition is the restoration of the cor-rect keys in the three settings of Vaterunser im Himmelreich, Aus tiefer Not,Es ist das Heil uns kommen her and Esist gewisslich an der Zeit, which hadbeen transposed to match the keys inthe German hymnbook in current use—a practice that may be of practical valuebut is certainly not what is expected in ascholarly edition, aside from considera-tions of temperament.
The introduction (in German andEnglish) provides a good backgroundto Scheidemann’s life and achieve-ments, the stoplist of his four-manualorgan at the Katharinenkirche in Ham-burg, and a brief discussion of theproblems of authorship and of notation.Beckmann looks at the sources and also
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Despite Mattheson’s well-knowncomparison between Jakob Praetoriusand Scheidemann, stating that the lat-ter’s works are easy to play, most ofthese settings require a highly devel-oped manual and pedal technique, asfor example in Lobet den Herren, denner ist sehr freundlich, in particularwith the flashing alternations betweenmanuals, and in the Chorale Fantasiaon Jesus Christus unser Heiland, inwhich, incidentally, Beckmann offers aconsiderably more difficult reading ofbars 205 to 225. Also required is a two-manual organ that offers contrastingyet balanced manual choruses, as wellas decent pedal reeds. Some stretchesof a tenth and more occur outside ofthe short-octave ambit (e.g., bar 22 ofthe second verse of Es ist gewisslich ander Zeit)—the player must make hisown decisions!
These pieces will more than amplyrepay the time and effort expended inserious study, as the genial art of one ofthe most important figures in NorthGerman organ music is revealed. Theprinting is clear, and the binding isgood, allowing the score to lie flat on themusic desk. All in all the volume is rec-ommended, but as mentioned above, itis to its detriment that the extremelyvaluable information available in thecritical commentary is in German only.
—John CollinsSussex, England
20 THE DIAPASON
Despite the long and glorious historyof outstanding organist-composers
at l’Eglise de la Sainte Trinité in Paris,France, featuring such notables as Alex-is Chauvet, Alexandre Guilmant, andOlivier Messiaen, another fine compos-er, Charles Paul-Florimond Quef,remains in virtual obscurity. Thisauthor first encountered Quef’s musicin L’Orgue moderne, a quarterly publi-cation of organ music. In the late nine-teenth and early twentieth centuries,L’Orgue moderne featured shorterorgan works by many excellent com-posers who, in recent times, have beenoverlooked or neglected.1 Among thoseforgotten is Charles Quef, whose sub-stantial legacy includes at least 47 setsof pieces from 75 opus numbers. Inaddition, several of Quef’s pieces lackany opus numbers, making it difficult tocreate an accurate catalogue of hisworks. It appears that many of thesecompositions never received perfor-mances outside of Paris or La Trinité,the church Quef served as organiste tit-ulaire for 30 years.2
Quef’s life and careerFew details concerning Quef’s life
can be documented. He was born inLille on November 1, 1867, during theearly years of the Third Republic. Hehad a brother, Maurice, a sculptor, towhom he dedicated two pieces (Opus13 and 28, No. 2), and a sister, Marie.He attended the conservatory at Lille,taking the deuxième prix d’harmonie in1890. In 1894, he attended the Conser-vatoire Nationale et Superieure deMusique et Déclamation in Paris, as anorgan student of both Charles-MarieWidor and Guilmant; his studies thereincluded improvisation, harmony, coun-terpoint, and fugue. During his studentdays, Quef served as organist at Ste.Marie de Batignolles and St. Laurent.After garnering prizes in organ andimprovisation, including the covetedpremière prix in 1898,3 he spent thenext two years as organist de choeur atLa Trinitè before being appointedorganiste titulaire in November 1901.4(Quef accepted this position followingthe sudden resignation of Guilmant,under circumstances examined morefully below.) Quef married ClaraCornélie Madeleine Luys, and they hadtwo daughters, Amélie and Hélène;Quef dedicated his Opus 46 pianopieces to the latter.5 In 1903, Quefmoved from the boulevard Clichy6 inParis to Meudon, a suburb, and livedsome 28 years on the rue Ernest-Renan.(See photo 1.) (Meudon was also thehome of Guilmant and Marcel Dupré.)Quef served in the French army duringWorld War I.7 (See photo 2.) Followinghis military service, Quef developed hisskills as an organist and improviser at LaTrinité. He remained active as bothcomposer and performer, and after thir-ty years of service to La Trinité, he diedat his Meudon home. The funeral ser-vices took place at the church of Notre-Dame de Bellevue, his home parish,and he was buried in the family grave atMeudon cemetery. (See funeral card.)He was awarded the Chevalier de lalegion d’honneur posthumously, on July2, 1933, exactly two years after his deathin Paris.8
Composers frequently dedicatepieces to family, friends, and students.If one were to use this as a measure ofQuef’s interpersonal relationships withthe musical community of Paris, itwould appear that he had very few closemusician-friends. Only a handful of thepieces he composed after 1902 beardedications to other French organists,9and only three French composers(Lucien Bourgeois, Alexandre Guil-mant, and Henri Libert) dedicatedworks to Quef.10 Despite the apparentlack of peer recognition, Quef seems to
have enjoyed a moderately successfulcareer as both performer and compos-er, as indicated in the following news-paper review:
Le 1re Fantaisie, de M. Ch. Quef, estassez brève de proportions; l’instrumentsoliste y brille en traits ingénieux sanscependant tenir le seul rôle intéressant;l’orchestre est vigoreux sans écrasementl’écriture élégante, la constructionlogique. C’est l’œuvre d’un musicienprobe et non-dépourvu d’originalité. (Thepremiere Fantaisie of M. Ch. Quef issomewhat small in its proportions; the soloinstrument shines with ingenious traitswithout holding the only interesting role;
the orchestra is vigorous without over-whelming the elegant writing, the logicalconstruction. It is the work of an honestmusician who is not lacking originality.)11
Additionally, he performed withmany of the prestigious conductors andorchestras in Paris and was active inmany smaller concert organizations,though it appears he never took anactive leadership role in any of thesegroups, with one exception. With theshort-lived Orchestre Philharmoniquede Paris, Quef served as the choir direc-tor for a group that sought to performmusic for orchestra and choir, whichconductor Lucien Wurmser felt had
been sorely neglected.12 Unfortunately,this organization lasted for less than oneconcert season due to “the rough diffi-culties of life,” according to a contem-porary source.13
Quef wrote music for the organ, har-monium, piano, choir, and solo voice, aswell as for orchestral and chamberensembles. He harmonized many sacredmelodies for choir and composedaccompaniments for solo popularsongs.14 He also transcribed andarranged six of Handel’s organ concertifor organ solo and several movements ofHandel’s Suites for violin and violoncel-lo.15 Other transcriptions included adap-tations of several classic funeral march-es, including as the marche funèbre fromChopin’s Sonata in B-flat minor, in twovolumes: one for organ and one for har-monium.16 Much of Quef’s music waspublished in musical quarterlies or little-known journals;17 he published somepieces independently, using his owncopyright.18 Several English and Belgianfirms published his works: two of hisorgan works appeared in a series knownas The Modern Organist, edited by theeminent British musicologist A. Eagle-field Hull, as well as in the Belgian seriesRepértoire de l’organiste. Among Quef’snotable accomplishments, he ranksamong the first French composers towrite a film score, Vie de Jesus (1908),for the band cinématographique.
Status within the Parisian musicalcommunity
Although prolific and innovative,Quef remains little known. Until recent-ly, only Henry Eymieu, a music criticand historian, ever provided biographi-cal information on Quef, and that essayappeared in a little-known journal witha brief existence.19 In organists’ circles,his obscurity may be attributed to thefact that he never wrote the large sym-phonic organ works that established thepopularity of Vierne, Guilmant, andWidor.20 In addition, he appears neitherto have had many private students norto have served on the faculty of either ofthe major French musical institutions ofthe time.
Another explanation for Quef’s fairlylow profile might be found in the cir-cumstances surrounding his predeces-sor’s decision to resign from La Trinité.Alexandre Guilmant had served asorganiste titulaire at La Trinité for some30 years. He abruptly resigned his postfollowing a difficult struggle with one ofthe clergy over organ renovations per-formed by the Merklin firm, thearrangements for which were made byone of the parish priests. Guilmant
Introducing Charles QuefForgotten master of La Trinité in Paris Steven Young
Photo 1. The Quef family outside their Meudon home (1913). Standing: MauriceQuef, his wife Louise Quef-Vallet, Charles Quef, his wife Clara Quef-Luys; seated:Isabelle Quef-Lecoche and Charles Quef (parents of Maurice and Charles); groundlevel: Amélie and Hèléne Quef, daughters of Charles, with André Quef (Charles’snephew) (Photograph courtesy of Jacqueline Quef-Allment)
Funeral card
Photo 2. Charles Quef in soldier’s uni-form (1915) (Photograph courtesy of Jacque-line Quef-Allment)
OCTOBER, 2006 21
found the changes unacceptable andrefused to sign the official report(procès-verbal de vérification et deréception du grande orgue). Accordingto Louis Vierne, Guilmant was so dis-tressed by the situation that he saw noalternative but to resign.21 Quef, servingas organiste de choeur, signed theagreement accepting the changes; hewas subsequently appointed as titularorganist on December 1, 1901. Thisacceptance of the post caused quite astir in the musical community, grievous-ly upsetting some of Guilmant’s stu-dents and friends, including Vierne, oneof Quef’s former teachers. Within thisclose-knit group of musicians, Quefappeared opportunistic.22 Yet Guilmantand Quef may have resolved any result-ing tensions as early as 1902, when Quefdedicated his Prélude-Choral, Opus 25to “mon cher maître, Alexandre Guil-mant.” Though regrettable, this unfor-tunate situation in the organ communi-ty appears to have had little effect onQuef’s career during 1902, as he per-formed that year as organ soloist andwith orchestra as part of the Associa-tions des Grands Concerts, while otherconcert organizations gave several per-formances of his compositions.23 (Asample program appears as figure 1.)
Quef was among a handful of Frenchorganists who played his own organworks, as evidenced by a cursory exami-nation of the service music repertoirelisted for the churches of Paris between1919 and 1923.24 However, his wide-ranging repertoire also included musicof Bach, Handel, Mendelssohn, Schu-mann, Liszt, and Karg-Elert, among thegreat German composers, as well asmusic by French masters such asClérambault, Franck, Saint-Saëns,Chauvet, Guilmant, Lucien Mawet,Widor, and Eugene Gigout.25 He alsoplayed music by composers Alan Gray(1855–1935) and William Faulkes(1863–1933); these men were most like-ly contacts from England where Quefand his music were known and respect-ed, and where he gave at least onerecital.26 By invitation from Guilmant,Quef performed at the Schola Cantorumin 1905.27 Also at the request of Guil-mant, Quef frequently served as a mem-ber of the organ adjudication committeeat the Conservatoire, and even providedfugue subjects for these examinations.Although few accounts of Quef’s playingexist, composer and organist OlivierMessiaen, who succeeded Quef asorganist at La Trinité, commented thathe played neatly and with precision andchose tasteful registrations.28 It seemsclear that Quef earned considerableadmiration as an organist.29
Musical styleReviews of Quef’s orchestral and
chamber music, though relativelyscarce, generally praise his innovationand compositional skill as well as hismusical depth and sensitivity.30 Manyof the prestigious concert series of thetime premiered Quef’s music.31 How-
ever, most of these works received asingle performance and then fell intoobscurity. The only non-organ workswithin his output that received morethan one documentable public perfor-mance, according to present research,are the Suite pour instruments à vent et
piano, Opus 4, and the Fantaisie pourpiano et orchestre.32
From his earliest extant opus, theSuite, one can observe Quef’s fascina-tion with counterpoint. In the secondmovement, Quef introduces two melod-ic ideas that he later combines in theclosing section of the movement. In thefive Pièces d’orgue, Opus 11 (1898), onefinds both a fugue and a trio that relieson melodic imitation, in the style similarto the six organ sonatas of Bach (BWV525–530). These early works attest tothe composer’s solid training in tradi-tional composition.
Another example of Quef’s use ofcomplex compositional techniques canbe seen in the aforementioned Prélude-Choral, Opus 25 (1902). Eymieu,33 inhis sketch of Quef, makes special men-tion of this organ work because it com-bines traditional techniques with thenew chromatic style so prevalent duringthis period. Compositional devicesinclude augmentation and diminution,as well as double (invertible) counter-
point. This contrapuntally intricate workis based entirely on its opening melodicfigure, making for a tightly constructed,economical work. Both economy ofstyle and fascination with counterpointcontinued to prevail in his music as hematured. (Messiaen noted that evenQuef’s improvisations at La Trinitérevealed a profound knowledge of coun-terpoint.) For example, in the Préludefunèbre et fugue, Opus 30, of 1903, thematerial used for the fugue subjectcomes directly from the prelude.
In the motet Ecce panis, Opus 71, theopening four-note motive permeatesthe entire composition. (See musicalexample 1.) The conciseness of themusical language may reflect the Neo-Classical movement that envelopedmany French composers during the1920s. Quef’s devotion to and refine-ment of contrapuntal techniques con-tinued into the late works, such as theSancta Maria, Opus 72/1, for choir andorgan (1924), in which the outer sec-tions begin imitatively. In addition, he
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Figure 1. Sample program
Example 1. Ecce panis, Opus 74
22 THE DIAPASON
published three organ fugues, morethan many of his contemporaries (com-pare this to only one fugue by Widorand Vierne).34 The textbook style of hisfugal writing reveals again his devotionto the techniques taught at the Conser-vatoire; André Gedalge, author of LaTraité de la Fugue and professor offugue at the Conservatoire, would havebeen proud!
In other works by Quef, one encoun-ters a more Romantic spirit, embodiedin titles such as Rhapsodie, Idylle, andReverie. Evidence of Franck’s influ-ence, namely the cyclic treatment ofthematic material, also appears. Forexample, in the Suite, Opus 4, the open-ing theme of the Entrée returns in thefinal movement, Rondo-Final, heretransformed into a dance tune. (Seemusical examples 2a and 2b.) This cyclictreatment occurs more subtly in theother chamber works. For example, inthe Sonate pour violon et piano, Opus18, an intervallic transformation linksthe first and last movements: specifical-ly, the opening melodic tritone and fifthof the first movement are expanded to asixth and a seventh in the openingtheme of the last movement. (See musi-cal examples 3a and 3b.) In Trio, Opus34, for piano, violin, and cello, the open-ing tune of the first movement haunt-ingly recurs just prior to a dramatic codathat closes the third movement.
Reviews of Quef’s music, includingthose by the eminent English organistand editor Harvey Grace, offer glowingpraise for the composer’s skill andimagination. Grace claimed that Quefwas at his best when writing smallerpieces.35 Echoing this sentiment,French reviewer M. Courtonne praisedthe short works for harmonium,Impressions religieuses, Opus 54. Thesame writer criticized the state of reli-gious music that merely represented apastiche of Gregorian chant fragments,
preferring Quef’s synthesis of a reli-gious spirit with beautifully modernharmonic tints.36 The reviewer felt that“no organist, great or small, should bewithout this collection.”37
This essay offers only a preliminarysurvey of the music of Charles Quef;further research is required to placeQuef in proper historical and musicalcontext. Closer study of the music andother documentary evidence may fur-ther our understanding of Quef’s per-sonal life, his career as performer andcomposer, and his substantial artisticcontributions. �
The author is deeply indebted to the staffsof the Bibliothèque Nationale, Paris, France;the Library of Congress, Washington, D.C.;and the British Library, London, Englandfor their gracious help. Additional thanks goto musicologists Agnes Armstrong, JeanKreiling, and Kurt Lueders for their invalu-able assistance in the preparation of this arti-cle, and to the Center for the Advancement ofResearch and Teaching (CART) at Bridgewa-ter State College for its financial assistance.
Steven Young holds the Doctor of MusicalArts degree in organ performance fromBoston University and holds the AssociateCertificate from the American Guild ofOrganists. He is an assistant professor anddepartment chair of music at BridgewaterState College, Bridgewater, Massachusetts,where he teaches courses in music theory andserves as director of choral activities. Dr.Young is the organist/music director of theOld South Union Church in S. Weymouth,Massachusetts. He is an active recitalist, con-ductor, accompanist, and choral adjudicator.
Notes1. This series, published by Alphonse Leduc,
running at least 33 issues, initially featured compo-sitions by students of Charles-Marie Widor and,later, Felix-Alexandre Guilmant at La Conserva-toire supérieure de musique in Paris, France,beginning in 1894.
2. According to Messiaen, in a letter to TimothyTikker in THE DIAPASON, December 1988, Quefserved as organiste titulaire until the end of 1929,and then Messiaen took over. There seems to be
some debate among biographers and scholars as towhen Messiaen actually began his tenure at thechurch, as both 1930 and 1931 are cited by his biog-raphers. If Quef played elsewhere after leaving LaTrinité, it remains unknown.
3. It took Quef several years to complete hisstudies, as his military service interrupted histime at the Conservatory. (See Rollin Smith,Louis Vierne, organist of Notre Dame, PendragonPress, 1999.)
4. Smith’s chronology, in Louis Vierne, appearsto be inaccurate, as it states that Quef becameorganist de choeur in 1901, when in actuality, hebecame organiste titulaire at that time.
5. The Opus 46 may be incorrect as a printedprogram from the Concerts Touche of 28 Octo-ber 1918 lists the “Suite dans le Style ancien” asOpus 46.
6. Le boulevard Clichy is located in the nintharrondissement, and was also where such luminar-ies as Arthur Honegger and Darius Milhaud lived.
7. A report in Le Courrier Musical mentionsthat Quef completed the score of his comic opera,Pomone, during his mobilization. See Le CourrierMusical, vol. 19 (15 Avril 1917), p. 205.
8. Quef died on July 2, 1931 in Paris, not in Lilleas claimed by Smith, in Louis Vierne, p. 128.
9. Only one organ work, Opus 29/1, bears adedication to a French organist, Henri Libert.Other works feature dedications to British organistsor other obscure French individuals.
10. These works are 5 Versets sur des thèmesliturgiques, Offertoire (Opus 65, 9e livraison), andDuo en forme de canon, respectively.
11. Le Ménestrel, vol. 78, no. 46 (16 Nov 1912),p. 364.
12. Le Courrier Musical, vol. 24, no. 18 (15 Nov1922), p. 341.
13. Ibid. “les difficultés matérielles de la vie…”14. In the 1920s, a collection entitled Cinquante
chanson populaires was published in Paris, withmelodies by other composers harmonized by Quef.This collection is now held in the Bibliothèquenationale (Paris). See also Le Courrier Musical, vol.24, no. 5, p. 92, for a review of this collection.
15. The transcriptions were published in 1924 bySchott and Co., Ltd., of London in a series of vol-umes that featured many organ transcriptions byvarious composers. The transcriptions of the organconcerti were published by Durand (no copyrightdate provided).
16. Other transcriptions are based on music ofBeethoven, Handel, Mozart, and Schubert.
17. For example, three of Quef’s late choralpieces, Opp. 71, 72, and 75, appeared in the quar-terly collection, La Grande Maîtrise, published byHerelle et Cie.
18. In 1908, Quef published his Deux Pièces,Opus 29, as part of a group of composers collec-tively known as the Société Cooperative de Com-positeurs de Musique.
19. Henry Eymieu, “Nos grands organistes:Charles Quef,” Revue Pratique de Liturgie et deMusique Sacrée, Juillet–Août, 1923, vol. VII, nos.73–74 (pp. 31–34).
20. Research has shown, however, that compos-ing an organ symphony does not guarantee one’sfame in the organ world. The author has found overtwenty organ symphonies written by Paris Conser-vatory graduates whose names remain little known.
21. See Smith, Louis Vierne, p. 135.22. For a more complete explanation of the rea-
sons for Guilmant’s resignation and the ensuingproblems for Quef, see Kurt Lueders, “AlexandreGuilmant et l’Affaire de la Trinité,” La Flûte Har-monique, Publication de l’Association AristideCavaillé-Coll, 57/58 (1991): pp. 2–43. See alsoFrederick B. Stiven, In the Organ Lofts of Paris(Boston: The Stratford Co., 1923), who makes ref-erence to Quef’s “eye for business.”
23. See Le Ménestrel, vol. 68 (1902), nos. 15–16.24. Recital programs of English organists reveal
that Quef’s music did receive some attention. In1921 and 1922, two organists performed the Dés-espoir while another played the Reverie and Canti-lene from Four Pieces, Opus 37. In 1924, Le Guidedu concert listed church music selections byParisian organists, and George Ibos (St. Honoré-d’Éylau) and René Blin (St. Élisabeth-du-Temple)played organ works of Quef.
25. According to Frederic B. Stiven, Quef wasthe only organist in Paris to play music ofMendelssohn in the 1920s.
26. An anonymous review in Musical Times 39, p.518, describes a recital at the Bow Church, Cheap-side, London (possibly St Mary-Le-Bow); the pro-
gram included works of Bach, Clérambault, Franck,Purcell Mansfield, and three pieces by Quef. Thelast of these pieces, Festal March, came from a setof Five Recital Pieces, Opus 28, newly published in1908 by the English firm, Hammond and Co. Thisrecital may have been part of a promotional tour forthese new works. Shortly after this tour, Quef’smusic appeared on several recital programs by Eng-lish and American organists, including a programgiven by Purcell J. Mansfield. Mansfield seems tohave been held in high esteem by other organists;reviews of his works garnered high praise from theeditors of The Organist and Choirmaster, a month-ly publication that ran from 1877–1920.
27. This recital took place on March 22 and fea-tured music of Bach and modern French com-posers as well as two works by Quef and a Sonata(possibly an arrangement) by Leclair.
28. Bertrand Duteil, Parcours musical en Ile-de-France. Compositeurs et lieux de mémoire, Paris,Texteul/ARIAM, Ile-de-France, 1994, p. 103.
29. Vierne, in Mes Souvenirs, verbally blastedQuef for betraying Guilmant and predicted thatQuef would never find acceptance in the (Parisian)musical community.
30. These two reviews attest to the type of criti-cal evaluation his work received. (Translations bythe author)Le Courrier Musical, vol. 15, no. 22 (15 Nov 1912),p. 610–11:
Parmi ces ouvrages, tous ceux de compositionrécente témoignent d’un noble souci de style etd’une grande conscience d’écriture. (Amongthese works, all the new compositions attest togreat care with the style and to a grand integrityof the writing.)
Le Ménestrel, vol. 78, no. 46 (16 Nov 1912), p. 364:Le 1re Fantaisie, de M. Ch. Quef, est assez
brève de proportions; l’instrument soliste y brilleen traits ingénieux sans cependant tenir le seulrôle intéressant; l’orchestre est vigoreux sansécrasement l’écriture élégante, la constructionlogique. C’est l’oeuvre d’un musicien probe etnon-dépourvu d’originalité. (The premiere Fan-taisie of M. Ch. Quef is somewhat small in itsproportions; the solo instrument shines withingenious traits without holding the only inter-esting role; the orchestra is vigorous withoutoverwhelming the elegant writing, the logicalconstruction. It is the work of an honest musicianwho is not lacking originality.)
31. Two larger works, Suite flamande and Fan-taisie pour piano et orchestre, received perfor-mances by the Concerts Séchiari and the ConcertsLamoureux, respectively. Further research has doc-umented premieres of one orchestral work at theConcerts Lamoureux and two chamber works insmaller concert venues. Quef also had works per-formed by the Concerts Touche, one for organ andorchestra (“Fantaisie sur des Airs Anglais”) and onefor orchestra alone (“Suite dans le Style ancien”).
32. According to Eymieu, in Nos grands organ-istes, the Suite was performed in many places inFrance. Attesting to the popularity of this work, theBibliographie Musicale Française (année 28, 1902)indicates that the Suite was first appeared in theoriginal version sometime between January andMarch and the four-hand piano version by IsidorPhilipp was published between July and Septemberof the same year.
33. Ibid.34. This comparison excludes Vierne’s “verset
fugeé sur ‘in exitu Israel,’” which is technically afughetta.
35. In Musical Times, no. 940, vol. 62 (June1921), p. 418, Grace reviewed Désespoir for organand wrote, “Charles Quef is well known andesteemed in this country as the successor of Guil-mant at the Madeleine (sic). His gift for writingshort expressive pieces is shown at its best in his‘Desespoir’ (Novello). It is simple, and easy toplay—a broad solo over a throbbing accompani-ment, with some striking harmonic touches.”
36. The use of chants and harmonized chants,promoted by Louis Niedermeyer, was very muchthe norm throughout the nineteenth century. Con-sider, for example, Eugene Gigout’s Cent piecesbrèves dans la tonalité du plain-chant, published in1888. Even Widor exclaimed that, with few notableexceptions, he could only consider music based onchant as being sacred, according to Orpha Ochse,Organists and Organ-playing in Nineteenth Centu-ry France and Belgium (Bloomington: Indiana Uni-versity Press, 1994), p. 139.
37. La Revue des Maitrises, vol. 3, no. 4, 1922,p. 32.
1184 Woodland St. SW, Hartville, Ohio 44632330-966-2499 www.keggorgan.com
Example 2a. Suite (Entrée), Opus 4
Example 2b. Suite (Rondo-Final), Opus 4
Example 3a. Sonate pour piano et violon, Opus 18 (movement I)
Example 3b. Sonate pour piano et violon, Opus 18 (movement III)
OCTOBER, 2006 23
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Ann Arbor Summer Festival Classical Music Series27th International Organ and Church Music Institute Gordon Atkinson and James Wagner
Devotees of the pipe organ in theAnn Arbor environs look forward duringthe late spring/early summer to a num-ber of special events. The first is theClassical Music Series of the Ann ArborSummer Festival; the second, the annu-al International Organ and ChurchMusic Institute at the University ofMichigan School of Music. This year’sevents did not disappoint.
Four Sunday afternoons (June 18, 25,July 2, and 9) were scheduled for theClassical Music Series with internation-ally renowned artists holding forth inthe superb acoustics of the BlancheAnderson Moore Hall at the UM Schoolof Music, home to the Fisk organnamed in honor of Marilyn Mason.Based on the instruments of GottfriedSilbermann, it most closely resemblesthe organ built for the Georgenkirche inRotha, Germany.
The first program, on June 18, fea-tured University Organist MarilynMason and soprano Brenda Wimberly.Two works by Johann Pachelbel wereplayed by Dr. Mason to commemoratethe 300th anniversary of the composer’sdeath: Toccata in E Minor, and the par-tita Christus, der ist mein Leben. (Mari-lyn Mason is presently recording themusic of Pachelbel for the Musical Her-itage Society.) Brenda Wimberly sang ODivine Redeemer and Ave Maria byGounod, and ended her part of the pro-gram with Mozart’s Exultate Jubilate,performed in honor of the 250th year ofthe composer’s birth. Mason thenplayed Bach’s Pastorale in F, BWV 540,and concluded with Spirituals for theOrgan by Calvin Taylor, commissionedby and dedicated to Marilyn Mason.
The concert on June 25 featuredMichele Johns, organ; Tapani Yrjölä,violin; and David Troiano, tenor, in apotpourri spanning four centuries. Con-certo in A Minor, BWV 1041, by Bach,three arrangements of medieval songsby Pietari Korhoven, and settings of AveMaria gratia plena by Giulio Cacciniand César Franck were performed byJohns and Yrjölä. Troiano sang God is aconstant sure defense by Handel andJesu, the very thought of Thee bySamuel Wesley. The suite for organ,Veni Creator Spiritus by de Grigny, washeard next, and the program concludedwith music of Mendelssohn played bythe three artists: the recitative Ye Peoplerent your hearts and the aria If with allyour hearts from Elijah, followed by anarrangement of Not unto us, O Lord(Psalm 115), op. 31.
—Gordon AtkinsonGordon Atkinson was born in Melbourne,
Australia, and spent most of his life in Cana-da and the USA. He studied at the Universityof Melbourne, the Royal College of Music,London, the University of Michigan, and theGraduate Theological Foundation. His prin-cipal organ teachers were A. E. H. Nickson,Harold Darke, and Marilyn Mason. He wasnational president of the Royal CanadianCollege of Organists. Dr. Atkinson is a pub-lished composer, and has played recitals inEngland, continental Europe, Canada, theUnited States and Australia. He returned toMelbourne in February 2005.
The Classical Music Series continuedon July 2 in a patriotic mien with read-ings from Jefferson, Lincoln, and Frostrendered by Elizabeth Graham, inter-spersed among the mostly Americanmusical selections. Marilyn Mason againpresided at the organ, complementedby flautist Donald Fishel to form “DuoPneuma.” From far away Singapore,UM alumna Dr. Evelyn Lim put the
Fisk organ through its paces on July 9with a mostly North German recital ofBuxtehude, Böhm, Bach, etc.
For the 27th International Organ andChurch Music Institute, June 25–27,director Marilyn Mason and her assem-bled presenters and recitalists served upa memorable set of workshops and pro-grams with the theme “Franck andChurch Music Practicum.” The openingevent dovetailed with the above seriesin the performance of Johns and Yrjölä.Later that night, again on the Fisk, UMstudent Paul Haebig presented his mas-ter’s recital featuring Mendelssohn’sSonate III, Bach’s Trio Sonate I, and aLebègue Magnificat with Haebig sup-plying his own alternatim chants.
At a number of times over the nexttwo days, Prof. Ralph Kneeream lec-tured on the music of Franck, drawingupon his close personal connections toDupré, Duruflé, and Mme. Tournemire.At a masterclass with Dr. Kneeream, thefollowing UM students performed: JohnKramer (Fantasy in A), Christine Chun(Prélude, Fugue, et Variation), andAndrew Meagher (Cantabile). Alumnus
Dr. Seth Nelson closed the programwith the Choral in A Minor.
Attendees to the institute werecharmed by native Australian GordonAtkinson who presented various ses-sions on chant traditions and hymn play-ing. Dr. Atkinson invoked his extensiveexperience in the Anglican traditionboth in his native land, as well as in Eng-land and the USA.
Monday night, June 26, doctoralcandidate David Saunders offered anintriguing first dissertation recital onthe Aeolian-Skinner at Hill Auditori-um. Opening with a towering perfor-mance of the Bach Passacaglia in CMinor, Saunders then joined forceswith local musicians in the hauntingbut infrequently performed Fugue,Canzona, and Epilogue of Karg-Elertfor organ, violin, and women’s voices.Also heard were works by English com-posers Jackson, Holst, Howell, Bridge,and Cocker.
Tuesday morning, Saunders present-ed a lecture on the topic, “An Approachto French Classic Ornamentation,”based on his studies with Jean-Pierre
Lecaudey of France. Later, Dr. Chris-tine Clewell from Indiana University inPennsylvania discussed the four Duet-tos from Bach’s Clavierübung III.
The institute concluded with a Tues-day night recital at Hill Auditorium byrecent UM doctoral alumni. JamesWagner played the soon to be publishedwork, Chorale Fantasia on “I KnowThat My Redeemer Lives,” by local com-poser Karen Phipps, who was in atten-dance. Kirsten Hellman then delivereda lively rendition of the Prelude andFugue No. 1 in C Minor, op. 37 ofMendelssohn. Dr. Seth Nelson broughtthe Institute to a fitting close with apowerful performance of Franck’sGrande Pièce Symphonique.
—James WagnerJames Wagner holds a DMA in organ per-
formance/church music from the Universityof Michigan. His studies in organ have beenwith Marilyn Mason, Pamela Ruiter-Feen-stra, and Mary Ida Yost. Dr. Wagner partic-ipates in the musical life of greater AnnArbor, Michigan as an organist, conductor,teacher, and composer. He presently servesas Sub-Dean of the Ann Arbor Chapter of theAmerican Guild of Organists.
THE DIAPASON has moved. Noteour new address:3030 W. Salt Creek Lane, Suite 201
Arlington Heights, IL 60005Phone, fax, e-mail, and webremain the same.
24 THE DIAPASON
This article was inspired by RalphKneeream’s elegant and moving
tribute to Searle Wright in the Novem-ber 2004 issue of THE DIAPASON. Dr.Kneeream strongly encouraged me tomemorialize my thoughts and impres-sions of Searle as a teacher to provide anadditional perspective on the talentsand contributions of this remarkableman. It was my privilege to study organ,composition and improvisation withSearle from September 1964 throughMay 1966, and to be able to keep incontact with him after graduation fromUnion Theological Seminary’s then-existing School of Sacred Music until hisdeath June 3, 2004.
As a teacher of compositionOne of his aphorisms was specifically
applicable to this area of music study:“Write quickly, but revise exceedinglyslowly and carefully!” While he wasreferring to musical composition, hiscautionary wisdom applies equally wellto writing an article! I have endeavoredto carefully follow this advice in compil-ing these thoughts and reflections.
As a composer of numerous organand choral works himself, he oftenjoked about it being said of him that hewas in this century (the 20th) but not ofit! This self-deprecating humor was gen-erally followed by this remark: “If one isgoing to write conventionally, one musthave something to say and write exceed-ingly well.” He always advocated that acomposition have a good “tune” ormelody involved. He was not averse to20th-century compositional devices(polytonality, 4th-built chords, etc.), butthese were used as means to an end, notan end in themselves.
He encouraged honest efforts at com-position, but he could come down hardin his evaluations. I vividly recall hiswritten comments on one of my ownefforts, which I still have: “Good grief,the chords! The piece can’t move! Itfalls under its own weight!” This sentshock waves through my system at thetime. But the encouraging part of histeaching style came to the fore in hiscomment on the last page: “Big talentscarry big responsibilities!” I had beenbrought down, but also lifted up. Heproceeded to outline in writing some ofthe options that could correct my manycompositional errors.
As a teacher of improvisationHe worked with the Union students in
a class setting. He would demonstratehow to build an improvisation with whatseemed, and were, very basic and practi-cal methods. It sounded easy when hewould demonstrate, but I think therewas a certain apprehension in all myclassmates when we had to play, know-ing his phenomenal reputation as animproviser and our natural desire toavoid making total fools of ourselves! Yet
I always felt he was able to correct uswithout putting us down, and in such away that we were willing to embrace andwork on his corrections and suggestions.
I will never forget one time when itwas my turn to improvise in class.Somehow I got stuck on a theme fromGrieg; no matter how hard I tried, Icould not shake the theme or improvisemy way out! While the theme was good,I soon ran out of material and ways todeal with the theme. Mercifully, I some-how brought the improvisation to anembarrassing conclusion. As I turnedaround on the organ bench, I could seethe looks on the faces of some of myclassmates; all of us awaited his com-ments. With a broad smile Searle said:“Well, it sounds like Bruce got stuck ina tune taught him by his Swedish grand-mother!” He was aware that I amSwedish on my father’s side, and wellaware that the composer of the themewas Norwegian. Much relieved, I joinedmy classmates in a good laugh, and heproceeded to show us all how to escapefrom such musical traps in the future!
Part of our improvisation training waslearning how to “decorate” hymns withpassing tones and harmonic changes, aswell as using hymn tunes as the basis foran improvised prelude to a service.While teaching this subject, he did nothesitate to express his opinion on freeaccompaniments: “Dr. Noble’s (T. Ter-tius Noble, Organist and Master of theChoristers at St. Thomas Church, FifthAvenue, New York City from1913–1943) free accompaniments arefine, but he didn’t always put the melodyin the top voice. If you’re going to do afree accompaniment, leave the melody
intact in the top voice.” I never had theprivilege of hearing Searle play a service,but Dr. Kneeream tells me that Searlewas very careful to play the hymns aswritten for the services. When I heardthis I was reminded of another of Searle’ssayings: “Just because one can do some-thing does not mean one should!”
Another valuable lesson he taughtwas how a chromatic sequence is con-structed and functions. Using a varietyof examples, he demonstrated how thisknowledge can hasten learning themusic of Vierne. He progressed fromthat lesson to show us how to improvisearound a cipher, a skill I once heard himdemonstrate “under the gun” when hewas playing theatre organ for his 75thbirthday party in Binghamton, NewYork. He worked around the persistentcipher for over two minutes, never los-ing a beat, until it suddenly ceased,allowing him to proceed!
As an organ teacherAs an undergraduate organ major at
the University of Northern Iowa, myorgan study was with Philip Hahn (later,Dr. Philip Hahn, AAGO, President ofthe American Guild of Organists), whowas a student of Robert Noehren at theUniversity of Michigan. The question ofwhom among the Union faculty I shouldstudy with arose when I was accepted atUnion. Phil suggested I write to Dr.Noehren, since he had heard me play inmy sophomore year at UNI when he wasat the university to work on final plans forhis new instrument slated for installationin the newly completed music building. Iwell remember Dr. Noehren’s reply:“You have had enough discipline in yourtraining. Now the time has come for youto have some freedom. Therefore, I rec-ommend you study with Searle Wright.”I told this story to Dr. Baker (Dr. RobertS. Baker, Dean of the School of SacredMusic) during my entrance interviewwith him at UTS and recall his reaction:“Very interesting that Bob (Dr.Noehren) would recommend you studywith Searle. They are of very differentpersuasions, you know!” Thus it came topass that I studied with Searle.
During my first year at Union, I hadmy lessons on the organ in JamesChapel at Union, not at St. Paul’sChapel, Columbia University, whereSearle was the Organist and Director of
Chapel Music, because of schedulingproblems. Searle was not, to put it mild-ly, enamored of the sound of the organin James Chapel! And it was no wonder.The room was dreadfully dry acoustical-ly, which would put any organ at a dis-advantage from the outset. Rebuilt andupdated in 1960, at a time in Americanorgan building when pipe scales weregetting thinner and thinner, makingmixtures work properly with the thinlyscaled foundational underpinning was areal problem. Dr. Baker had the Swellmixture replaced at least three timesafter he became Director of the Schoolupon the death of Dr. Hugh Porter.Searle was accustomed to the magnifi-cent G. Donald Harrison Americanclassic Aeolian-Skinner and the rever-berant acoustics of St. Paul’s Chapel. Ivividly recall Searle’s frustration duringone of my lessons while helping me witha registration. Exasperated, he mut-tered: “This organ is as subtle as a trainwreck!” However, that did not stop himfrom finding combinations that not onlyworked well for the literature beingplayed, but were beautiful! He had awonderful ear for sounds and total mas-tery of the art of registration.
One of my many lasting memories ishow excited he would become when Icame to my lesson prepared with a sig-nificant amount of literature to play.He loved it when I was willing to takehis ideas on the pieces and at least trythem. During my second year atUnion, my lessons were in St. Paul’sChapel. Scheduled to begin at 2 pm onFridays, they seldom got underwayuntil 2:30. Searle was not a morningperson! He often stayed up as late as 4am practicing or composing, followedby sleeping until noon. Therefore, 2pm was very early in his day. He wouldcome in late, half-awake, apologizingfor being late and saying he had to stopalong Broadway to get an orange juice.Upon ascertaining I had prepared anumber of pieces for him to hear, hequickly awakened as his enthusiasmbubbled to the surface.
Having taken advantage of the 20–30minutes he was late to work out regis-trations on the magnificent chapelorgan, I would begin to play. His keenear for color would take over as hewould rapidly approach the consolefrom his “listening post” in the nave ofthe chapel to compliment me on myregistration, quickly followed by: “Haveyou thought of doing it this way?” as hechanged all the stops I had selected! Inamazement I marveled that I had notthought of it in the new way and wouldreach for my pencil to jot down the idea.But he would protest, “No, don’t botherto write it down; you could also thinkabout doing it this way,” and quick as aflash, he would again change all the reg-istration. The moral of the story soonbecame readily apparent: he felt it lim-iting to be doctrinaire; rather, heencouraged me to use my ear, take intoaccount the resources at my disposal,the acoustics of the room, the structureof the music, etc., to achieve a series ofmusical sounds that emphasized themusic and what it was trying to convey.
He was exceedingly generous with histime. If I had a significant amount ofrepertoire prepared, my “hour lesson”might well run until nearly 5 pm whenhe had his Friday evening choirrehearsal! I well recall stumbling out ofthe chapel physically exhausted, butmentally and emotionally on an unbe-lievable “high” after those lessons. Theywere so stimulating!
Searle Wright as a Teacher Bruce Bengtson
Searle Wright at the Aeolian-Skinnerconsole, St. Paul’s Chapel, ColumbiaUniversity, New York City, c. 1952–53
Searle Wright in front of St. Paul’sChapel, 1964 (photo: Ralph Kneeream)
OCTOBER, 2006 25
His knowledge of the repertoire wascomprehensive. Often during lessons hewould ask if I knew or played such-and-such work. Often, I not only did not playit, I had never heard of it! He wouldallow me the time to write down thenames of these suggestions. My organscores are rife with names of works tolearn, written in pencil scrawls that fademore and more as the years go by. I amstill, after all these years, exploring someof the suggestions he made in thoselessons. Though the pencil scrawls arefaded or nearly invisible after 40 years,my memory of the man, his teachingand his ideas are as fresh in my mind asif I had just heard them yesterday.
As in his teaching of composition andimprovisation, he could be a veryencouraging organ teacher. After play-ing a noonday recital at St. Paul’sChapel, I expressed my disappointmentin missing too many notes in the G-Major Voluntary, op. 1, no. 5, byWilliam Walond. Searle pointed outthat errors in this type of music can beminimized by first taking care to coverthe notes one is about to play, thenkeeping your hand and wrist as quiet aspossible while playing. While he did notoften talk about technique or fingering,when he did, it was right on target andto the point. Note that this was broughthome to me by the one who was to giveme “freedom” and not impose more dis-cipline on me! “Most players have moretechnique than they need,” he wouldsay. “Technique must be the servant ofthe music.” He had such a wonderfullyfluid technique and sat very quietly onthe bench, always playing with an econ-omy of motion; but could he move whenthe music called for it!
I vividly recall his working with mebefore my master’s recital at St.Thomas, helping me to set registrations,tempi, etc. He would walk around thenave, listening intently. Interestinglyenough, he did not radically alter thesounds I had chosen; rather, he adjust-ed them for balance in the room in away I could not possibly do from theconsole. As we worked, he would fre-quently tell me how the organ was whenit was all E. M. Skinner during the timehe was working with Dr. Noble. I recallhis mild grumbling about Harrisonputting the Great manual on the bottomand questioning the wisdom of aFrench-style organ in an Anglicanchurch. But he loved “his” HarrisonAeolian-Skinner in St. Paul’s Chapel,built almost 20 years before the St.Thomas instrument.
On my master’s degree recital, Iplayed Searle’s Introduction, Pas-sacaglia and Fugue. As we were plan-ning the repertoire for my recital, heasked me if I would be interested (note:asked me!) in learning the work. Hedescribed it as a big virtuoso piece notmany people play. He had written it forMarilyn Mason in 1960, and she gave itsfirst performance at the AGO nationalconvention in Detroit that year. Searlefelt it to be a good piece and worthy ofthe time I would need to spend on it. Ireadily agreed to tackle it!
Since one of the requirements for the
Master of Sacred Music degree at UTSin those days was to write both abbrevi-ated and extended program notes oneach work in our master’s recital, Iarranged to interview Searle and get thebackground of the piece “straight fromthe horse’s mouth,” as he said. As we satin “The Pit” (the “break room” atUnion) over coffee, he told me about hislife and the piece. He was especiallyproud of the work; it had come out inprint only three years earlier. I shallalways treasure the note he wrote in myscore after the recital, “Thanks for agreat performance!—Searle.”
He championed Vierne and Karg-Elert when they were out of vogue inthe 1960s. I studied the Vierne Trip-tyque with him. It ends with the “Stèlepour un enfant defunt,” the last pieceVierne played on his recital at NotreDame in June, 1937, when he collapsedand died at the console just prior to thecustomary improvisation. Searle tooksuch pains in teaching these little minia-tures, talking about ways to pace andphrase them. I have all his markings inmy score, and I treasure them. What heaccomplished with me in those lessonswas not only to give me a thoroughunderstanding of those specific piecesbut also to develop my understandingand feeling for the use of phrasing andrubato, not only in the music of Vierne,but other composers as well.
His teaching philosophy• Use your ear, decide on and prac-
tice your pacing, don’t forget the bigline, and play musically.
• There are no difficult pieces, onlyunfamiliar ones. Your job as a musicianis to make familiar that which is unfa-miliar and to communicate.
• A teacher is constantly in danger offalling into the trap of trying to be allthings to all people, of trying to do toomuch, and of being a jack-of-all-trades.It is good to know something about a lotof things musical, but it is necessary toremember that it is “a little” that oneknows. The teacher must take a point ofview in order to give the subject studieda personality and a point of departure.The teacher’s viewpoint should be onlya point of departure, not the gospel forthe student.
EpilogueI took my last lesson from him in
April, 1993, at the First CongregationalChurch in Binghamton, New York, hislast church position. The entire lessonwas devoted to the Final from Vierne’sFifth Symphony, which Searle hadplayed impromptu for me one time dur-ing a lesson at St. Paul’s Chapel to illus-trate a point he had been making about“the big line” versus detail treatment. Iwas so overwhelmed hearing him playthe piece at the time that I promisedmyself I would learn it some day. Beforethe Binghamton lesson, he hadrelearned the piece himself so he couldteach me. This was so typical of Searle:he believed in preparing and expectedthe same of his students. I still have allhis markings and suggestions in myscore. This lesson took place before the
articles were published showing that themetronome markings in the Viernesymphonies are wrong. He said that thetempo markings in the score of theFinal were “ridiculous!” “Slow it down!Just let the piece happen.” He alsotalked about the construction of thepiece, how to handle the three episodesbefore the theme recurs in minor, thenagain in major against the triplet figura-tion. As always, he talked about the bigline and the shape of the piece. “Thedetails are fine, but if you lose the shapeof the piece while getting the details,what have you gained?”
After the lesson (21⁄2 hours, just like inthe “old days!”), I took him out for din-ner. He would accept no pay for the les-son! We had a wonderful conversationon a variety of topics. After dinner Ibade him goodnight as he headed backto the church—he wanted to practice!He was working on the Roger-DucassePastorale. Even Searle admitted it was ahard piece! It was the last time I sawhim alive, but I kept in contact with himby phone the rest of his life. He seldom
wrote letters and was generally good foran hour on the phone, joking that hewas vaccinated with a phonograph nee-dle! What a legacy he left!
May the soul of the faithful departedrest in peace, and may light perpetualshine upon him. Amen. �
Bruce P. Bengtson began his study of theorgan at the First Congregational Church,Waterloo, Iowa, and served as organist forthe church from 1958–1964. He received hisbachelor’s degree from the University ofNorthern Iowa in 1964 and a Master ofSacred Music degree in 1966 from UnionTheological Seminary in New York City. In1968 he completed the requirements for theAssociate Certificate of the American Guildof Organists. He has served as organist andchoirmaster for churches in Waterloo, Iowa;Elizabeth, New Jersey; Pittsburgh, Pennsyl-vania; and Lincoln, Nebraska. He served asorganist-choirmaster of Christ EpiscopalChurch in Reading, Pennsylvania, from1971–1982; he relinquished the choirmasterresponsibilities in 1982, but has continuedto serve Christ Church as organist. In thefall of 2005 he celebrated 50 years as achurch organist.
Eloquence and Artistry in Organ Building
Member, Associated Pipe Organ Builders of America112 West Hill Street
Champaign, Illinois 61820800.397.3103 • www.Buzardorgans.com
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All Saints Episcopal Church, Atlanta, GARaymond & Elizabeth Chenault, Music Directors
Searle Wright (photo: James Wilkes) Searle Wright at theatre organ console (photo: James Wilkes) Bruce Bengtson
26 THE DIAPASON
E. Power Biggs in Mozart CountryPart 4 Anton Warde
Parts 1, 2, and 3 of this series appearedin the July, August, and September issuesof THE DIAPASON, respectively.
From Ochsenhausen, Biggs and com-pany moved on to the jaw-dropper
of all the Baroque places they wouldvisit: Ottobeuren. Like a great whiteship plowing across the sea of agricul-ture that surrounds it for miles, theBenedictine monastery at Ottobeurenbegins to rise from the horizon of theAllgäu region many kilometers beforeone arrives at its portal. As Biggs laterwrote to David Oppenheim, in a letterdated December 26, 1955, “It’s reallyquite a feather in our cap to have theFantasy heard in—of all places—Otto-beuren, for this is just about the mostremarkable example of rococo [any-where], with a magnificent organ andspacious echo.” The “Fantasy” here isnot by Mozart but by Bach: his Fantasiain G Major, BWV 572, for which, asBiggs wrote in the album notes, “thebaroque splendor of Ottobeuren affordsa perfect acoustical setting.”
Not the least of the rococo furnish-ings in the vast swirl of the church’sinterior are the two extravagantly ornatechoir organs completed by Karl Rieppin 1766 and renovated by the firm ofSteinmeyer in 1914 and 1922.1 For thisparticular piece by Bach, the Frenchaccent of the larger, “Trinity” organ(four manuals, 49 registers) suits per-fectly. And the recorded performanceBiggs delivered as the ninth cut on the1956 “Eight” album was a jaw-dropperin its own right. The coda alone, withfiery manual flourishes over the chro-matically descending buzzsaw of a 16Bombarde “to an insistent dominant,”was itself worth the price of the album.Among countless recorded perfor-mances of Bach’s Pièce d’Orgue (includ-ing certainly his own rather plain one inVolume Five of “Bach Organ Favorites”played on the Harvard Flentrop), theperformance he achieved at Ottobeurenon Friday, August 12, 1956, remains astunner, easily the equal of its amazingsetting. (See photo: Biggs at Riepp con-sole, Ottobeuren.)
Recording cut short at OttobeurenRiepp’s “Trinity” organ stands on the
“Epistle” side of Ottobeuren’s broadchancel, his smaller “Holy Ghost” organon the “Gospel” side. On Steinmeyer’smany trips past the high altar under thegaze of visitors to the basilica (a three-star destination—“worth a journey”—inthe Michelin Guide) to position andthen to adjust his microphone, which heand Biggs had decided should be hungon the opposite side of the choir, infront of the lesser organ, Steinmeyerremembers feeling that decorumrequired him to genuflect at each pass.
Had he failed once to do so? The sud-den failure of a critical part in the Sta-nis-Hoffman oscillator that afternoonbrought the Ottobeuren recording ses-sion to a cruel halt just as Biggs wasmoving from Bach to Brahms. It meantthat for the rest of the tour they wouldhave to perform a tricky, manual moni-toring of cycle-control during each ses-sion, a major nuisance.2 (See photo:Finished too soon at Ottobeuren, page27.) Ironically, they would soon receivethis note from “boss” David Oppen-heim, posted two days before the break-down: “I am happy to hear that theMozart trail is proving to be a negotiableone and that the equipment has settleddown to doing its job.”
A half hour’s drive farther to the easton Saturday morning, August 13,
brought them to a third example ofbaroque splendor, the monasterychurch at Irsee. The recording log entryfor that visit consists of only one crypticline: “the famous Irsee wobble.” And sothey pressed on to examine organs at“Mozart sites” in Landsberg and Augs-burg that weekend (not yet recordingany) and arrived in Oettingen in time todine bei Steinmeyer on Sunday evening.There, at the midpoint of their odyssey,they could slow the pace for two days,enjoy three nights of the Steinmeyerfamily’s hospitality, view the Steinmeyerorgan shop—and finally get some laun-dry done.
An all-time favorite organ forBiggs
While the travelers recuperated fromtheir two-week whirl of new places, Oet-tingen served as a point of departure fortwo day trips. On Monday, August 15(the date Biggs had originally proposedfor beginning the whole journey!), Stein-meyer took Biggs “down the road” toexamine a 1948 Steinmeyer at thechurch of St. Georg in nearby Nördlin-gen, one of a trio of much-visitedmedieval towns along the RomantischeStrasse. Biggs played some Brahms andRitter on it, which they recorded to givethemselves a chance to practice the“work-around” on the hobbled oscilla-tor—nothing very inspiring for Biggsthat day.
Tuesday, August 16, however, wouldpresent Biggs with one of the highlightsof the trip. That morning, after anothershort drive from Oettingen, they cameto the small monastery of Mönschsdeg-gingen, very much off all beaten paths.Here Steinmeyer introduced Biggs to anorgan that he would later numberamong his 20 favorites of all time: the lit-tle seven-rank liegende Orgel (horizontal
organ) of 1694, built by the Saxon(Lausitzer) Paulus Prescher (then work-ing in Nördlingen). The instrument lieson, and partly below, the floor of thechancel, centered between the choirstalls on either side. In the manuscript ofan unpublished (and undated—butprobably post-1970) essay about hisbest-liked organs, Biggs wrote, “Thepipes point away from the player “enchamade,” like so many guns on a battle-ship; the organ [thus] gains wonderfultone projection and accent.”3 It is pre-cisely these qualities of course that Biggsmost appreciated in any organ; and wehear them in full measure in the tunefulLittle Prelude and Fugue in F-major,BWV 556 (accompanied, unfortunately,by a faint whistle that sometimes bedev-iled the Ampex). Biggs’s choice to pluckthis music from his portfolio that morn-ing was a small stroke of programminggenius, as fitting for the Prescher instru-ment as the selection of BWV 572 hadbeen for the Riepp at Ottobeuren. Biggsmust have carried a vast library of sheetmusic with him; but where did he keepit all? Steinmeyer has no recollection ofany supply beyond the slender folderBiggs brought with him each day.
From Oettingen to SalzburgNine days remained before Biggs was
to appear for his concert with orchestraat the Mozarteum in Salzburg, nowrescheduled for the evening of Friday,August 26. After that initial “pass”through Salzburg, another week ofMozart-touring would follow, before areturn for the sonata project in SalzburgCathedral that would begin on Monday,September 5. On their way to the firstSalzburg engagement they would spendAugust 17 and 18, Wednesday andThursday, recording (along with piecesby Brahms, Reger, and Purcell)Mozart’s Prelude and Fugue in C Minor,K. 546, at both Ulm and Augsburg.(Condensing geography for the Mozartalbum, Biggs locates the prelude atUlm, played on the Cathedral’s Walckerorgan, and the fugue in the Pfarrkirche,Heilig-Kreuz, Augsburg, played onanother Steinmeyer.) The party offour—Hanne Steinmeyer had joined theexpedition at Oettingen—spent theafternoon and evening of Friday, August19, playing (and recording to theirhearts’ content) the automated musicalinstruments in the collection of theDeutsches Museum in Munich, towhich Steinmeyer had persuaded “Ver-waltungsdirektor Bäßler” to give themfree access. There Biggs filled two reelsof tape with such mechanical noveltiesas “Vierundzwanzig Trompeten undzwei Pauken,” followed by five morereels with numerous takes of the organsonatas of Josef Rheinberger, his peren-nial favorite among “later” composers.He played the Rheinberger on the largeSteinmeyer in the Festsaal of the muse-um.4 By noon on Saturday, August 20,the group had reached Innsbruck andenvirons where, for the rest of the week-end, they would explore possibilities forrecording and make final arrangementsto do so at Fügen, at Absam, and inInnsbruck’s famed “Silver Chapel” thefollowing week, when they were to passthrough the area again.
On Tuesday, August 23, the quartetreached Salzburg and settled in for thethree days before Biggs’s Mozarteum“debut.” Between practice sessions withthe orchestra for Friday’s concert, Biggsand Steinmeyer made a half day’s excur-sion eastward into the Salzkammergutfor a recording session of little conse-quence at Bad Ischl; and later in theweek Biggs recorded Brahms, Mozart,and motorcycles in the Church of St.Cajetan at the center of Salzburg, on thesingle most “authentic” Mozart organ hewould find in his travels. In one of hisnotes, Biggs muses that he was hearing
Biggs at Riepp console, Ottobeuren
The bb e s t o f the European tradi tion
Proudly made in America
1 0 0 3 B a r n w o o d L a n e
C a m i l l u s , N e w Y o r k 1 3 0 3 1
( 3 1 5 ) 7 5 1 - 0 5 0 5w w w . l e w t a k o r g a n . c o m
OCTOBER, 2006 27
music exactly as Mozart had (except forthe traffic noise), complete with theannoying sound of church’s strangelyunmusical bell.
Playing Bierdeckel in PassauWith the Mozarteum engagement
behind them, and with all arrangementscompleted for starting to record thesonatas a week later, the travelers setforth once more on the morning of Sat-urday, August 27. Steinmeyer drovethem 200 km. northward, to the east-ernmost corner of Bavaria where, in thepicturesque city of Passau, “piled” on anever narrower tongue of land at the con-fluence of the Danube, the Inn, and theIlz, they would keep their 3:00 p.m.appointment to record Brahms choralesand Mozart’s dramatic K. 608 on thehuge 1928 Steinmeyer organ in PassauCathedral, another grand baroquespace. After dinner on their secondevening in Passau the four of themplayed “if you drop the coaster, youdrink!” at a local Gaststätte. (See photo:Bierdeckel game in Passau.)
The next morning, the Steinmeyersfound themselves delivering curt mes-sages between the two Biggses atbreakfast: from Peggy, “tell Biggsy,please . . . ,” and from Biggs, “Well,please tell Peggy . . . .” Had one or theother dropped the beer coaster toooften and downed too many draughtsthe previous evening? Had Peggy final-ly had enough of living out of the singlesuitcase they shared between them—only a fraction the size of the collectionof gear they hauled around every day?Had all those noisy takes of K. 608 on“the world’s largest church organ” sim-ply driven her over the edge? Stein-meyer has no recollection of the issuethat morning but remembers that rela-tions warmed again soon enough—probably long before lunchtime.
Repairs at LambachIn any event, no visitor could stay
angry for long at their next Mozart stop,on Monday, August 29: the monasteryat Lambach, Austria, 100 km. southeastof Passau. “It is a beautiful place,” Biggswrote, “with the courtyard buildingspainted a jonquil yellow so that thewhole place seems filled with sunshinewhether or not the day [is] bright.” Afterthe trip, Biggs remembered it as one oftheir happiest sojourns, despite somefrustrating moments:
In the process of recording, we somehowdropped a minute screw vitally importantto our equipment. [Steinmeyer: “Nothingless than the screw that held the recordinghead in place!”] After several fruitlesshours of search for it we gave up, andreturned disconsolate to the hotel. Nextmorning we were greeted by the smilingAbbot. He “couldn’t sleep” he said, andhad arisen at four and searched the floorfoot by foot by candle light and—minormiracle—he had found the missing part.Later that day, the microphone cable part-ed, necessitating metallic connection. A
monastery soldering iron was produced,plugged in at the altar (where often is tobe found the only electrical outlet) andrepairs made right there.5
(See series of photos: Soldering at Lam-bach, pages 28–29.)
Up the valley of the InnOn Tuesday, August 30, the travelers’
path led them southwestward, againtoward Innsbruck. By the end of theweek, Biggs needed to reach Feldkirch,at the extreme western tip of Austrianear the border of Liechtenstein, wherehe was to play a concert on Saturday,September 3 (the second of the five thatthe American embassy in Vienna hadarranged for him). On the way to Feld-kirch, they would carry out plans laidthe previous week for recording sessionsat Fügen, Absam, and Innsbruck—located in a convenient row along theirroute up the valley of the Inn. In theparish church at Fügen (famed forFranz Gruber’s first performance of hiscarol “Stille Nacht”), Steinmeyer recallseveryone’s amazement at finding theseven-year-old son of the organist play-ing the “Mozart organ” with the virtuos-ity of a seven-year-old Mozart himself.(See photo: Another young Mozart?)Playing a handsome eighteenth-centuryorgan in the Pilgrimage Church of St.Michael at Absam, Biggs recordedBWV 555, the last of the four “LittleEight” for which he had wanted to pro-duce more “authentic” realizations thanthe ones he had carried home in 1954.
And at the Silberne Kapelle in Inns-bruck he competed with ceaseless traf-fic noise to record Mozart’s Adagio “forglass harmonica,” K. 356 (included inthe Tour album), played on the chapel’sItalian organ of 1580, as well as musicby Italian composers (never released).
On the day after the recital in Feld-kirch, Sunday, September 4, theMicrobus with its precious cargo wouldretrace the long route eastward throughthe Alps to Innsbruck and then on toSalzburg. During that 350-kilometergrind across half of Austria, Biggs musthave savored some sense of triumph atall that had fallen into place for the cli-mactic week to come: a prestigiousMozart orchestra, an expert Mozartconductor, and permission to record inthe most splendid of all Mozart spaces.
“An experience never to beforgotten”
On Monday morning, September 5,when Biggs and his team of “amateurs”carried their recording gear intoSalzburg Cathedral (see photo: Arrivalin Salzburg, page 30), they found a crewof hyper-professional engineers fromPhilips already at work, officiously set-ting up their fancy two-track equipmentto record the project in stereo. Next tothese Profis in their starched white lab-oratory coats, Georg Steinmeyerremembers feeling like a brash upstart.
That day he would be placing themicrophone for the last time. Asplanned, he and Hanne would now peelaway from the venture and go about thebusiness of their move to America. Witheverything “set to record,” the twoSteinmeyers wished the two BiggsesLebet wohl, sped away in the Microbus(without that load, how it could fly!),and reached Munich that evening. OnSeptember 11, Steinmeyer found timeto send his friends a letter:
Dear Biggses, finally I have the time towrite to you after being away fromSalzburg almost a week. We arrived safelyin Munich on the 5th in the evening. . . .On the 6th it took us from 8:30 a.m. until4:20 p.m. to get through the whole visaprocedure. With the baby it was not toomuch fun. We went back to Oettingen onthe same evening, since a letter fromEstey Organ Corporation was waiting forus. . . . We are finishing our packing at themoment and shall ship our trunks proba-bly next week.
He went on to explain that Estey wantedhim to come immediately, that the air-line tickets the company had sent were
Finished too soon at Ottobeuren
Bierdeckel game in Passau
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28 THE DIAPASON
expected any day, and that he wouldthus surely not be available to drive theBiggses from Salzburg to Frankfurt atthe end of their Austrian circuit.
In Salzburg, meanwhile, Biggs foundhimself in his element:
There in Salzburg Cathedral, withacoustics on the same ample scale as Ulm,in the organ gallery where Mozart himselfhad once played the Sonatas, we recordedall 17 of these enjoyable works. Theorchestra (the Camerata Academica ofSalzburg) duplicated that used by the com-poser, and the director was Dr. BernhardPaumgartner, leading Mozart authority. Tocomplete the picture of authenticity, as faras possible only the organ stops in the pres-ent instrument that derive from the organMozart played were used. . . . The dramaof recording there in the darkened cathe-dral through long evening sessions, withthe Cathedral Square cleared of all trafficby the Salzburg police, is an experiencenever to be forgotten.6
Rehearsing during the day, the play-ers mastered each piece so well (readingscores provided by Biggs) that theyneeded no more than a take or two inthe evenings, and rarely an insert. THEDIAPASON’s reviewer wrote, “Theauthentic atmosphere captured hereapparently inspired all concerned togreat heights—the results approachperfection itself!” And the reviewer forThe American Organist agreed: “Play-ing and recording are uniformly excel-lent. . . . I feel increasingly indebted toMr. Biggs for his outstanding contribu-tions of this type.”
That the recording taken with a singlemicrophone, placed by one who felthimself almost an interloper at the
scene, should have been chosen byColumbia over what the crack teamfrom Philips had produced still makesGeorg Steinmeyer beam with pride. “Ofcourse,” he concedes, “Columbia maynot have had the means at that timeeven to process a stereo recording.” Andyet it seems likely that Philips could eas-ily have provided a monaural version ifColumbia had asked for one. In anyevent, Columbia Masterworks washappy enough to release what the“Biggs team” had produced, with nofurther ado. And the reviews seem tohave justified their decision.
“Salzburg Festival Tempo”All in major keys, the sonatas differ
from the two Fantasias, in their unset-tling key of F minor, as day does fromnight:
Every one perfect in form, all seventeenare nonetheless quite varied in character.Some are of rare expressive beauty, as iffor Christmas. Many are for festival occa-sions, particularly those with trumpets,oboes, and kettle drums. . . . It was in facta remark of Dr. Paumgartner that led us torechristen these engaging works “Festival”Sonatas. For Dr. Paumgartner accepted acompliment on his choice of tempo (in theC major Sonata that opens our recording)with the remark, “Yes, that’s the SalzburgFestival Tempo!”7
How grateful the un-churchy Biggs feltto be given a designation for theseworks beyond the customary “epistle,”or “church,” or even “short”! “Havingnoted their church origin,” he mischie-vously wrote, “one may as well forget it,for here is music to be enjoyed not only
on Sunday but all through the week!”8
Finally, Biggs the connoisseur of “tonalclarity in the midst of reverberation”offers this characteristic observation:
It is worth noting how very cleverlyMozart writes for the spacious length ofSalzburg Cathedral. Themes are strongand chordal in outline, so that the sound oforchestra and organ may pile on itself withfine effect yet without confusion.9
The measured tempo of the Paum-gartner/Biggs performances sets themfavorably apart from other recordedrealizations of the pieces, especiallyconsidered as a collection. Most of theothers sound almost frenetic by compar-ison, too over-energized to be enjoyedfor more than one or two sonatas at atime. The graceful “swing” of the 1956readings lets the seventeenth sonata fallas refreshingly on the ear as the first.Like Biggs in solo performance, theseplayers seem to be listening closely tothe music as they perform it. We can betthat the compliment by “someone”about the tempo Paumgartner set camefrom Biggs himself.
Homeward with his trophies With the seventeen sonatas literally in
the bag by the end of the day on Sep-tember 9, the Biggses set off on Satur-day, September 10, to keep their threeremaining Austrian concert engage-ments (September 11 at St. Florian’s,
near Linz, September 16 at Klagenfurt,and September 17 at Graz) and to con-tinue exploring Mozart sites along theway. The far-flung concerts AngeloEagon had arranged would take them,almost amusingly, to the most distantcorners of Austria. For the one at Feld-kirch, they had already journeyed far tothe west. Now it would be 150 km.north, to the Monastery of St. Florian,for a recital on its “Bruckner” organ,then down the Danube to Vienna (200km.), and finally to the southeasternprovincial cities of Klagenfurt and Graz,close to the Yugoslavian border. Theconcert at Graz cathedral, on September18, would place the Biggses 15 hours oftravel time distant from the plane theywere to board in Frankfurt for the flighthome on September 21, according tocalculations scribbled by Biggs as heplanned their schedule for the final days.
Biggs kept the Ampex and all 84 tapeswith him as the journey continued; buthe must have sent the oscillator and allits accessories home at some point, pos-sibly already from Linz following twopost-Salzburg recording sessions: one atKremsmünster on the way to Linz andone at St. Florian’s (in both cases, musicof Brahms and Bruckner, none of it everreleased). To avoid a repeat of the pre-vious year’s nightmare (tapes longdelayed in shipping and customs), Biggswanted to bring his trophies home thistime as part of his personal luggage.And it seems to have worked. Althoughhe would still have to pay duty on thetapes’ contents, and leave them in thepossession of U.S. customs in Boston fora week, payment could wait, it appears,until a final determination was made (byhim) of the extent of the value of theircontents.10 In the meantime he wouldhave them to edit.
For travel from Salzburg to St. Flori-an’s and on to Vienna, the Biggses wereaccorded the services of an embassy car(a 1952 Plymouth station wagon) anddriver. (After Graz, we can hope thatthey traveled by train, since it wouldhave been more comfortable by far thanby automobile, given the roads of theday and the mountainous terrain to betraversed. Steinmeyer points out thattoday’s ubiquitous car-rental agencieswere unknown in the Europe of 1955;his own two rentals had been by specialarrangement with dealers.) On theirway from St. Florian’s to Vienna viaMelk, Krems, and Klosterneuburg, theBiggses stopped to view Mozart’sreversed initials on the organ case atYbbs, carved by him at the age ofeleven. Biggs snapped a picture (seephoto: Mozart’s initials at Ybbs, page29), made his own pencil-tracing, andlater began one of his essays about thetrip by citing this curiosity:
M A W 1767—So reads the penknife sig-nature on the organ case of the littlechurch in the . . . town of Ybbs, on the
Soldering at Lambach 2
Soldering at Lambach 1
OCTOBER, 2006 29
Danube. Apparently Mozart was fond ofinverting the order of his name—toMozart Amadeus Wolfgang—and toannounce himself as “Trazom.”11
As they had begun their tour withmusic-making at Kirchheimbolanden, sowould they end it. On September 6,Biggs had received a sudden, irresistiblycordial invitation to return to Kirch-heimbolanden and play a recital there onthe eve of the flight home from Frank-furt. He happily assented—in part, per-haps, because he liked the symmetry ofit. On that flight home, he may havebegun to compose the essay that addedthe symmetry of one last, very Biggsian,justification for his latest recording ven-ture, now completed:
But why travel 15,000 miles with some 850pounds [Biggs here ups the weight by 200pounds!] of electronic equipment torecord all this music? The spice of curiosi-ty and the search for authenticity are thereasons, coupled with the conviction thatthe union of modern recording techniqueswith the arts of the classic organ builders isa particularly invaluable coincidence of thenew and the old. By this happy couplingwe hear music with new character andauthenticity and we learn of organ buildingarts that have become almost forgotten.12
“Fifty miles of tape”Two weeks later, on October 8, he
could already send this report to DavidOppenheim:
I’m ploughing right into the 84 tapes,which are now safely through customs . . .and know that we have safely in the bag allitems for the expected groupings: 1) All theMozart music (“Down the Mozart Trail”),2) the Bach “Eight little fugues and pre-ludes” on eight historic European organs,3) the Brahms “Eleven Chorale Preludes,”Opus 122 and some Bruckner—in elevenEuropean Cathedrals.13
And on October 30 Biggs would writeto him once more:
At last I’ve sorted out some fifty miles oftape and ploughed through stacks of pho-tographs of last summer! And, as soon asconvenient to you, I’d like to bring downthe following for your consideration.
In “the following,” however, Biggs hadreplaced the Brahms and Bruckner witha program he proposed to entitle “Musi-cal Fun in the Munich Museum,” withthe sounds of all the automated instru-ments: “I think you’ll be tickled whenyou hear them,” Biggs wrote to Oppen-heim, “In fact, you’ll grin from ear to earat the ‘Twenty-four Trumpets and TwoKettle Drums.’” Oppenheim may havesmiled, all right, but probably more atBiggs’s enthusiasm than at the prospectfor any profit from the release of such arecording.
It would take less time to get the Bachalbum ready for release than the three-LP Mozart compendium simply becausemost of it was ready to go. Biggs hadbrought recordings of all eight of the lit-tle preludes and fugues back with himthe previous year. But four of them dis-satisfied him. He had wanted to replacethese with versions to be played on moreappropriate organs as he happenedupon them on the Mozart trip. Notably,he tried each one of the four on only oneorgan, found the results pleasing, andput the piece away for the rest of thetrip. The four replacements were these:No. 1 played on the Andreas Silbermannorgan at Ebersmünster (replacing thebig Schnitger in Hamburg), No. 2played on the 18th-century Fuchs/Mau-racher organ at Absam, Austria (replac-ing a modern Flentrop at Amstelveen,Holland), No. 4 played on the smallPrescher organ at Mönchsdeggingen(replacing a modern organ in Hilver-sum, Holland), and No. 5 played on theGabler organ at Ochsenhausen (replac-ing the Schnitger at Stein-kirchen). Theothers heard on the final LP, all record-ed in 1954, were No. 2 at St. Jakobi,Lübeck, No. 6 at St. Jan’s, Gouda, No. 7at Neuenfelde (hence no need foranother Schnitger?), and No. 8 atLüneburg (on the “Böhm” organ onceplayed by Bach). Rounding out thealbum (some choice for “filler”!) wouldbe Bach’s G-major Fantasia recorded atOttobeuren.
Barbara Owen has rightly written thatthis album (fully entitled, Bach: EightLittle Preludes and Fugues, “played oneight classic European organs,” andreleased as ML 5078 in April of 1956,
three months ahead of the Mozart col-lection), “deserved more attention thanit received at the time.”14 Despite thesense one often has of hearing the musicthrough a tunnel (or from the vestibuleor outside a window) the easily discern-able variety with which the nine organsspeak makes for a rich collection. Thisalbum stands apart from the other threein the 1955–56 quartet in demonstrat-ing how enormously different, yet uni-formly appealing, older organs cansound from one specimen to the next.
“Bitten by the multi-track bug”Until he heard an organ recorded in
stereo, Biggs had not grasped the valueof binaural recording for the instru-ment. He had assumed that any soloinstrument would benefit little fromspatial expansion. What he could nothave known was that the space itselfinto which an organ speaks, moreimportant for that instrument than forany other, would be precisely whatstereophonic miking dramaticallyexpands. It was, in fact, just before he
Soldering at Lambach 4Soldering at Lambach 3
musician
“We seek to give musical and theological flesh and bone to those who are called to serve the church as leaders of the people’s song.”
– Dr. Paul Westermeyer, Director
www.luthersem.edu/msm
Master of Sacred Music
Armstrong Aspaas Ferguson Rodland Westermeyer
professionaliipastoral theologicalsicianicianMozart’s initials at Ybbs
30 THE DIAPASON
From the back seat of the StudebakerBiggs produced a brand new Columbiaphonograph, the latest model, andfrom the trunk a set of his currentalbums—foremost among them, ofcourse, the ones Steinmeyer hadhelped him make.
Georg Steinmeyer still marvels at themagic of that record player: “It soundedabsolutely wonderful to us. We listenedand listened and listened. It was such atreasure—like nothing else we knew.”None of the excellent stereo equipmenthe has owned since has delivered quitethe same level of psycho-acousticalexcitement. We understand! The inter-vening decades have produced countlessfine recordings of the same music playedon the same, and similar, instruments.Technically, they sound ten times betterthan those old mono LPs—yet not one-tenth as thrilling. �
The author can be reached at <[email protected]>.
Notes1. Renovation is the correct term, for there was
no need for restoration. The instruments, excellent-ly constructed to begin with, had never beenaltered. Georg Steinmeyer believes that his family’swork at Ottobeuren in 1912 represents the first his-torically enlightened restoration/renovation of theOrgelbewegung.
2. A letter Biggs wrote on December 22, as hesettled his accounts for the year with ColumbiaRecords, provides a typical example of his crisp butcourteous manner in conducting business: “Regard-ing the Frequency Standard amplifier billed at $300.in M 3885, facts are as follows. The sudden failure ofthis part on August 12 in the new Stancil-Hoffmanequipment (listed in M 2975) presented a seriousemergency in our recording in Germany last sum-mer. An emergency part was ordered by overseastelephone . . . through Columbia Records in NewYork, with understanding that it would be on handin Germany in a week. Even though we cabled con-firmation of the shipping address direct to Stancil-Hoffman, the amplifier had not arrived even by Sep-tember 9th. When we left [Salzburg] shortly there-after, we had to leave instructions (at Amerika-Hausin Salzburg) that the shipment be returned tosender. Since the shipment was not made in time tobe of any use to us, and since I have never receivedthe part (nor is it of any use to us now) I don’t feelthere is any obligation on my part, nor on yours.”
3. The essay begins, “An organist is often asked,‘Of the instruments you have played, which is yourfavorite?’ My usual evasive reply is that I could nametwenty, every one distinctive and a favorite for onereason or another, but not just one. ‘OK,’ said JamesGoodfriend at a recent luncheon, ‘name them.’ So,here they are.” The list is really more of a chronicleof organbuilding history, from the well-known “old-est playable organ” in Sion, Switzerland, to the 1958Flentrop at Harvard. Aside from the little instru-ment by Paul Prescher, there are no surprises.
4. One of the Rheinberger Sonatas recorded inMunich, No. 7, would appear with music by Hin-demith on Columbia Masterworks ML 5199 (Biggs’slast exclusively monaural release), September 1957.
5. Biggs, unpublished essay.6. Ibid.7. Ibid.8. “Mozart and the Organ,” p. 127.9. Ibid.
10. In a letter to a Mr. M. S. Birnbach, apparent-ly a Boston customs broker, Biggs writes on Novem-ber 3, “About 60 of the 84 tapes contain unspoiledand usable material, and the quantity of such mate-rial on each tape averages about five minutes—orone sixth of each tape.” Under the circumstances hemight, of course have understated the amount ofusable material, but his estimate matches the play-ing time of the Columbia LPs.
11. Unpublished essay.12. Ibid.13. Biggs changed his mind at some point about
releasing, ever, any of the Brahms and Bruckner.14. Owen, p. 117.15. “Mozart and the Organ,” p. 122.
CorrectionIn Part 2 of this series (August issue), an errant
keystroke in the final stages of editing accidentallyjoined the wrong image with the caption, “PeggyBiggs records at Weingarten.” This is the photo thatshould have appeared:
began to edit his monaural Mozartrecordings in late September that Biggshappened to experience the revelationof stereophonic sound. October 1 foundhim once more typing an excited note toDavid Oppenheim:
It’s certainly dangerous to go to the Hi-FiFair! One gets bitten [by] the multi-trackbug! I didn’t believe that dual trackrecording meant much with the organ,but some of the demonstrations are veryconvincing. There are wonderful possibil-ities with some of the places we know inEurope.
Within two years, Europe wouldindeed provide the locus for Biggs’sfirst recordings in stereo. By then, heand Peggy would be exploring “Flen-trop country” in their own VW bus,coming to know as many early instru-ments as they could find, and capturingBach on the Schnitger/Flentrop organat Zwolle for Bach at Zwolle, KS 6005,released in July 1958 as one of Colum-
to pay good money to listen simplygilded the lily.
For Biggs, the music and the instru-ment were “the things,” and the churchassociation of both nearly nothing. Itmust have been with some sense of iden-tity with Mozart that he wrote for theA.G.O. Quarterly, “Once Mozart’s yearsas an organist at Salzburg were past, hedid not seek a church position. Yet all hislife he played organs all over Europe,and he did so for no other reason thanthat it gave him pleasure.”15 So, too, didBiggs “never again seek a church posi-tion” once he no longer needed one, andso too did he play organs all over Europeas much because it gave him pleasure asfor any other reason.
Whether valid or not, the appearanceof a kind of perpetual youthfulness inMozart’s genius may have come to influ-ence Biggs in his own development; forone can easily argue that he becamemore youthful in the application of hisown special genius the older he grew. Itis as if a Bach-like younger Biggs becamemore and more a Mozartean older Biggs.Whether Mozart enjoyed his own music-making more, or less, than Bach did his,no one can say. But the flourishes of exu-berance that repeatedly erupt in hismusic—certainly in those “festivalsonatas”—allow us to infer that Mozartmight now and then have let out awhoop of glee at what he was creating,while we imagine Bach permitting him-self merely a quiet smile of satisfaction(even as we may agree that Bach surelydeserved to jump for joy at the excel-lence of nearly every bar he composed).Despite those seemingly “contrived-to-be-Bach-like” Biggs countenances thatglare at us from so many of theBiggs/Bach album covers, we know thatBiggs himself found a level of joy in hisown music-making that seems to havebeen most akin to what convention,rightly or wrongly, imagines for Mozart.We know that Biggs, at least, saw in himthe most joyful of music-makers and felta kinship.
A third coming of the BiggsesAfter leaving Salzburg, Georg and
Hanne Steinmeyer would not see theirfriends again until the day, one yearlater, when the Biggses’ Studebakerconvertible, top down, rolled into thedriveway at their first apartment inBrattleboro, Vermont. It was a sunnyday in October, 1956 [editor’s note: 50years ago to the month, of this issue ofTHE DIAPASON]. Biggsy and Peggy had“motored” (as one did in those days)across Massachusetts on “The MohawkTrail” from Cambridge to the Berk-shires, to view the fall foliage and todeliver a special housewarming gift.
bia Masterworks’ earliest stereophonicLPs. For Biggs, real Bach countrywould have to wait at least anotherdecade—but how it already beckonedto him!
Perhaps like MozartIt should be easy enough to forgive
E. Power Biggs (if forgiveness is in anysense required) for marketing himselfand his instrument as successfully ashe did. For the fundamental motiva-tion behind his entrepreneurship washis own pure joy at music-making—and on the pipe organ no less! Yes, hemade a living at it, and by all accountsa handsome one. But Biggs was one ofthose lucky few for whom the remu-neration for “what they do” would alsohave been largely beside the point.The point for him was the music: mak-ing it the way he liked to make it, andsharing it on its own terms—as he sawthose terms—with anyone who caredto listen. That legions became willing
Arrival in Salzburg
OCTOBER, 2006 31
Cover feature
Bedient Pipe Organ Company,Roca, NebraskaSt. Mark’s Pro-Cathedral,Hastings, Nebraska
Hastings, Nebraska, 1927. WhileEdwin Perkins was perfecting the finalcollection of ingredients that was tobecome “Kool-Aid,” a few blocks awayon North Burlington Avenue workerswere assembling a limestone buildingthat would become home to one of ourmore unusual projects.
Erected from 1921 to 1929, St.Mark’s Episcopal Pro-Cathedral wasdesigned by Ralph Adams Cram, Amer-ica’s leading Gothic Revival architect.This is the man who established Gothicas the standard style for college cam-puses across the country during thatperiod. In fact, the Boston architect andwriter served as consulting architect forPrinceton when he drew up the plansfor St. Mark’s in 1919.
Displaying characteristics of EnglishGothic churches, the building looks likea little piece of Europe relocated to themiddle of the Great Plains. Asdescribed by the Adams County Histor-ical Society, Cram’s design “emphasizeslength, a moderately pitched roof,stepped rectangular apses, and a towerover the crossing.” Cram’s Gothicvision extends to the interior, whichfeatures post and beam construction,plastered walls and a vast array ofstained glass windows.
However, when workers pulled downladders and packed away their tools 77years ago, the nave still lacked a verysignificant element. Cram had also pro-vided a drawing for a grand pipe organfaçade, the construction of which had tobe delayed until funds were available.
When the congregation did raisemoney for a 21-stop Austin organ in1931 (which they combined with anolder organ), the instrument wassqueezed into the organ chamber abovethe nave and bore no visual resem-blance to the plans Cram had in mind. Itwas not until 72 years later, following asuccession of repairs and attemptedimprovements, that the church conced-ed it was time to start over.
Although several builders werebeing considered, St. Mark’s choseBedient following a tour of the interiorof Opus 70 in Lincoln, Nebraska.Impressed by the attention to detail ongeneral layout and structure, “they feltthat indicated how meticulous thebuilder would be in other areas,” saidDr. Dan Schmidt, director of music.Our proximity to the project played akey factor, as well as our 36 years ofexperience building and renovatingmechanical and electric action instru-ments, and our proven proficiency withelectro-pneumatic slider chests.
The Bedient organ at St. Mark’s Pro-Cathedral was a challenge on severallevels. Due to the general age and con-dition of the organ, and a questionablerebuild in the 1980s, we faced manyissues that needed to be resolved. Theoriginal layout of the Austin organ wasfine for the time, but the need to updatethe organ tonally necessitated a new,more accessible design.
One concern was the appearance ofthe organ. The congregation was initiallyhesitant to make any significant changesto their worship space—understandablyso, as their church is on the NationalRegister of Historic Places. Fortunately,Cram’s original blueprint for the organwas discovered in the St. Mark’s atticduring a search for drawings for a reno-vation project. All involved decided thatplan would be our guide.
Working from Cram’s drawing, Bedi-ent designer Alan Baehr developed afaçade design that closely resemblesthe 1919 plan. Where the previousorgan was tucked into the chambernearly out of view, the new white oakcasework now projects three feet intothe nave and towers more than 26 feetabove the congregation. Bedientdesigners accentuated the projection by
Bedient Opus 74, after reconfiguration
including an en chamade Trompette,one of the few modifications to the orig-inal façade design.
Pipe shades and ornamental carvingsfeatured in the plans provided inspira-tion for our woodcarver, Todd Zname-nacek, who closely followed Cram’soriginal organic/geometric style. Usingthe symbol of St. Mark, Znamenacekappropriately enhanced Cram’s design
with the addition of two winged lionsperched atop the instrument. Prior totheir installation, many of Znamen-acek’s Opus 74 carvings spent twomonths on display at the Stuhr Muse-um in Grand Island, Nebraska as partof the “Wings Over the Platte” exhibi-tion. Because Cram’s façade would
Gene Bedient solders blocks ontoresonators
Pipemaker Eric Smith in the Bedientmetal shop
Todd Znamenacek carves the wingedlions that adorn the top of Opus 74
Ed Stibal, Alan Baehr and Dave Mus-feldt stack the Bourdon 16
� page 32
Austin Opus 1789, before reconfigu-ration
St. Mark’s Pro-CathedralBedient Opus 74
GREAT16 Bourdon8 Principal8 Rohrflute4 Octave4 Spitzflute
22⁄3 Quinte2 Octave
Mixture IV8 Trompete8 Dean’s Trompette (TC)
Carillon*Great 16Swell/Great 16Swell/Great 8Swell/Great 4Choir/Great 16Choir/Great 8Choir/Great 4
SWELL16 Bourdon*8 Stopped Diapason*8 Salicional*8 Voix céleste*4 Prestant4 Harmonic Flute*
22⁄3 Nazard2 Doublette
13⁄5 Tierce16 Basson8 Trompette8 Hautbois*8 Dean’s Trompette (TC)4 Clairon
TremulantSwell 16Swell Unison OffSwell 4
CHOIR8 Bourdon*8 Dulciana*8 Unda Maris4 Prestant (prepared)4 Flute d’Amore*2 Principal
Sesquialtera II (prepared)Cymbale III
8 Trumpet*8 Dean’s Trompette (TC)8 Cromorne*
Carillon*Choir 16Choir Unison OffChoir 4Swell/Choir 16Swell/Choir 8Swell/Choir 4Zimbelstern (prepared)
PEDAL32 Resultant*16 Open Diapason*16 Bourdon*16 Lieblich Gedackt*8 Open Diapason8 Flute*4 Choral Bass
16 Bombarde*8 Trumpet*
Great/Pedal 8Great/Pedal 4Swell/Pedal 8Swell/Pedal 4Choir/Pedal 8Choir/Pedal 4
* 1931 Austin stops
32 THE DIAPASON
project outward from the organ cham-ber, it would also provide additionalspace for the inclusion of an indepen-dent Great division, which the organnever had.
Another layout concern was where toplace the ubiquitous Austin 16 woodopen pipes that were lying in a heap onthe floor right where the new Greatwindchest needed to go. We solved thatproblem by refurbishing the pipes,painting them the same color as thewood ceiling of the church, and hangingthe largest ones from the transept ceil-ing directly outside of the organ cham-ber. This was a very successful idea. Itnot only got the pipes out of our way,but their sound is much more present inthe nave, a desirable achievement.
The new Great division and the newSwell division windchests are all ofmajor third layout. They are slider wind-chests with rectangular electro-pneu-matic key action valves, and the slidersare operated by magnetic solenoids.
One of the inherited problems with theold layout was the jumbled arrangementof the 16 Bourdon pipes on top of theSwell box and other places. We thoughtthat the idea was good but the arrange-ment left a lot to be desired. The newarrangement is much more orderly, withgood access to all of the pipes for tuning.
The remaining Austin UniversalWindchest is that of the Choir chest,which was originally duplexed to be aGreat and Choir division. It now servesonly as the Choir division and has beenaugmented in size, including space forfuture additions.
The weakest remaining element ofthe organ is the Pedal Bombarde16 /Trumpet 8 unit by Austin. Thesound is simply not large enough, and itis hoped that one day in the future, thisstop can be replaced by a new one aswas originally proposed.
Because the Austin console had somenice cabinetry details and the churchwas attached to it, we retained the key-boards, unit key contact assemblies andthe shell. The console features a newPeterson Master Stop Processor combi-nation and key action relay system. Itwas revised to have a tilting tablet stopaction system by Harris. The originalpedalboard, toe studs, and pistons werealso retained.
As the “before and after” picturesreveal, this unique organ experienced amarvelous transformation. We are hon-ored that St. Mark’s gave us the oppor-tunity to resuscitate a dilapidated wall-flower into a magnificent instrumentworthy of their building’s historicalstature. Organists’ reactions to thesound of this reborn instrument confirmthe project a success on all levels.
Dean Rich Martindale of St. Mark’ssummed up the project this way, “I wantto thank you so much for all your effortsto restore and enhance this wonderfulcomponent of our worship here at thePro-Cathedral. The entire parish isgrateful for your skill and your dedica-tion in helping us complete this project.Thank you again for your help in makingour splendid new organ a reality.”
—Gene Bedient and Jon Taylor
Bedient staffAlan Baehr, design and managementJasmine Beach, financial administrationGene Bedient, president, design and
voicingGwen Bedient, administrationDuane Grosse, head pipe makerChad Johnson, project manager, wood-
worker and voicingPaul Lytle, vice president and salesMark Miller, vice president of field
operations and salesDave Musfeldt, woodworkerEric Smith, pipe shopJason Smith, pipe maker, safety coordi-
nator, and machine shop supervisorEd Stibal, head woodworkerJon Taylor, woodworker, marketing,
purchasingDonna Varney, voicing, marketing, sales
and serviceFred Zander, woodworker, chest builderTodd Znamenacek, woodworker, carver
� Bedient cover feature
New Organs
David Petty & Associates,Eugene, OregonFirst United Methodist Church,Eugene, Oregon
The Petty portative is one of four vir-tually identical mechanical-actioninstruments made from the same plans.This instrument, designated 2b, is thefirst of the four to leave the Petty shop.It contains four ranks of pipes, whichare an 8 Gedackt, a 4 Flute, a 22⁄3Nasard (mc) and a 2 Principal. Thecarvings were designed and executed byDavid Campbell, a former colleague ofthe builder from the Brombaugh shop.
The case and carvings are made ofquarter-sawn white oak as are the 8Gedackt and the 4 Flute. The Nasard ismade of cherry and the 2 Principal ismade of purpleheart. The natural keysare made from yellowheart; the sharpsare cocobola. The keycheeks are zebra-wood and the thumper rail is made ofebony. The internal components aremade from white oak, western redcedar, poplar, maple and sugar pine.
The organ took over 1,000 hours tomake and is entirely hand made,minus the screws. The pipes are wind-ed by an electric blower in the base.The instrument weighs about 250pounds and is easily movable bymeans of handles in the case. It isplayable at 415 and 440 Hz pitch and
can be tuned in any temperament.The instrument can be seen in color
and great detail on the builder’s website,<http://www.davidpettyorgans.com> inthe Project Gallery. For information:541/521-7348; <[email protected]>.
Manual8 Gedackt4 Flute
22⁄3 Nasard (mc)2 Principal
Levsen Organ Company, Buffalo, IowaSt. Stephen’s Lutheran Church,Atkins, IowaII/18 Wangerin-Weickhardt
More than a century ago, Wangerin-Weickhardt Company of Milwaukee,Wisconsin built a small 10-rank trackerorgan for St. Stephen’s LutheranChurch of Atkins, Iowa. Aided by a tinceiling, the organ’s sounds nicely filledthe small country church. The BennettOrgan Company of Moline, Illinoisrebuilt the organ with an electro-pneu-matic system in 1925. The FreeportOrgan Company further electrified theorgan when it was installed in the newchurch in 1941. In 1947, The Cedar
Rapids Organ Company added a newconsole, chimes and an Oboe. Itbecame apparent in 1990 that theinstrument was in trouble, with failingleather among other problems, butwhen the bellows ruptured in March1991 the church faced a dilemma toeither replace the instrument or repairit once again. St. Stephen’s congrega-tion loved its history and its sound, anddidn’t like the idea of replacing the cen-tury-old organ, so a rebuild was inorder. As the committee report stated,“If we rebuild the organ, let’s do itright”—the centennial of the organ aswell as the 125th anniversary of thechurch were at hand.
Levsen Organ Company of Buffalo,
Iowa was awarded the contract torebuild and enhance the organ. Newwindchests were built. The console wasrebuilt and equipped with state-of-the-art features. The organ, previously hid-den in a side room that is now a sacristy,was brought out, reshaped and installedin the chancel. The altar and commu-nion area was moved closer to the con-gregation. The original organ was aug-mented with eight more ranks includinga Trumpet and upperwork.
Notable events that took place duringthe process included the births of twonew members: committee chairman JonRinderknecht’s wife gave birth to a littlegirl during the congregational vote torebuild the organ; and Susan Voss, thechurch’s organist, gave birth to a babyboy the week the new organ was to bedelivered. She had so wanted to bethere to play the renewed instrument,but rejoiced in her blessing.
Thanks to the congregation’s histori-cal perspective, the organ will be therefor future generations.
—Tamara Fudge, D.Mus.Moline, Illinois
GREAT8 Open Diapason8 Melodia8 Dulciana4 Octave4 Flute Harmonic2 Fifteenth
III Mixture8 Trumpet (Sw)
Chimes
SWELL16 Lieblich Gedeckt8 Violine Diapason8 Stopped Flute (ext)8 Salicional8 Voix Céleste4 Gemshorn4 Flute d’Amour (ext)
22⁄3 Nazard2 Flautino (ext)
11⁄3 Spitznasat (ext)8 Trumpet4 Oboe
Tremolo
PEDAL16 Bourdon16 Lieblich Gedeckt (Sw)
102⁄3 Quintbass (Sw)8 Principal (Gt)8 Pommer (ext)4 Choralbass (Gt)
16 Posaune (ext)8 Trumpet (Sw)
OCTOBER, 2006 33
Calendar
Antone GoddingNichols Hills
United Methodist ChurchOklahoma City
LORRAINE BRUGH, Ph.D.
Associate ProfessorUniversity Organist
Valparaiso UniversityValparaiso, INwww.valpo.edu
LORRAINE BRUGH, Ph.D.
Associate ProfessorUniversity Organist
Valparaiso UniversityValparaiso, INwww.valpo.edu
Bert Adams, FAGOPark Ridge Presbyterian Church
Park Ridge, IL
Pickle Piano & Church Organs
Bloomingdale, IL
LORRAINE BRUGH, Ph.D.
Associate ProfessorUniversity Organist
Valparaiso UniversityValparaiso, INwww.valpo.edu
15 OCTOBERPaul Bisaccia, music conference; University
of Connecticut, Storrs, CT 1 pmAndrew Dewar; St. Barnabas Episcopal,
Greenwich, CT 5:30 pmFrancesco Cera; Memorial Art Gallery, East-
man School of Music, Rochester, NY 5:30 pmStephen Hamilton; The Church of the Holy
Trinity (Episcopal), New York, NY 4 pmJohn Scott; St. Thomas Church Fifth
Avenue, New York, NY 5:15 pmMatthew Lewis; Christ Church, New
Brunswick, NJ 6:30 pm, Vespers at 6 pmWestminster Cathedral Choir London; Wash-
ington National Cathedral, Washington, DC 4 pmPaul Jacobs; First Presbyterian, Roswell, GA
5 pmJ. Franklin Clark; Cathedral of St. Philip,
Atlanta, GA 3:15 pmChoral Evensong; Cathedral of St. Philip,
Atlanta, GA 4 pmChoral Evensong; Cathedral Church of the
Advent, Birmingham, AL 4 pmJames Metzler; Park Congregational, Grand
Rapids, MI 5 pmThomas Gouwens; Cathedral of the Holy
Angels, Gary, IN 3 pmFelix Hell; Christ Church Cathedral,
Nashville, TN 4 pmSal Soria; St. John’s Cathedral, Milwaukee,
WI 4 pmChoral concert, with orchestra; St. James
Episcopal Cathedral, Chicago, IL 4 pm
16 OCTOBERNigel Potts; St. Peter’s Episcopal, Morris-
town, NJ 7:30 pmMozart, Vesperae solennes de Confessore;
St. James Cathedral, Chicago, IL 4 pm
17 OCTOBERWestminster Cathedral Choir London; St.
Thomas Fifth Avenue, New York, NY 7:30 pmEnsemble Amarcord; St. Thomas Episcopal,
Coral Gables, FL North American Choral Company Singers;
Park Congregational, Grand Rapids, MI 12:15 pmRay Johnston; Church of St. Louis, King of
France, St. Paul, MN 12:35 pmErik Suter; Cathedral of St. Joseph, Baton
Rouge, LA 7:30 pm
19 OCTOBERJoseph Gramley, percussion; Fellowship
Hall, Bloomfield, CT 6:30 pmStephen Roberts; Church of the Holy Fami-
ly, New York, NY 12:45 pmAndrew Scanlon; National City Christian
Church, Washington, DC 12:15 pmChoral Evensong; Cathedral of St. Philip,
Atlanta, GA 5:45 pmFrancesco Cera, masterclass; Neu Chapel,
University of Evansville, Evansville, IN 10 am Francesco Cera; Aldersgate United
Methodist, Evansville, IN 7:30 pmChristine Kraemer; First Presbyterian,
Arlington Heights, IL 12:10 pmJames David Christie; St. Peter’s Catholic
Cathedral, Jackson, MS 7:30 pmWestminster Cathedral Choir London; Cathe-
dral of St. Paul, St. Paul, MN 8 pm
20 OCTOBERPhilip Scriven; Methuen Memorial Music
Hall, Methuen, MA 8 pmMozart, Requiem and Exsultate Jubilate; First
Presbyterian, Birmingham, MI 7:30 pmThe Chenaults; La Grave Christian
Reformed Church, Grand Rapids, MI 8 pmPresidio Saxophone Quartet; First Baptist,
Worcester, MA 8 pm
21 OCTOBERJames O’Donnell, lecture; Christ Church
Christiana Hundred, Greenville, DE 11 amJames O’Donnell, open rehearsal with Christ
Church Choir; Christ Church Christiana Hun-dred, Greenville, DE 1 pm
Paul Jacobs, workshop; State University ofNew York, Potsdam, NY 3 pm
Ken Cowan, masterclass; St. John’s Episco-pal, Hagerstown, MD 10 am
John Weaver; St. Norbert Abbey, DePere,WI 2 pm
22 OCTOBERJames O’Donnell, conducting choral
Eucharist; Christ Church Christiana Hundred,Greenville, DE 11:15 am
James O’Donnell, Evensong and recital;Christ Church Christiana Hundred, Greenville,DE 5 pm
Organized Rhythm; Church of Christ, Norfolk,CT 4 pm
David Higgs; First Presbyterian, Ilion, NY 3pm
Paul Jacobs; Helen M. Hosmer Concert Hall,Potsdam, NY 3 pm
Thomas Murray; Rye Presbyterian, Rye, NY4 pm
Olivier Eisenmann; Cathedral of St. Patrick,New York, NY 4:45 pm
Andrew Sheranian; St. Thomas Church FifthAvenue, New York, NY 5:15 pm
Thomas Spacht; Christ Church, NewBrunswick, NJ 6:30 pm, Vespers at 6 pm
James Welch; Heinz Chapel, University ofPittsburgh, Pittsburgh, PA 4 pm
Ken Cowan; St. John’s Episcopal, Hagers-town, MD 7 pm
+Haig Mardirosian; Our Savior Lutheran,Arlington, VA 5 pm
Rastrelli Cello Quartet; Abingdon Episcopal,White Marsh, VA 5 pm
Stephen Tharp; Chapel, Duke University,Durham, NC 5 pm
Susan Ferré; St. John Church, West Chester,OH 4 pm
Onyx Brass; First Presbyterian, YellowSprings, OH 7:30 pm
Dean Wagner; Cathedral of St. Philip,Atlanta, GA 3:15 pm
Choral Evensong; Cathedral of St. Philip,Atlanta, GA 4 pm
James David Christie; Sursa Recital Hall,Muncie, IN 4 pm
Istvan Ruppert; Kenilworth Union Church,Kenilworth, IL 5 pm
Brett Zumsteg; First United Methodist, ParkRidge, IL 3 pm
Francesco Cera; Holy Name Cathedral,Chicago, IL 4 pm
23 OCTOBERJames David Christie, masterclass; Ball
State University, Muncie, IN 9 amIstvan Ruppert; Presbyterian Homes, Elliott
Chapel, Evanston, IL 1:30 pm
24 OCTOBERWestminster Cathedral Choir London; Cathe-
dral of St. John the Evangelist, Cleveland, OH7:30 pm
John Hamersma; Park Congregational,Grand Rapids, MI 12:15 pm
Clive Driskill-Smith; St. Paul’s Episcopal,Chattanooga, TN 7 pm
Francesco Cera, masterclass; University ofIllinois, Champaign-Urbana, IL 9:30 am
Istvan Ruppert; Church of St. Louis, King ofFrance, St. Paul, MN 12:35 pm
25 OCTOBERNancianne Parrella; St. Ignatius Loyola, New
York, NY 7 pmChoral concert, with orchestra; St. Ignatius
Loyola, New York, NY 8 pmWestminster Cathedral Choir London; First
United Methodist, Birmingham, MI 7:30 pmThe American Boychoir; Music Institute of
Chicago, Evanston, IL 7:30 pmPeggy Massello; First Presbyterian, Arling-
ton Heights, IL 12:10 pm
26 OCTOBERAlan Morrison; Thomson Alumnae Chapel,
Wilson College, Chambersburg, PA 8 pmOnyx Brass; St. Barnabas Apartments, Chat-
tanooga, TN 7 pmThe American Boychoir; Trinity Christian Col-
lege, Palos Heights, IL 7:30 pm
27 OCTOBERScott Foppiano, silent film accompaniment;
Merrill Auditorium, Portland, ME 7:30 pmChandler Noyes, silent film accompaniment;
Methuen Memorial Music Hall, Methuen, MA 8pm
Pierre Pincemaille; Vassar College Chapel,Poughkeepsie, NY 3 pm
Nigel Potts; St. Stephen’s Episcopal, Rich-mond, VA 7:30 pm
Vincent Dubois; Trinity Episcopal, St.Augustine, FL 7:30 pm
•David Lamb, Timothy Baker, John Buckel,Linda DeRungs; Harvey Brown Presbyterian,Louisville, KY 7:30 pm
Herb Buffington, with piano; CathedralChurch of the Advent, Birmingham, AL 12:30 pm
This calendar runs from the 15th of the monthof issue through the following month. The deadlineis the first of the preceding month (Jan. 1 forFeb. issue). All events are assumed to be organrecitals unless otherwise indicated and are groupedwithin each date north-south and east-west. •=AGOchapter event, • •=RCCO centre event, +=neworgan dedication, ++= OHS event.
Information cannot be accepted unless it spec-ifies artist name, date, location, and hour in writ-ing. Multiple listings should be in chronologicalorder; please do not send duplicate listings. THEDIAPASON regrets that it cannot assume responsi-bility for the accuracy of calendar entries.
UNITED STATESEast of the Mississippi
Antone GoddingNichols Hills
United Methodist ChurchOklahoma City
Christopher BabcocChristopher BabcockkSt. Andrew’s by the Sea,
Hyannis PortChrist the King, Mashpee
A two-inchProfessional Card
in THE DIAPASON
For information on rates andspecifications, contact:
Jerome [email protected]
847/391-1045
ROBERT GLASGOWPROFESSOR EMERITUS
The University of MichiganAnn Arbor
34 THE DIAPASON
Johannes Unger; Trinity Ev. Lutheran, Peo-ria, IL 7:30 pm
Francesco Cera; First Presbyterian, Spring-field, IL 7:30 pm
28 OCTOBERGerre Hancock, masterclass; Christ Church
Episcopal, Exeter, NH 1 pmOnyx Brass; All Saints Episcopal, Wolfeboro,
NH 7:30 pmWilliam Ness, with orchestra; Memorial Con-
gregational Church, Sudbury, MA 7:30 pmBruce Neswick; Chevy Chase United
Methodist, Chevy Chase, MD 4 pmThe American Boychoir; Spruce Street United
Methodist, Morgantown, WV 7:30 pmTodd Wilson; Interlochen Center for the Arts
Recital Hall, Interlochen, MI 4 pm•Theresa Bauer, Janet Hamilton, David
Lamb, Gary Pope, John Buckel, LindaDeRungs, Susan Adams, Judith Miller; St.John United Presbyterian Church, New Albany,IN 1 pm
Francesco Cera; Rammelkamp Chapel, Illi-nois College, Jacksonville, IL 7:30 pm
29 OCTOBERGerre Hancock; Christ Church Episcopal,
Exeter, NH 3 pmPaul Jacobs; Assumption College, Worces-
ter, MA 3 pmPaul Bisaccia, piano; East Lyme Library,
East Lyme, CT 3 pmGrethe Krogh; Dwight Chapel, Yale Universi-
ty, New Haven, CT 8 pmBach, Cantata 80; Holy Trinity Lutheran, New
York, NY 5 pmJames Dorroh; St. Thomas Church Fifth
Avenue, New York, NY 5:15 pmJustin Hartz; Christ Church, New Brunswick,
NJ 6:30 pm, Vespers at 6 pmRastrelli Cello Quartet; Shadyside Presbyter-
ian, Pittsburgh, PA 4 pmThe American Boychoir; Grace Episcopal,
The Plains, VA 5 pmOrganized Rhythm; First Congregational,
Sarasota, FL 4 pmVincent Dubois; Hyde Park Community Unit-
ed Methodist, Cincinnati, OH 4 pmDouglas Bruce; Cathedral of St. Philip,
Atlanta, GA 3:15 pmTodd Wilson, masterclass; Interlochen Cen-
ter for the Arts Recital Hall, Interlochen, MI 3 pmThe Nathaniel Dett Chorale; Cathedral
Church of St. Paul, Detroit, MI 4 pmDavid Lamb & John Buckel; First United
Methodist, Columbus, IN 6:30 pmDerek Nickels; Church of the Holy Comforter,
Kenilworth, IL 4 pmCameron Carpenter; First United Methodist,
Oak Park, IL 4 pm
31 OCTOBERDavid Neiweem; Ira Allen Chapel, The Uni-
versity of Vermont, Burlington, VT 10 pmMark Steinbach; Sayles Hall, Brown Univer-
sity, Providence, RI 12 midnightDennis James; Indiana University Auditori-
um, Bloomington, IN 8 pm
1 NOVEMBERRich Spantikow; First Presbyterian, Arling-
ton Heights, IL 12:10 pm
3 NOVEMBERSusan Ferré; Old West Organ Society, Old
West, Boston, MA 8 pmPreston Dibble; Church of the Immaculate
Conception, Montclair, NJ 7:30 pmTom Trenney; Lake Erie College, Painesville,
OH 7 pmBarbara MacGregor, with brass; Holy Trinity
Lutheran, Akron, OH 8 pmVolodymyr Koshuba, with piano; Elliott
Chapel, Presbyterian Homes, Evanston, IL 7:15pm
4 NOVEMBERCONCORA; Cathedral of St. Joseph, Hart-
ford, CT 8 pmDavid Hurd, workshop; Old Paramus
Reformed, Ridgewood, NJ 9:30 amAlan Morrison, masterclass; Latrobe Presby-
terian, Latrobe, PA 10:30 amAaron David Miller, workshop; First Luther-
an, Freeport, IL 10 am
5 NOVEMBERMartin Jean; St. Paul’s School Chapel, Con-
cord, NH 7:30 pmPaul Bisaccia, piano; Wood Memorial
Library, South Windsor, CT 2 pmChoral Evensong; Trinity Episcopal, Hartford,
CT 5 pmChoral Evensong: Fauré, Requiem; Grace
Church, New York, NY 4 pm Keith Toth & John Herrington; Brick Pres-
byterian, New York, NY 4 pmStanley Cox; Cathedral of St. Patrick, New
York, NY 4:45 pmBach, Cantata 157; Holy Trinity Lutheran,
New York, NY 5 pmGrethe Krogh; St. Thomas Church Fifth
Avenue, New York, NY 5:15 pmNew Jersey Masterworks Chorus; St. Peter’s
Episcopal, Morristown, NJ 4 pmAlan Morrison; Latrobe Presbyterian,
Latrobe, PA 7:30 pm
Mary Mozelle; The National PresbyterianChurch, Washington, DC 3 pm
Paul Jacobs; Church of the Ascension, Hick-ory, NC 4 pm
Clive Driskill-Smith; St. Paul’s by the SeaEpiscopal, Jacksonville, FL 3:30 pm
Paulsson & Canning; First Presbyterian,Lake Wales, FL 4 pm
William Picher, with violin; St. Dunstan’sEpiscopal, Largo, FL 7 pm
Duruflé, Requiem; Church of the Covenant,Cleveland, OH 10 am
Rico Contenti; Cathedral of St. Philip,Atlanta, GA 3:15 pm
Choral Evensong; Peachtree Road UnitedMethodist, Atlanta, GA 5 pm
Andrew Peters; Christ Church Cathedral,Nashville, TN 3:30 pm
Vincent Dubois; Independent Presbyterian,Birmingham, AL 4 pm
Choral Evensong; St. James EpiscopalCathedral, Chicago, IL 4 pm
Aaron David Miller; First Lutheran, Freeport,IL 3 pm
6 NOVEMBERRichard Hills; Merrill Auditorium, Portland,
ME 7:30 pmClive Driskill-Smith, workshop; St. John’s
Cathedral (Episcopal), Jacksonville, FL 10 am
7 NOVEMBERPaulsson & Canning; St. Simons Presbyter-
ian, St. Simons Island, GA 8 pmMark Kieffer; Church of St. Louis, King of
France, St. Paul, MN 12:35 pm
8 NOVEMBERDavid Lamb; Trinity Cathedral, Pittsburgh,
PA 12:30 pmChris Urban; First Presbyterian, Arlington
Heights, IL 12:10 pm
9 NOVEMBERPaul Bisaccia, piano; Prosser Library,
Bloomfield, CT 7 pmBrian Jones; Adolphus Busch Hall, Harvard
University, Cambridge, MA 12:15 pm
10 NOVEMBERStephen Hamilton; Zion Evangelical United
Church of Christ, Indianapolis, IN 8 pm
11 NOVEMBERStephen Hamilton, workshop; St. Francis-in-
the-Field, Zionsville, IN 10 am
12 NOVEMBERDavid Lamb; St. Mary the Virgin, New York,
NY 4:40 pmBach, Cantata 89; Holy Trinity Lutheran, New
York, NY 5 pmAlan Lewis; St. Thomas Church Fifth
Avenue, New York, NY 5:15 pmMarek Kudlicki; St John’s Lutheran, Summit,
NJ 7 pmDaniel Sullivan; St. Peter’s Episcopal, Mor-
ristown, NJ 7:30 pmMartin Jean; Gettysburg Seminary Chapel,
Gettysburg, PA 4 pmMary Mozelle, with narrator; Old Presbyterian
Meeting House, Alexandria VA 4 pm Ronald Wise; Boone United Methodist,
Boone, NC 4 pmDavid Arcus; Chapel, Duke University,
Durham, NC 5 pmDavid Higgs; Fairmount Presbyterian, Cleve-
land Heights, OH 4 pmStephanie Liem; Cathedral of St. Philip,
Atlanta, GA 3:15 pmAtlanta Youth Choir; Peachtree Road United
Methodist, Atlanta, GA 5 pmChoral Evensong; Cathedral Church of St.
Paul, Detroit, MI 4 pmPaul Jacobs; St. Paul’s United Methodist,
Rochester, MI 4:30 pmAndrew Peters; Brentwood United
Methodist, Brentwood, TN 4 pm
13 NOVEMBERKen Cowan; Calvary Episcopal, Cincinnati,
OH 8 pm
14 NOVEMBERWilma Jensen, masterclass; Curtis Institute
of Music, Philadelphia, PA 11 amJoel Vander Zee; Park Congregational,
Grand Rapids, MI 12:15 pmMichael Barone; Church of St. Louis, King of
France, St. Paul, MN 12:35 pm
15 NOVEMBERK. Scott Warren; St. Ignatius Loyola, New
York, NY 7 pmChoral concert, with orchestra; St. Ignatius
Loyola, New York, NY 8 pmGeorge Williams; First Presbyterian, Arling-
ton Heights, IL 12:10 pm
16 NOVEMBERBrandon Dumas; Church of the Holy Family,
New York, NY 12:45 pmChoral concert; Mary, Queen of the Universe
Shrine, Orlando, FL 7:30 pm
17 NOVEMBERPeter Richard Conte; Christ Church, Episco-
pal, Cambridge, MA 7:30 pm
A two-inchProfessional Card
in THE DIAPASON
For information on rates andspecifications, contact:
Jerome [email protected]
847/391-1045
DAVID K. LAMB, D.MUS.
Director of Music/Organist
First United Methodist ChurchColumbus, Indiana
812/372-2851
Brian JonesBrian JonesDirector of Music Emeritus
TRINITY CHURCHBOSTON
Cathedral Church of St. JohnAlbuquerque, New Mexico
www.stjohnsabq.org505-247-1581
Iain QuinnDirector of
Cathedral Music
Maxine ThevenotAssociate Organist-
Choir Director
JAMES R. METZLER
TRINITY CATHEDRAL
LITTLE ROCK
Cathedral Church of St. JohnAlbuquerque, New Mexico
www.stjohnsabq.org505-247-1581
Iain QuinnDirector of
Cathedral Music
Maxine ThevenotAssociate Organist-
Choir Director
A four-inch Professional Cardin THE DIAPASON
No additional charge for photos
For information on rates and specifications, contactJerome Butera, 847/391-1045
DAVID K. LAMB, D.MUS.Director of Music/Organist
First United Methodist ChurchColumbus, Indiana
812/372-2851
Brian JonesBrian JonesDirector of Music Emeritus
TRINITY CHURCHBOSTON
JAMES R. METZLERTRINITY CATHEDRAL
LITTLE ROCK
Mary MozelleAssociate Organist
The National Presbyterian Church
Washington, DC
703.898.9609www.PipeOrganPro.com
“The Sights and Soundsof the Pipe Organ”
DAVID K. LAMB, D.MUS.Director of Music/Organist
First United Methodist ChurchColumbus, Indiana
812/372-2851
JAMES R. METZLERPARK CONGREGATIONAL CHURCH
GRAND RAPIDS, MICHIGAN
Davis WortmanSt. James’ Church
New York
RONALD WYATTTrinity Church
Galveston
DONALD W. WILLIAMS
IN MEMORIAM
August 5, 1939–September 22, 2005
MMarcia vanOyen mvanoyen.com
Plymouth First UnitedMethodist Church, Plymouth, Michigan
DONALD W. WILLIAMS
IN MEMORIAM
August 5, 1939–September 22, 2005
Marcia vannOyen mvanoyen.com
Plymouthh First UnitedMethodist Church, Plymouth,, Michigan
OCTOBER, 2006 35
Chandler Noyes, silent film accompani-ment; Methuen Memorial Music Hall, Methuen,MA 8 pm
Bradley Hunter Welch; Storrs Congregation-al, Storrs, CT 8 pm
Peter Dubois; Third Presbyterian, Rochester,NY 8 pm
Judith Hancock; St. Mark’s Episcopal,Philadelphia, PA 7:30 pm
Todd Wilson; Wertheim Performing ArtsCenter, Miami, FL 8 pm
Birmingham-First Chamber Choir; First Pres-byterian, Birmingham, MI 7:30 pm
18 NOVEMBERKevin Clemens; Church of St. John the
Evangelist, Severna Park, MD 7 pmAndrew Peters, with trumpet and flute; Bald-
win-Wallace College, Berea, OH 8 pm
19 NOVEMBERHans-Ola Ericsson; Woolsey Hall, Yale Uni-
versity, New Haven, CT 8 pmStephen Hamilton; Church of the Holy Trini-
ty (Episcopal), New York, NY 4 pmTerence Flanagan; Cathedral of St. Patrick,
New York, NY 4:45 pmBach, Cantata 139; Holy Trinity Lutheran,
New York, NY 5 pmStephen Main; St. Thomas Church Fifth
Avenue, New York, NY 5:15 pmKen Cowan; Calvary Episcopal, Pittsburgh,
PA 4 pmChoral Evensong; St. John’s Episcopal,
Hagerstown, MD 5:30 pmKarel Paukert; St. Paul’s Episcopal, Cleve-
land Heights, OH 4 pmAtlanta Baroque Orchestra; Peachtree Road
United Methodist, Atlanta, GA 3 pmGlen Ellyn Children’s Chorus; First Presbyter-
ian, Arlington Heights, IL 4 pmStephen Betancourt; St. Josaphat Roman
Catholic, Chicago, IL 3 pmLouise Bass, with brass; St. James Episco-
pal Cathedral, Chicago, IL 4 pmMichael Shawgo; First United Methodist,
Oak Park, IL 4 pm
21 NOVEMBERRyan Hulshizer; Church of St. Louis, King of
France, St. Paul, MN 12:35 pm
22 NOVEMBERLee Nelson; First Presbyterian, Arlington
Heights, IL 12:10 pm
26 NOVEMBERBach, Cantata 26; Holy Trinity Lutheran, New
York, NY 5 pm Anna Myeong; St. Thomas Church Fifth
Avenue, New York, NY 5:15 pmBen Woodward; Cathedral of St. Philip,
Atlanta, GA 3:15 pm
27 NOVEMBERSaint-Saëns, Christmas Oratorio; Trinity Unit-
ed Methodist, New Albany, IN 7:30 pmAndrew Peters, with trumpet and flute;
Belmont Heights Baptist, Nashville, TN 7:30pm
Katie Ann McCarty; Elliott Chapel, Presby-terian Homes, Evanston, IL 1:30 pm
28 NOVEMBERLaura Edman; Church of St. Louis, King of
France, St. Paul, MN 12:35 pm
29 NOVEMBERLessons & Carols; Second Congregational,
Memphis, TN 11 amDouglas Williams; First Presbyterian, Arling-
ton Heights, IL 12:10 pm
UNITED STATESWest of the Mississippi
15 OCTOBERThe American Boychoir; Westminster Presby-
terian, Dubuque, IA 7:30 pmCameron Carpenter; First United Methodist,
Shreveport, LA 2:30 pmGerre Hancock, conducting Festival Service;
Christ Church Cathedral, Houston, TX 7 pmBach Choir and Orchestra; Christ the King
Lutheran, Houston, TX 5 pmAnthony & Beard; Chapelwood United
Methodist, Houston, TX 7 pmPaul Tegels; Pacific Lutheran University,
Tacoma, WA 3 pmGillian Weir; Sunnyside Seventh-day Adven-
tist, Portland, OR 8 pmAlan Blasdale; Cathedral of St. Mary of the
Assumption, San Francisco, CA 3:30 pmRobert Bates; St. John’s Presbyterian,
Berkeley, CA 4 pm
16 OCTOBERRobert Bates; All Soul’s Episcopal, San
Diego, CA 7:30 pm
17 OCTOBERMaxine Thevenot; St. Paul’s Episcopal
Cathedral, Oklahoma City, OK 8 pm
18 OCTOBERThe American Boychoir; Shattuck-St. Mary's
School, Faribault, MN 7:30 pmArlene Ward; Cathedral Church of St. John,
Albuquerque, NM 12:30 pm
19 OCTOBERGeorge Mims & David Henning, with
orchestra; St. Martin’s Episcopal, Houston, TX7:30 pm
Onyx Brass; The University of Idaho,Moscow, ID 7:30 pm
20 OCTOBERWestminster Cathedral Choir London; St.
Louis Cathedral, St. Louis, MO 8 pmEnsemble Amarcord; Glaser Center, Santa
Rosa, CA 8 pm
21 OCTOBERCarol Williams; Cathedral of Our Lady of the
Angels, Los Angeles, CA 7:30 pm
22 OCTOBERGregory Peterson; Luther College, Decorah,
IA 4 pmCarlene Neihart; Beautiful Saviour Lutheran,
Lee’s Summit, MO 3 pmWestminster Cathedral Choir, London; Visita-
tion Catholic Church, Kansas City, MO 7 pmJoan Lippincott; Cathedral of the Madeleine,
Salt Lake City, UT 8 pmChoral concert; Cathedral Church of St. John,
Albuquerque, NM 4 pmLeslie Martin, with baroque violin; St. Mark’s
Cathedral, Seattle, WA 2 pm Susanna Veerman; Cathedral of St. Mary of
the Assumption, San Francisco, CA 3:30 pm
Old Bach in the New World - #0640. . . without traveling abroad, we can learn about this repertoire by playing it on American instruments attuned to Bach'sideals.
Scandinavian Surprises - #0641. . . organs and their music continue as an integralelement in the artistic life of Nordic countries.
Fine Fisk for Furman - #0642. . . with campus colleagues, faculty soloist CharlesTompkins celebrates the inauguration of the Hartness Organ (C.B. Fisk Opus121) at Furman University in Greenville, SC.
Walker on the Wild Side - #0643. . . popular and unflappable church musicianJohn Walker shares insights on his world and Lou Harrison’s extraordinaryConcerto for Organ & Percussion, which John champions.
A Lively Tradition - #0644. . . a collection of scores, some new, some newer, all by American composers.
O C T O B E R
2 0 0 6
RICHARD M. PEEKIN MEMORIAM
May 17, 1927–November 28, 2005
Joe UtterbackCOMMISSIONS & CONCERTS
732 . 747 . 5227
Cathedral Church of St. JohnAlbuquerque, New Mexico
www.stjohnsabq.org505-247-1581
Iain QuinnDirector of
Cathedral Music
Maxine ThevenotAssociate Organist-
Choir Director
Carol WilliamsSan Diego Civic OrganistWebsite: www.melcot.comE-mail: [email protected]
36 THE DIAPASON
Ensemble Amarcord; Episcopal Church of St.John the Baptist, Lodi, CA 3 pm
Johannes Unger; First Congregational, LosAngeles, CA 4 pm
23 OCTOBEREnsemble Amarcord; St. Edward Catholic
Church, Newark, CA 7:30 pm
24 OCTOBERScott Montgomery; St. Peter’s Episcopal, St.
Louis, MO 7:30 pmWilma Jensen; St. Basil Chapel, The Univer-
sity of St. Thomas, Houston, TX 7:30 pmEnsemble Amarcord; California Lutheran Uni-
versity, Thousand Oaks, CA 8 pm
25 OCTOBERMaxine Thevenot; Cathedral Church of St.
John, Albuquerque, NM 12:30 pm
27 OCTOBERClive Driskill-Smith; Westlake Hills Presby-
terian, Austin, TX 7:30 pmJames O’Donnell; Trinity Cathedral, Port-
land, OR 5 pm
28 OCTOBERWelch-Hancock Duo; St. Mark’s Episcopal,
Palo Alto, CA 8 pm
29 OCTOBERVocalEssence; Orchestra Hall, Minneapolis,
MN 4 pmStephen Hamilton; First United Methodist,
Clear Lake, IA 4 pmJames O’Donnell; Mount Angel Abbey, St.
Benedict, OR 3 pmKen Cowan; First Presbyterian, Salem, OR 7 pmJohn Hirten; Cathedral of St. Mary of the
Assumption, San Francisco, CA 3:30 pmThomas Foster; Grace Cathedral, San Fran-
cisco, CA 4 pm
30 OCTOBERJohn Scott; All Saints Episcopal, Fort Worth,
TX 7:30 pm
2 NOVEMBERVincent Dubois; Tarrytown United
Methodist, Austin, TX 7:30 pm
3 NOVEMBERAndrew Peters, silent film accompaniment;
Plymouth Congregational, Seattle, WA 8 pm
Choral Evensong; All Saints’ Episcopal, Bev-erly Hills, CA 7:30 pm
4 NOVEMBERCarlene Neihart; Kingswood Manor, Kansas
City, MO 4 pm
5 NOVEMBERBradley Hunter Welch; St. Andrew’s Episco-
pal, Amarillo, TX 7 pmChoral Evensong; Cathedral Church of St.
John, Albuquerque, NM 4 pmChristoph Tietze; Cathedral of St. Mary of
the Assumption, San Francisco, CA 3:30 pm
7 NOVEMBERVincent Dubois; Wiedemann Recital Hall,
Wichita State University, Wichita, KS 7:30 pmSteinbach & Helvey Piano Duo; Bishop Union
High School, Bishop, CA 7:30 pm
8 NOVEMBERJames Welch; Stanford Memorial Church,
Stanford University, Stanford, CA 8 pm
9 NOVEMBERVienna Choir Boys; Cathedral Basilica of St.
Louis, St. Louis, MO 2:30 pmMary Preston; St. Barnabas Episcopal, Bain-
bridge Island, WA 7:30 pm
10 NOVEMBERVienna Choir Boys; Cathedral Basilica of St.
Louis, St. Louis, MO 8 pmRichard Elliott; Richfield LDS Tabernacle,
Richfield, UT 7 pmMary Preston; St. Barnabas Episcopal, Bain-
bridge Island, WA 7:30 pm
11 NOVEMBERPeter Richard Conte, masterclass; Church
of St. John the Divine, Houston, TX 10 am
12 NOVEMBERPeter Richard Conte; Church of St. John the
Divine, Houston, TX 7 pmNancy & Timothy Leroi-Nickel; Pacific
Lutheran University, Tacoma, WA 3 pmDavid Hatt; Cathedral of St. Mary of the
Assumption, San Francisco, CA 3:30 pmGerre Hancock; St. James Episcopal, Los
Angeles, CA 5:50 pm
14 NOVEMBERPaul Jacobs; Shove Memorial Chapel, Col-
orado Springs, CO 7:30 pm
15 NOVEMBERSteve Gentile & Frances Nobert; Cathedral
of Our Lady of the Angels, Los Angeles, CA12:45 pm
17 NOVEMBERDana Robinson & Paul Tegels; St. Mark’s
Cathedral, Seattle WA 7:30 pm
18 NOVEMBERPaul Jacobs; Mount Olive Lutheran, Min-
neapolis, MN 4 pm
19 NOVEMBERMarilyn Keiser; Bates Recital Hall, University
of Texas, Austin, TX 3 pmLa Follia; Christ the King Lutheran, Houston,
TX 5 pmChoral concert; St. Stephen’s Presbyterian,
Fort Worth, TX 7:30 pmMaxine Thevenot & Iain Quinn; Cathedral
Church of St. John, Albuquerque, NM 4 pmChoral concert; Cathedral of the Madeleine,
Salt Lake City, UT 8 pmAngela Kraft Cross; Cathedral of St. Mary of
the Assumption, San Francisco, CA 3:30 pmSteve Gentile & Frances Nobert; Trinity
Lutheran, Manhattan Beach, CA 4 pm
25 NOVEMBERPaul Jacobs; First Presbyterian, Livermore,
CA 8 pm
26 NOVEMBERMark Bruce; Cathedral of St. Mary of the
Assumption, San Francisco, CA 3:30 pmJane Parker-Smith; Walt Disney Concert
Hall, Los Angeles, CA 7:30 pm
INTERNATIONAL
15 OCTOBERAshley Grote; Westminster Abbey, London,
UK 5:45 pmOlivier Latry; Paroisse des Saints-Anges
Gardiens, Lachine, QC, Canada 3 pmHaig Mardirosian; Francis Winspear Centre
for Music, Edmonton, AB, Canada 3 pm
16 OCTOBEROlivier Latry; Notre-Dame Cathedral-Basili-
ca, Ottawa, ON, Canada 8 pm
21 OCTOBER+Gillian Weir; Høj e Kolstrup Kirke, Aaben-
raa, Denmark 8 pmIan Tracey; Liverpool Cathedral, Liverpool,
UK 3 pm
22 OCTOBERJosef Sluys; Cathedral of SS. Michael and
Gudula, Brussels, Belgium 4 pmKatrin & Ralf Bibiella; St. Katharinen,
Oppenheim, Germany 5 pmBernhard Haas; St. Nikolaus, Bensberg,
Germany 8:30 pmMichel Bourcier, with brass; St. Sulpice,
Paris, France 4 pm
23 OCTOBEROlivier Vernet; Cathedral of SS. Michael and
Gudula, Brussels, Belgium 8 pm
24 OCTOBERTon Van Eck, with piano; Sainte-Agathe,
Brussels, Belgium 8 pm
25 OCTOBERHansjürgen Scholze & Holger Gehring;
Kreuzkirche, Dresden, Germany 8 pmKlemens Schnorr; Cathedral of SS. Michael
and Gudula, Brussels, Belgium 8 pm
28 OCTOBERGillian Weir; St. Michael’s, Croydon, Surrey,
UK 12 noon
26 OCTOBERRotislaw Wygranienko; Church of the
Carmelites, Brussels, Belgium 8 pm
27 OCTOBERGuy Van Waas, with violin and bass; Protes-
tant Church, Brussels, Belgium 12:30 pm
28 OCTOBEREric Mairlot; SS-Jean et Etienne aux Min-
imes, Brussels, Belgium 10:30 amMaurice Clement; Church of Notre-Dame de
la Chapelle, Brussels, Belgium 11:30 amEdward De Geest; Church of Notre-Dame
Immaculée, Brussels, Belgium 12:30 pmSusan Woodson; Church of Finistère, Brus-
sels, Belgium 3 pmMarcel Verheggen; Protestant Church, Brus-
sels, Belgium 4 pmGillian Weir; St. Michael’s, Croydon, Surrey,
UK 12 noon
29 OCTOBERGillian Weir; Cathedral of SS. Michael and
Gudula, Brussels, Belgium 4 pmDavid Hill; Albert Hall, Nottingham, UK 2:45 pmJohannes Unger; Westminster United
Church, Winnipeg, MB, Canada 8 pm
2 NOVEMBERCarol Williams; Reading Town Hall, Read-
ing, UK 7:30 pm
4 NOVEMBERCarol Williams; Canterbury Cathedral, Can-
terbury, UK 7:30 pmColin Walsh; Victoria Hall, Hanley, Stoke-on-
Trent, UK 12 noonGillian Weir; St. Peter’s Church, Roath,
Cardiff, Wales, UK
5 NOVEMBEROlivier Latry; St. Joseph, Bonn-Beuel, Ger-
many 7 pm
7 NOVEMBERWilly Egmose; St. Andreas Kirke, Gothers-
gade, Copenhagen, Denmark 7 pm
8 NOVEMBERGillian Weir; The Cathedral, Aarhus, Den-
mark 7 pm Craig Humber; Kathedrale, Dresden, Ger-
many 8 pmCarol Williams; Collegiate Church of the
Holy Cross, Crediton, Devon, UK 7:30 pm
9 NOVEMBERGillian Weir, masterclass; Vor Frue Kirke,
Aarhus, Denmark 10 am
11 NOVEMBERCarol Williams; United Reformed Church,
Gainsborough, Lincs, UK 7:30 pm
13 NOVEMBERGillian Weir, masterclass; Royal College of
Music, London, UK 10 amGerard Brooks, with orchestra; All Souls,
Langham Place, London, UK 7:30 pm
17 NOVEMBERGordon Atkinson; St Andrew’s Cathedral,
Sydney, Australia 1 pm
19 NOVEMBERMozart, Requiem; St. Katharinen, Oppen-
heim, Germany 6 pmEric Lebrun; St. Joseph, Bonn-Beuel, Ger-
many 7 pmBernhard Foccroulle; St. Nikolaus, Bens-
berg, Germany 8:30 pm
20 NOVEMBERTon Koopman, organ and harpsichord; Salle
Métropole, Lausanne, Switzerland 8:30 pm
21 NOVEMBERTon Koopman, organ and harpsichord; Salle
Métropole, Lausanne, Switzerland 8 pm
22 NOVEMBERSamuel Kummer; Frauenkirche, Dresden,
Germany 8 pm
26 NOVEMBERDouglas Cleveland; Rozsa Centre, The Uni-
versity of Calgary, Calgary, AB, Canada 3 pm
29 NOVEMBERSamuel Kummer; Kathedrale, Dresden, Ger-
many 8 pm
OCTOBER, 2006 37
modo, Kyrie, alio modo (Messa della Domini-ca), Recercar dopo il Credo, Frescobaldi;Balletto del Granduca, Sweelinck; Voluntaryin C, Boyce; Voluntary in a, Anonymous(18th century); Toccata per l’Elevatione(Messa degli Apostoli), Frescobaldi; Toccataprima del 5° tono (Toccate Libro II), Meru-lo; Was Gott tut, das ist wohlgetan, Fugue,Pachelbel; More palatino, Sweelinck.
RODNEY GEHRKE, Stanford MemorialChurch, Stanford, CA, April 19: Fantasy in g,BWV 542a, Sei gegrüsset, Jesu gütig, BWV768, Sonata I: Movement I, BWV 525, Fuguein g, BWV 542b, Prelude in E-flat, BWV552a, Kyrie, Gott Vater in Ewigkeit, BWV669, Christe, aller Welt Trost, BWV 670,Kyrie, Gott heiliger Geist, BWV 671, Diessind die heilgen zehen Gebot, BWV 678, Austiefer Not schrei ich zu dir, BWV 686, Christunser Herr zum Jordan kam, BWV 684,Fugue in E-flat, BWV 552b, Bach.
GEORGE HUBBARD, Bethel UnitedMethodist Church, Charleston, SC, June 5:Comes Autumn Time, Arioso, Carillon, Landof Rest, Were You There?, Deus Tuorum Mil-itum, Sowerby.
TIMOTHY HUTH, with Ryan Dettbarn,flute, Vivian Dettbarn, piano, St. CatherineChapel, Adrian Dominican Sisters, Adrian,MI, April 30: My Heart Overflows,Clothe Me with Yourself, Eternal Truth,Ezoe; Schmücke dich, o liebe Seele,Herzlich tut mich erfreuen (Eleven ChoralePreludes, op. 122), Brahms; Prelude andFugue in a, BWV 543, Bach; Cantabile etPresto, Enesco; Mein junges Leben hat einEnd, Sweelinck; Postlude pour l’Office deComplies, Alain.
PAUL JACOBS, U.S. Military Academy,West Point, NY, May 7: Sinfonia from Can-tata No. 29, Bach; O wie selig seid ihr doch,ihr Frommen, Est ist ein Ros’ entsprungen(Chorale Preludes, op. 122), Brahms; Pre-
Organ Recitals
Visit THE DIAPASON
websitewww.TheDiapason.com
GAIL ARCHER, Cathedral of St. Johnthe Baptist, Charleston, SC, May 31: Prae-ludium in g, BuxWV 149, Buxtehude; Kyrie,Heiliger Geist, Bach; Con moto maestoso,Andante tranquillo (Sonata III),Mendelssohn; Joie et Clarté des Corps Glo-rieux, Le Mystère de la Sainte Trinité (LesCorps Glorieux), Messiaen; Chorale in E,Franck.
SCOTT BENNETT, Grace EpiscopalChurch, Charleston, SC, May 29: Alléluiassereins, Transports de joie (L’Ascension),Messiaen; Nimrod (Variations on an Origi-nal Theme for Orchestra, op. 36), Elgar;Variationen und Fuge über ein Originalthe-ma in fis-Moll, Op. 73, Reger.
JAMES & MARILYN BIERY, Cathedralof St. John the Evangelist, Milwaukee, WI,May 23: Sonata for two organs, Cherubini;Preludes on Welsh Tunes, Thomas; Introduc-tion, Passacaglia and Fugue, Wright; Dia-logue Monastique, Purvis; Elegy, Biery; AtEvening, Quick Dance (Mountain Music),Stover; Psalm Variations for organ duet,Hopkins.
PETER RICHARD CONTE, St. Mary’sCathedral, Peoria, IL, May 23: Overture toCandide, Bernstein, transcr. Conte; Varia-tions on a Theme of Arcangelo Corelli,Kreisler, transcr. Conte; Scherzo (SonataVIII), Guilmant; Fantasy on Nursery Tunes,Elmore; Cortège et Litanie, Dupré, transcr.Conte; Variations on a Theme of JosephHaydn, Brahms, transcr. Conte; FountainReverie, Fletcher; Final, Franck.
PETER DU BOIS, Memorial Art Gallery,Rochester, NY, May 21: Toccata in C,Pachelbel; Toccata del Secondo Tuono,Gabrieli; Kyrie, Kyrie, Christe, Kyrie, alio
lude and Fugue in a, BWV 543, Bach;Berceuse, Vierne; Variations on America,Ives; Allegro Vivace (Symphony No. 5 in f),Widor; Sicilienne, Toccata (Suite, op. 5),Duruflé.
MARK KING, Trinity Cathedral, Pitts-burgh, PA, May 10: Trumpet Tune, Carter;Wo soll ich fliehen hin, BWV 646, Toccata etFuga in d, BWV 538, Bach; Le Jardin sus-pendu, Alain; Improvisation in a, Op. 150,no. 7, Saint-Saëns.
BRUCE NESWICK, Trinity LutheranChurch, Lynnwood, WA, April 23: Improvi-sation on a submitted theme; Praeludium inE, BuxWV 141, Buxtehude; Four Verses onthe Magnificat in the First Tone, Scheide-mann; Praeludium und Fuge in E-moll, BWV548, Bach; Fantasia, Byrd; O Welt, ich mussdich lassen (Eleven Chorale Preludes, op.122), Brahms; Te Deum Laudamus, Hurd;improvisation on a submitted theme.
FRANCES NOBERT, Church of St.Helena, Minneapolis, MN, May 1: TheTrumpet, Jacquet de la Guerre; Prelude,Fugue and Variation, Franck; Finale (OrganSymphony No. 1 in b), Andrée; Chorale,Variations, Finale (Sonata No. 6),Mendelssohn; Partita über Lobe den Herren,Ahrens; Prelude, BWW 545, Largo, BWW529, Fugue, BWW 545, Bach; Rorate Caeli(Twelve Chorale Preludes on GregorianChant Themes, op. 8), Demessieux; Trans-plant, Shapiro; Nocturne, Tailleferre; TangoToccata on a Theme of Melchior Vulpius,Decker.
SYLVIE POIRIER, Eglise des Saints-Anges, Lachine, QC, Canada, May 28: LeLabyrinthe du Monde et le Paradis du Coeur,Eben.
DANIEL SULLIVAN, St. Michael’s Epis-copal Church, Charleston, SC, May 30:“Goldberg” Variations, BWV 988, Bach.
ANDREW TESSMAN, Church of St.Helena, Minneapolis, MN, May 21: TrumpetTune in B-flat, McCabe; Six Chorale Pre-ludes on When Jesus on the Cross WasBound, Scheidt; Prelude and Fugue in D,BWV 532, Bach; The God of AbrahamPraise, Proulx; Blessed Jesu, We Are Here,Manz; How Brightly Shines the MorningStar, Tessman; Toccata in Seven, Rutter;Suite Gothique, Boëllmann; Pastorale,Franck; Sortie in E-flat, Lefébure-Wély.
JAMES WELCH, St. Mark’s EpiscopalChurch, Palo Alto, CA, May 19: Prelude andFugue in f-sharp, Buxtehude; Mein jungesLeben hat ein End, Sweelinck; Prelude andFugue in E-flat, BWV 552, Bach; Chorale inb, Franck; Mässig schnell (Sonata I), Hin-demith; Prélude (Suite Médiévale), Langlais;Andante sostenuto (Symphonie Gothique),Widor; Alleluyas, Preston; Adagio (Sonata ine minor), Nanney; Finale (Symphonie I),Vierne.
CATHRYN WILKINSON, The Presby-terian Homes, Evanston, IL, May 22: Come,Holy Ghost, Fill Us with Grace, BWV 651,Bach; Andantino amabile, Adagio non trop-po, Alla breve (Trios for the Organ, op. 49),Rheinberger; Sonata in One Movement onKalenda Maya, Larsen; Ev’ry Time I Feel theSpirit, op. 14, Dinda; Bewitching attire of themost charming simplicity, No darkness at all(A Quaker Reader), Rorem; Praeludium in e,Bruhns.
CAROL WILLIAMS, Salisbury Cathe-dral, Salisbury, UK, May 24: Fanfare for theCommon Man, Copland, arr. Williams; FugaSopra il Magnificat, BWV 733, Bach;Morceau de Flutes, Lasceux; Va, pensiero,sull’ ali dorate (Nabucco), Verdi, arr.Williams; Overture to Egmont, Beethoven,arr. Stewart; Fantaisie et Fugue B.A.C.H.,Liszt, arr. Guillou; Processional March,Stewart; Amazing Grace! How Sweet theSound, Shearing; Flapperette, Greer, arr.Williams; Toccata, Jongen; TrumpetingOrgan Morgan, Jenkins.
38 THE DIAPASON
CLASSIFIED ADVERTISING Classified Advertising Rateswill be found on page 37.
Reed Voicer Wanted: Organ Supply Industries,North America’s leading full-service provider ofpipe organ components, is seeking an experi-enced reed pipe voicer. Qualifications includeprevious general organ building or service expe-rience with an emphasis on reed voicing and fin-ishing. Skills in flue voicing a plus. Will consideran apprentice with previous pipe organ construc-tion or maintenance experience. Organ SupplyIndustries, Inc. is an employee-owned companylocated in Erie, PA. We offer an excellent com-pensation package, including medical insurance,paid vacation, life insurance and participation inour employee stock ownership plan. For addi-tional information about our company or to applyfor this position, please visit our web site atwww.organsupply.com and download our appli-cation. Applications and résumés may be e-mailed to [email protected], faxedor mailed to the address below. No phone callsplease. Organ Supply industries, 2320 West 50thStreet, Erie, PA 16506. Fax: 814/838-0349.
PUBLICATIONS/RECORDINGS
Experience a Victorian Christmas—Americanstyle! “The Holy Night” includes the popular carols Silent Night and Adeste Fideles, com-posed by America's premier 19th century composer, Dudley Buck. Christmas CDs available. www.michaelsmusicservice.com;704/567-1066.
2003 built by Yves Beaupre/Flemish muselarafter Couchet. 47 notes C/E–c''' with split keysfor the short octave and arpicordum. Keyboard:Bone natural, ebony sharps. Pear wood jacks.Case in poplar. Stand: 4 turned legs in Flemishstyle. Soundboard painting, case painting andFlemish papers in the style of Couchet. Price$16,000. [email protected].
Harpsichords from the workshop of KnightVernon. Authentic replicas of historic instru-ments carefully made and elegantly decorated.8201 Keystone, Skokie, IL 60076. Telephone847/679-2809. Web site: www.vernonharpsichords.mykeyboard.com.
1925 Moller 2/10, $8,000—still in place, buyerto remove; 195? Reuter 2/9, $7,200—still inplace, buyer to remove; 1976 Berghaus 2/11,$8,800—still in place, buyer to remove; 1962Schantz 3/33, $26,400—still in place, buyer toremove; 1969 Moller 2/3, $4000—FinishedMoller Artiste in climate controlled storage. Part-ed out: 1966 Moller 2/10—some pipework stillavailable, contact for details; Sold! 1949 Moller3/30; Sold! 1962 Wicks 2/4; Just reduced! 1964Wicks 2/6, all new Peterson relay, new DCwiring, ready to ship now! $20,000! Fabry, Inc.offers removal services and shipping F.O.B.Antioch, IL. Large used pipe inventory availableand ready for use. Contact for available ranksand specifications. Fabry, Inc. 974 AutumnDrive, Antioch, IL 60002, tel: 847/395-1919, fax:847/395-1991, e-mail: [email protected].
2002 portativ/Dutch builder. Compass: C–f'''.Transposable keyboard: A=415/440/465 Hz.Case in Cherry-wood, dimensions: 113x84x57cm. Fundamental keys: Ebony. Accidentals:Plum-wood. Disposition: Flute 8 , Regal 16 ,Regal 8 , Regal 4 . All stops split in Bass/Treble.Each reed-stop their own character. Sale at2002 price $28,000. [email protected].
Beautiful 6-rank neo-baroque tracker organbuilt in 1972. Perfect for home or small chapel.Pipework is mostly open-toe voicing with nonicking on about 2 wind pressure. Currentlyplayable in St. Cloud, MN. $16,000. ContactDavid Geslin, 612/868-7827, or [email protected].
Two-manual, 20-rank, 1963 Wicks PipeOrgan, currently installed in San Francisco.Specifications available upon request. Offeredat $25,000. Contact [email protected].
Flentrop two-manual and pedal three-rankorgan. Solid mahogany throughout. Beautifulcarvings and façade. Fits 8 ceiling. Phone434/977-6796; e-mail: [email protected].
HARPSICHORDS/CLAVICHORDS
PIPE ORGANSFOR SALE
POSITIONS AVAILABLE
POSITIONS AVAILABLE
Berghaus Organ Company has an immediateopening for an experienced Technical Designer.The successful applicant will be proficient in CADapplications and possess the ability to interactcomfortably with members of the artistic and pro-duction departments. Experience withconsole/façade design a plus. This is a key posi-tion that provides a significant opportunity foradvancement. Berghaus offers an excellent com-pensation package including full benefits andmatching 401K program. Send résumés in careof: Brian Berghaus, Berghaus Organ Company,2151 Madison Street, Bellwood, IL 60104-1943.Office telephone: 708/544-4052; office fax:708/544-4058.
The Episcopal Parish of Saint Barnabas on theDesert, 6715 N. Mockingbird Lane, Scottsdale,AZ 85253-4344. Full-time Choirmaster andOrganist (separate positions also considered) for2000-member church. Two Sunday services plusspecial services and weddings and funerals. Thir-ty-five member volunteer adult choir with addi-tional 11 paid soloists. Adult handbell choir withdirector and youth/children’s choir with directorand other ensembles to be under the supervisionof the Choirmaster/Organist. Three-manualCasavant organ. Candidates will show expertisein all styles of church music. Familiarity with Epis-copal liturgy preferred. Salary and benefitsbeyond AGO guidelines, commensurate withexperience and accomplishment. Graduatedegree or equivalent with emphasis on churchmusic preferred. Applications will be receiveduntil November 1st and sent to Music SearchCommittee at above address. Position descrip-tion and further information available atwww.saintbarnabas.org, or at 480/948-5560.
Attention OrganbuildersFor information on sponsoring a
color cover for THE DIAPASON, contact editor Jerome Butera,
THE DIAPASON3030 W. Salt Creek LaneSuite 201Arlington Heights, IL 60005
ph 847/391-1045fax 847/390-0408
e-mail [email protected] www.TheDiapason.com
THE DIAPASON has moved!Our new address is:
3030 W. Salt Creek Lane, Suite 201Arlington Heights, IL 60005
Phone and fax numbers, e-mail,and web remain the same.
ATTENTION ORGANISTS! Do you long forthe thunder that only full-length 32 bom-barde resonators can unleash? Your cur-rent, wimpy half-length 32 simply can’tdeliver that firepower you need when play-ing Widor, Vierne, or simply when youwant to blow away the congo with merci-less thunder. Prohibitive costs, inade-quate space, a vestry that simply cannotunderstand have stood in your way—untilnow. Introducing the TROMBARDE—aresonator of musical mass destruction(RMMD) that brings you up to par instant-ly with the big boys. TROMBARDE is atelescopic resonator that adjusts to thecorrect speaking length throughout theentire 32-note compass instantly and pre-cisely via Insanely Quick© Ultra-pneumat-ic Technology (IQ Technology). No needfor extra space—Trombarde can be quick-ly mounted vertically, diagonally, or evenen chamade. Ultra high-tech black boxtechnology insures precise lengths eachtime, every time (programmable for differ-ent temperaments, too!). Installs easily inan afternoon with pre- or post-Vatican IIsacristy tools. Give yourself or someoneyou love the gift that keeps on giving.Don’t delay—Blow ‘em away, today! BoxSmith-con, THE DIAPASON.
To advertise in THE DIAPASON2007 Resource Directory, con-tact Jerome Butera, 847/391-1045, <[email protected]>.
OCTOBER, 2006 39
CLASSIFIED ADVERTISING Classified Advertising Rateswill be found on page 37.
ALL REPLIESTO BOX NUMBERS
that appear without an addressshould be sent to:
THE DIAPASON3030 W. Salt Creek Lane, Suite 201
Arlington Heights, IL 60005
Flue pipes in metal and wood–Mixturesand upperwork are available from stock orspecify custom orders to meet your exactrequirements. Tuning Sleeves withflare–Order complete sets ready to installor bulk quantities in each diameter. Thesesleeves are guaranteed to fit and will nottarnish or corrode. For excellent quality,great pricing and timely delivery contact:International Organ Supply, P.O. Box 401,Riverside, IL 60546. 800/660-6360. FAX708/447-0702.
Postal regulations require that mailto THE DIAPASON include a suite num-ber to assure delivery. Please sendall correspondence to: THE DIAPA-SON, 3030 W. Salt Creek Lane, Suite201, Arlington Heights, IL 60005.
Two-manual, 7-rank freestanding classic-style organ unified to 24 stops. Excellent con-dition. Chicago area, buyer to remove. Fordetails please contact John Hoverland, 710Waukegan Rd., Apt. 2, Glenview, IL 60025.847/724-5237.
1937 Aeolian-Skinner 3-rank unit organ, opus3007. Two manuals and pedal. 19 stops fromDiapason, Viola, Gedackt. All enclosed in free-standing swell box. Walnut console attached.May be seen and played. $13,500. 713/723-3664; [email protected].
AEolian-Skinner Opus 1211, 1955, G. D. Harrison. Completely restored two-manual, 16ranks, with preparations for additional ranks.Drawknob console with new Harris equipment,solid state relay, multiple memories and play-back. Instrument is available for inspection andwill be set up and playing. Details: 603/529-0870 or 423/282-4473.
1876 13-rank George Stevens tracker organ.Interesting tonal design. Pipework original.Excellent worship instrument for congregationwith sanctuary 200-250 seating capacity.Repairable heat/water damage. Purchaserrestore, or contract Levsen Organ Company tomove, restore, install. Make offer. Ownerreserves right to reject any and all bids. Infor-mation, details, contact Levsen Organ Compa-ny. 800/397-1242; e-mail [email protected] details: www.LevsenOrg.com.
1860 Wm. A. Johnson 1/8, including 12-note16 Subbass. Meticulously restored, $39,500;Pedal extension optional. Details: Andrew SmithPipe Organs, 522 East Rd., Cornish, NH 03745.603/542-8316; [email protected].
MISCELLANEOUSFOR SALE
20 E.M. Skinner ivory stop knobs, $400 thelot. Not sold separately. [email protected].
1991 Peterson 40-ohm relay, 3 units, 73, 61,61, built-in key inverter, $300. Compact Klannpedal relay, 4 units, 16, 10-2/3, 8, 4 & 2—16 &8—8, 4 & 2—16 & 4, $150. Reisner C5 relays inpristine condition, in original cabinets with origi-nal shop specifications: Gt 61, 85, 73, 61, 73, 25,Ped 56, 68, 32, 56, 44, Sw 61, 61, 61, 80, 70,$200. Inquiries: e-mail [email protected](not comcast) phone 215/353-0286 or 215/788-3423.
Atlantic City Pipe Organ—Tellers 5-rank unitchest, regulator, $900 or best offer; C.S.Haskell—4-rank slider chest with 16 Bourdon,16 Lieblich, 10-2/3 Quint, 5-1/3 Quint (pre-pared), $1,200 or best offer. Moller 3-rank unit“Sputnik”: direct electric action, principal, rohrflute, larigot, detached console, very good condi-tion. Harp, capped oboes, more. Visit http://mywebpages.comcast.net/acorgan. E-mail:[email protected]. Phone 609/641-9422.
SERVICES/SUPPLIES
The Whistle Shop repairs and rebuilds pipeorgans. Southwestern U.S. Also, maintenanceand tonal work. Finest materials, expert work-manship. K.E.M. Pipe Organ Builders, Austin,TX. 512/252-2212.
Pneumatic restoration available through ourfull-service releathering and conservationdepartment. Meticulous work, quality hides,parts duplication, spring replication, special ser-vices. Removal and reinstallation anywhere inthe nation. Glück New York. Telephone 212/608-5651 (office) or 917/903-8281 (generalmanager).
Organ windchest for sale by Herb Huestis,#1502—1574 Gulf Road, Point Roberts, WA98281, phone 604/946-3952, e-mail:[email protected]. Shipping extra to U.S. orCanada—no overseas. Casavant offset pedalchest 48 x 9.5 x 9 , 8 notes only, no rack-board. 6-1/2 spacing for 16 pedal reed. Price$275, includes shipping.
SERVICES/SUPPLIES
Highest quality organ control systems since1989. Whether just a pipe relay, combinationaction or complete control system, all parts arecompatible. Intelligent design, competitive pric-ing, custom software to meet all of your require-ments. For more information call WestacottOrgan Systems, 215/353-0286, or e-mail [email protected].
Consoles elegantly and reliably built andrebuilt. Newly designed by a degreed architectand organist, or expertly refurbished and retro-fitted using reliable technology from establishedsuppliers. Prestigious references. Availablenationwide. Glück New York. Telephone212/608-5651 (office) or 917/903-8281 (generalmanager).
Columbia Organ Leathers sells the finestleathers available for organ use. We sell pre-punched pouches and pre-assembled pouches,and we specialize in custom releathering ser-vices. Call today for a catalogue. 800/423-7003or e-mail: [email protected].
SERVICES/SUPPLIES
Top Quality Releathering. Pouch rails, pri-maries, reservoirs and any other pneumaticaction. Removal and installation service avail-able. Full warranty. Skinner, Casavant andKimball specialty. Spencer Organ Company,Inc. Call, Fax or visit our website for quotationand information. 781/893-7624 Voice/Fax,www.spencerorgan.com.
RELEATHERING: also Pipe Organ Rebuild-ing, Repair and Maintenance Service in NewEngland area. Years of experience, fine work-manship. Reading Organ Works, A. RichardHunter, P.O. Box 267, 1324 Vermont Route106, Reading, VT 05062. 802/484-1275.E-mail [email protected].
Austin actions recovered. Over 30 yearsexperience. Units thoroughly tested and fullyguaranteed. Please call or e-mail for quotes.Technical assistance available. Foley-Baker,Inc., 42 N. River Road, Tolland, CT 06084.Phone 1-800/621-2624. FAX 860/[email protected].
PIPE ORGANSFOR SALE
MISCELLANEOUSFOR SALE
Need help with your re-leathering project? All pneumatics includingAustin. Over 45 years experience (on the job assistance available).615/274-6400.
Gillian Weir* Todd Wilson
Karen McFarlane ArtistsKaren McFarlane Artists2385 Fenwood Road, Cleveland, OH 44118
Toll Free: 1-866 -721-9095 Phone: 216-397-3345 Fax: 216-397-7716E-mail: [email protected] [email protected]
Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan
Vincent Dubois* Stefan Engels Thierry Escaich* László Fassang* David Goode* Gerre Hancock
Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* Olivier Latry*
Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jane Parker-Smith* Peter Planyavsky*
Simon Preston Daniel Roth* Ann Elise Smoot* Erik Wm. Suter
Christopher Young
Donald Sutherland Thomas Trotter*
John Weaver
CHOIRS AVAILABLECHOIRS AVAILABLE
WEB SITE:www.concertorganists.com
WEB SITE:www.concertorganists.com
The Choir of WestminsterCathedral, UK
Martin Baker, DirectorOctober 2006
SOLD OUT
The Choir of Saint ThomasChurch, NYC
John Scott, DirectorSpring 2007SOLD OUT
The Choir of WinchesterCathedral, UK
Andrew Lumsden, DirectorOctober 17-29, 2007
The Choir of St. John’s CollegeCambridge, UK
David Hill, DirectorWest Coast USA Tour
Spring 2009
*=European artists available2006-2007
Scott MontgomeryAGO National
Competition WinnerAvailable 2006-2008