the diapason a recording of bach’s well tempered clavier, made on organ, harpsichord, and piano,...
TRANSCRIPT
FEBRUARY, 2007
T H E D I A PA S O N
Austin OrgansMilestones 1893 – 1937 – 2007
Cover feature on pages 30–31
the art of male a cappellasinging perfected
ENSEMBLE AMARCORD“Move over King’s Singers, HilliardEnsemble and Chanticleer: There is a newmale a cappella group on the internationalclassical music scene...as pleasing as itwas sophisticated. The daunting programwas leavened by the fresh singing style andgeneral appeal of the singers, a group ofhandsome and personable 20-somethings.In the areas of balance and precision, thegroup sounds as if they started singingtogether decades ago. Their youthfulnessshows where it should—in lively, vibranttone and a smooth blend that allows foreach singer’s individuality....an unusuallyvociferous standing ovation...a fineperformance by a group destined to have along and prosperous career.”(The Salt Lake Tribune, Utah)
AFFABRE CONCINUIThe Polish Chamber Singers“One of the most beautiful and successful concerts in thisyear’s festival....The cheering of the audience would notstop, even after three encores.”
(Nordbayerischer Kurier, Wuerzburg, Germany)“A standing ovation has never happened before in thehistory of the festival, but these six gentlemen managed to
get the audience to jump from their chairs and cheer!”(Heider Anzeiger, Heide, Germany)
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CHANSON“Simply splendid...The group’s six young menhave been singing together for four years andhave achieved a vocal blend and a stylish
finesse that far surpass many groups that havebeen in the business longer....close harmonies,excellent diction and fine attention to style thatcharacterized the entire performance. It was amoment to cherish.”(The Courier-Journal, Louisville)
www.concertartists.com
MEN of SONG
FEBRUARY, 2007 3
THE DIAPASONA Scranton Gillette Publication
Ninety-eighth Year: No. 2, Whole No. 1167 FEBRUARY, 2007Established 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
Pipe Organs of the KeweenawHoughton County, Michigan
by Janet Anuta Dalquist 20
EROI Festival 2006Eastman School of Music
by Joel H. Kuznik 27
NEWS
Here & There 3, 4, 5, 6, 8, 10
Appointments 4
Nunc Dimittis 6
Das Orgeleinbuchby Leonardo Ciampa 12
In the wind . . .by John Bishop 12
REVIEWS
Book Reviews 14
New Recordings 15
New Organ Music 18
NEW ORGANS 32
CALENDAR 33
ORGAN RECITALS 37
CLASSIFIED ADVERTISING 38
THE DIAPASON (ISSN 0012-2378) is published monthly byScranton Gillette Communications, Inc., 3030 W. SaltCreek Lane, Suite 201, Arlington Heights, IL 60005. Phone847/391-1045. Fax (847) 390-0408. Telex: 206041 MSG RLYEmail: [email protected] web: TheDiapason.com
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Copyright ©2007. PRINTED IN THE U.S.A.
No portion of the contents of this issue may be reproduced in any form without the specific written permissionof the Editor, except that libraries are authorized to make photocopies of the material contained herein for the pur-pose of course reserve reading at the rate of one copy for every fifteen students. Such copies may be reused forother courses or for the same course offered subsequently.
THE DIAPASON accepts no responsibility or liability forthe validity of information supplied by contributors, ven-dors, advertisers or advertising agencies.
Cover: Austin Organs, Inc., Hartford, Connecticut; Milestones 1893 – 1937 – 2007 30
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lair; 2/18, Evensong; March 6, MargaretSandresky; May 1, Mary Louise KappPeeples. For information: 336/723-4391; <www.stpauls-ws.org>.
A concert and conference will beheld in Paris, France, to mark the releaseof a recording of Bach’s Well TemperedClavier, made on organ, harpsichord,and piano, using the Werckmeister IIItemperament. The February 15 concert,at the Eglise St-Louis en l’Ile, on the IleSt-Louis, features Pascal Vigneron,organ; Christine Auger, harpsichord; andDimitri Vassilakis, piano. The confer-ence, to be presented twice on February14 at the Salle Cortot, features MichelChapuis, along with students of theEcole Normale de Musique de Paris. Forinformation: <[email protected]>.
First Presbyterian Church, Pitts-burgh, Pennsylvania, continues its musicseries: February 17, Jean Langlais cele-bration, in conjunction with DuquesneUniversity; March 11, Flute Academy ofPittsburgh; April 1, University Choir,West Virginia University; 4/15, Catch 22jazz ensemble; June 10, the Choir ofFirst Presbyterian Church. For informa-tion: 412/471-3436; <www.fpcp.org>.
The Chorus of Westerly continuesits 2006–07 series at Kent Hall, Wester-ly, Rhode Island: February 18, MDRKinder Chor; May 20, Dvorák,Requiem. For information: 401/596-8663; <www.chorusofwesterly.org>.
The Brick Church, New York City,continues its music series: February 18and 19, President’s Day Convocation,symposium on the organ music ofFranck, Langlais, and the Ste-Clotildetradition; March 18, Keith Toth, recital,and Duruflé Requiem; April 6, Stainer,The Crucifixion; 4/16, Eric Lebrun; July2, Thomas Trotter. For information:<www.brickchurch.org>.
Bryn Mawr Presbyterian Church,Bryn Mawr, Pennsylvania, continues its2006–07 concert series on Sundays at 4pm: February 18, Nathan Laube; March4, tenor David Price; March 18, 34thanniversary concert featuring works byBarber, Gorecki, and Britten. For infor-mation: 610/525-2821 x 836; <www.bmpc.org/finearts>.
Region III of the Association ofAnglican Musicians (AAM) will meetFebruary 18–19 at Calvary Church,Pittsburgh. The schedule includesorgan crawls, worship services, concerts,workshops, and a banquet. For informa-tion: 412/661-0120; <www.anglicanmusicians.org>.
Christ Church Cathedral, Indi-anapolis, continues its music series: Feb-ruary 18, Choral Evensong celebratingKirkin’ o’ the Tartan; March 11, choralconcert with orchestra (Allegri, VaughanWilliams, Panufnik, Vasks, Holst); May5–7, Monteverdi/Vivaldi fest. For infor-mation: <www.cccindy.org>.
St. James Episcopal Cathedral,Chicago, continues its music series:February 18, Classical Orchestra andPro Arte Singers of Indiana University;March 4, Choral Evensong (music byRose and Phillips); 3/18, Duruflé,Requiem; April 1, Choral Evensong(music by Victoria, Batten andTomkins); May 6, Choral Evensong(music by Smith, Howells and Batten);May 10, Moonflower and the Plague;June 3, Choral Evensong. For informa-tion: <www.saintjamescathedral.org>.
Lutheran School of Theology,Chicago, continues its chapel musicseries: February 18, CUBE contempo-rary ensemble; March 11, Larry Long;April 22, LSTC Gospel Choir, led byKeith Hampton. For information:<www.lstc.edu>.
First Presbyterian Church, Arling-ton Heights, Illinois, continues its musicseries: February 18, 22nd annual“Organ-Fest,” with William Aylesworth,John Bryant, Christine Kraemer, Merlin
Lehman, Leon Nelson, KirstenSynnestvedt, and Christopher Urban;March 11, Pilgrim Chamber Players;April 15, Rutter, Requiem. For informa-tion: <www.fpcah.org>.
Knox Presbyterian Church, SantaRosa, California, announces its CreativeArts Series on Sundays at 5 pm: Febru-ary 18, Suzanne Murray, writer andpoet; March 18, Great Bells of Fire,handbell choir; May 20, Eileen Morris& Janis Wilson, popular 30s & 40ssongs. For information: 707/544-5468.
South Church, New Britain, Con-necticut, continues its music series:February 23, The Yale Whiffenpoofs;March 11, The Waverly Consort; April29, Theresa Thomason, Paul Halley,and the South Church Chancel Choir;June 3, Joel Frahm Quartet. For infor-mation: <www.musicseries.org>
First Congregational Church,Crystal Lake, Illinois, has established anannual organ recital series in memory oflong-time church member Wesley M.Vos. Dr. Vos, a member of the faculty atDePaul University in Chicago, servedfor nearly 30 years as associate editor ofTHE DIAPASON. He also served as organ-ist and/or choirmaster at churches inPella, Iowa; St. Louis, Missouri;Franklin, Pennsylvania; and Barrington,Woodstock, Crystal Lake, and Palatinein Illinois.
Karel Paukert will be the soloist forthe first recital, on February 23, whichwill feature the John-Paul Buzard organ(Opus 16) installed at FCC in 1996.Paukert served on the organ faculty atNorthwestern University in Evanston,and then was appointed musician-in-residence at the Cleveland Museum ofArt. He has served as organist-choir-master at St. Paul’s Episcopal Church inCleveland Heights, Ohio since 1979. Healso maintains an international organsolo career. For information: 815/459-6010; <fcccrystallake.org>.
Greene Memorial UnitedMethodist Church, Roanoke, Virginia,continues its music series: February 25,Ulrich Knörr, with trumpet; March 18,Fauré, Requiem; April 15, Kent Tritle.For information: <www.gmumc.org>.
The Cathedral Church of theAdvent, Birmingham, Alabama, contin-ues its music series: February 25,Ensemble Corund; March 11, ChoralEvensong for Lent; April 27, CharlesKennedy; May 6, spring choral concert;5/18, a Broadway cabaret. For informa-tion: <www.adventbirmingham.org>.
St. Bartholomew’s Church, NewYork City, presents a Lenten organrecital series on Wednesdays at 12:30pm: February 28, Mollie Nichols;March 7, Andrew Henderson; 3/14,Robert McCormick; 3/21, NathanLaube; 3/28, Jeremy Bruns. On April 6at 6 pm, Ken Cowan will performDupré’s Le Chemin de la Croix. Forinformation: <www.stbarts.org>.
All Saints’ Episcopal Church, Bev-erly Hills, California, continues itsmusic series: March 2, Tavener, Lamen-tations & Praises; 3/16, Joseph Galema,with Air Force Academy Brass; May 4,Choral Evensong. For information: <www.allsaintsbh.org>.
Emmanuel Church, Chestertown,Maryland, continues its music series:March 9, Gail Archer; April 6, ChoralEvensong; May 5, Choir of the Churchof the Redeemer, Baltimore. For infor-mation: 410/755-6025; <www.rlk.net/emmanuel>.
The Fribourg Organ Academytakes place April 19–22 in Fribourg,Switzerland. Presenters include Maur-izio Croci, Michel Bouvard, Peter Woll-ny, and Jean-Claude Zehnder, in mas-terclasses, lectures, and concerts.Venues include Cathédrale St-Nicolas,Chapelle de l’Hôpital des Bourgeois,and Eglise du Collège St-Michel. Forinformation: <www.academieorgue.ch>.
The Episcopal Church of the Res-urrection, Eugene, Oregon, continuesits music series: February 4, ChoralEvensong, featuring Bach’s Cantata No.18; March 18, Bach, St. Matthew Pas-sion; April 22, youth choirs. For infor-
mation: 541/686-8462; <resurrectioneugene.org>.
St. Paul’s Episcopal Church, Win-ston-Salem, North Carolina, continuesits music series: February 6, Dan Lock-
Letters to the Editor
Here & There
Charles QuefI read with interest Steven Young’s
article, “Introducing Charles Quef, For-gotten master of La Trinité in Paris,” inthe October 2006 issue of THE DIAPA-SON. End note no. 2 states “There seemsto be some debate among biographersand scholars as to when Messiaen actual-ly began his tenure at the church, as both1930 and 1931 are cited by his biogra-phers.” I just wanted to let the authorand readers know that there is no doubtconcerning when Messiaen was appoint-ed organist at La Trinité. On September17, 1931, in Fuligny (in the Aube), hereceived a letter from the priest at LaTrinité, officially announcing his appoint-ment as titulaire of the Grand Orgue. Onthis same day, Messiaen wrote severalletters thanking those who had recom-
mended him to this post (notably CharlesTournemire and Maurice Emmanuel).This fully supports the fact that CharlesQuef most certainly maintained his postat La Trinité until his death. The letterMessiaen wrote to Tournemire has beenpublished in the Cahiers et Mémoires ofL’Orgue (“Charles Tournemire,” no. 41,1989–I), p. 82.
Also, one other small detail: inFrance, the choir organists are officiallyappointed to their posts and are there-fore titular organists, like their col-leagues who play on the tribune organs.It is therefore most likely that CharlesQuef served as titular of the La TrinitéChurch choir organ before beingappointed to the Grand Orgue.
Carolyn Shuster FournierParis, France
4 THE DIAPASON
script is completed, the recipient isexpected to submit it to the society’sdirector of publications.
Applications may be sent by mail ore-mail. They must be postmarked or e-mailed by June 15, 2007, and awardswill be announced in early July. Sendapplications or inquiries to: Dr. Christo-pher S. Anderson, Associate Professorof Sacred Music, Perkins School of The-ology, Southern Methodist University,P.O. Box 750133, Dallas, TX 75275-0133 ; 214/768-3160; <[email protected]>.
The Instituto de Órganos Históri-cos de Oaxaca, A.C. (IOHIO) in Mex-ico, an organization that has workedtoward the restoration and use of his-toric organs, has launched a music edu-cation project to help train new organ-ists. The IOHIO Academy providespiano and organ lessons to studentsranging in age from seven to over fiftyyears old, with proficiency from begin-ner level to high intermediate. Theacademy provides lessons, classes insolfège and music appreciation, fieldtrips to historic organs, and perfor-mance opportunities. A free organ con-cert is presented bimonthly in the Oax-aca Cathedral after the noontime Mass.For information: <www.iohio.org.mx>.
The 2006 Regensburg Academytook place October 12–14 in the Col-lege for Catholic Church Music(HfKM) in Regensburg, with the theme“The Grandeur of Gregorian.” Presen-ters included Godehard Joppich andTheo Flury. More than 70 participantsheard lectures in 12 sessions over threedays, and two public recitals in the newparish church and in the cathedral. Pre-mieres included Orgelmesse by RuthZechlin and Toccata sopra Alleluia byEnjott Schneider.
LeMoyne-Owen College presenteda Festival of Lessons and Carols onNovember 29, 2006, at the Second Con-gregational Church in Memphis, Ten-nessee. Godwin Sadoh, college organ-ist, served as director of the choirs,organizer, and organist for the program.Participants included the ConcertChoir, Women’s Chorus, and Men’sChorus. Accompaniments were provid-ed by Bennie Wilson, John Allen, Cish-ley Harper, Natasha Granger, JeromeHeard, Kyle Rushing, and JamesWilburn, and included piano, tam-bourine, marimba, clarinet, sekere
(Yoruba shaking idiophone), Ghanaianfinger bells, maracas, African drums,and Nigerian double bells.
Choral repertoire included John Fer-guson’s arrangement of How Far Is It toBethlehem; Lloyd Larson’s I Bring YouGood News; John Leavitt’s Pie Jesu; TheLittle Baby by Lena J. McLin; TheCalypso Noel by Gordon Krunnfusz;Ain’-a That Good News by WilliamDawson; Sing for Joy by Craig Cassils;Christmas Samba by Craig Curry;African Noel, an arrangement by Ben-jamin Harlan; and the world premiereof Keresimesi Odun De (Christmas Fes-tival), by Godwin Sadoh. The congrega-tion joined in hymns: “O Come, OCome, Emmanuel,” “The First Noel,”“Hark, the Herald Angels Sing,” “AngelsWe Have Heard on High,” and “OCome, All Ye Faithful.”
—Ceree DumasCeree Dumas is a Sacred Music major at
the Department of Music, LeMoyne-OwenCollege, Memphis, Tennessee.
Corrections and clarificationsThe announcement (November 2006
issue) of Steven Egler’s new recording,The Organ Music of Gerald Near, onthe White Pine Music label, recordedon Casavant Frères Opus 3756 organ atCentral Michigan University, failed tonote that the two-CD set is availabledirectly from MorningStar Music Pub-lishers at <www.morningstarmusic.com>.
Robert Bates Craig Cramer Aaron David Miller
425.745.1316 [email protected] www.organists.net
Pepperdine University hasannounced a hymn tune search for asymposium entitled “The AscendingVoice,” June 4–7. Submitted hymns mustbe composed in four-part harmony(SATB) and intended for a cappellasinging. The text, which may be in anylanguage, may be newly written or maycome from an existing work. Deadline isMarch 12. For information: 310/506-7644; <[email protected]>.
Rodgers Instruments LLC invitesyoung musicians with piano skills toenter its scholarship competition toattend a week of intensive organ studyat the International Music Camp on theNorth Dakota-Canada border. Theweek at camp includes an introductionto the organ for pianists and keyboardplayers, group instruction in basic organtechnique, individual tutorials, andpractice sessions.
The competition is for school-agepianists, keyboard players, and begin-ning organists who have secured thesupport of their home church or anoth-er sponsor. The scholarships will coverthe cost of room, board and tuition dur-ing the camp’s Organ Week, July 8–14,2007. Sponsors will be responsible fortravel expenses for the scholarship win-ners. The deadline to apply is April 30.
For information and a scholarshipapplication: IMC Scholarship Fund,Rodgers Instruments, 1300 NE 25thAve., Hillsboro, OR 97124; e-mail:<[email protected]>.
The Organ Historical Society isaccepting applications for its Alan Lauf-man Research Grants for 2007.Research grants of up to $1,500 inmemory of Alan Laufman, a formerpresident of the society, are awardedfor research projects related to theorgan—the instrument’s builders, con-struction, history, styles, repertoire,performance practices, and composersfrom all style periods and nationalities.Grants may be used to cover travel,housing, and other expenses.
Applicants should submit a cover let-ter, a curriculum vitae, and a proposal.The proposal, not to exceed 1,000words, will contain at least the followinginformation: (i) a description of theresearch project, including a statementof objectives, a plan for conducting theresearch, a description of phases of theresearch already completed or inprogress, and an estimate of the timerequired to complete the project; (ii) alist of anticipated expenses to be fundedby the grant (up to $1,500); (iii) whetherthe applicant would accept a grant if lessthan the requested amount is awarded;(iv) a list of other organizations to whichthe applicant has applied or expects toapply for grants to fund the researchproject and amounts awarded orrequested; and (v) publication plans.
It is expected that an applicant’sresearch will result in a manuscript suit-able for publication. Each grant recipi-ent will be requested to submit a briefreport after the research funded by thegrant is complete, whether or not themanuscript is finished. Once the manu-
Godwin Sadoh conducts the LeMoyne-Owen College Concert Choir
The LeMoyne-Owen College Concert Choirsings and plays percussion instruments
Appointments
Barbara Wick, president of WicksOrgan Company, has announced theengagement of Tom Briggs as a man-agement consultant. He will be workingwith the key executives at Wicks Organ,Wicks Aircraft Supply, and Wicks Cus-tom Woods to set up strategic plans. Hisexpertise in management will assist thecompanies to proceed into the 21st cen-tury. Briggs holds a bachelor of sciencein business and a master of businessadministration in finance. From1979–82, he served B-Line Company asvice president of administration and vicepresident of sales; 1982–2003 presi-dent/CEO; and 2003–06 vice presidentof sales and marketing for CooperIndustries, Houston, Texas, where hecontinues as a consultant. He will beconsulting with Barbara Wick, also MarkWick, COO of Wicks Organ Company;Scott Wick, vice president of Wicks Air-
Tom Briggs
craft Supply; and Mary Wick Haberer,manager of Wicks Custom Woods.
Brian K. Davis has been namedtonal director of John-Paul Buzard PipeOrgan Builders, LLC. His “field promo-tion” was made at Mount PleasantLutheran Church, Racine, Wisconsin,after completing tonal finishing of thenew Buzard organ opus 34. Davis hasserved as associate tonal director andhead voicer at the Buzard Company forthe last eleven years. His promotion totonal director recognizes his work incrafting the Buzard sound and provid-ing its continuity in a wide variety ofacoustical environments. President andformer tonal director John-Paul Buzardhas been named artistic director, tomore accurately reflect his broaderrange of responsibilities.
Before joining the Buzard PipeOrgan Builders, Brian Davis had servedas tonal director of Visser-Rowland andAssociates in Houston, Texas, andworked for The Miller Organ Companyin Louisville, Kentucky. Davis is athome in Champaign, Illinois, and alsogrows prize-winning iris.
Here & There
Thomas Baugh
Thomas Baugh, organist and choir-master at Christ Episcopal Church inRoanoke, Virginia, plays the recentlycompleted Fisk pipe organ, op. 124, atChrist Church for a new CD on theRaven label. The CD is available onlinefrom <www.RavenCD.com> for $14.98with free delivery worldwide, and willbe released nationally in the U.S. inFebruary and in Germany, The Nether-lands, and England in March.
This organ’s plenum includes only openflue pipes in the manual divisions—thereare no stopped or partially stopped ranks(such stops as Gedackts, Stopped Diapa-sons, Bourdons, Rohrflutes, ChimneyFlutes, etc.), but, instead, entirely openflue ranks at all manual pitches, includingopen and harmonic flutes, principals,montres, and harmonically well-devel-oped strings. (See “New Organs,” p. 32.)
The program includes ThomasBaugh’s transcription of Fauré’s musicfor Maeterlinck’s play, Pelléas etMélisande; Searle Wright’s Introduc-tion, Passacaglia and Fugue; the firstrecording of Gerre Hancock’s Toccata;Hymn Prelude on Nyland by RichardCummins; Improvisation on The InfantKing by Robert N. Roth; and works byde Grigny, Balbastre, and Bach.
Thomas Baugh became director ofmusic of Christ Episcopal Church inRoanoke in 1986. There, he directs adultand young people’s choirs, parish instru-mentalists, and handbell ringers. Hereceived the MMus degree from West-minster Choir College; he studied organin the United States with John Mueller,Bruce Stevens, and Eugene Roan, andin Lyon, France with Louis Robilliard.He has also studied at the Royal Schoolof Church Music in London.
David Chalmers is featured on anew CD, Burnished Bright: SacredSounds of Brass, Organ and Bells (Para-
FEBRUARY, 2007 5
Michael KaminskiOrganist
Director of Music MinistriesSaint Francis Xavier ChurchBrooklyn College FacultySt. Francis College Faculty
Brooklyn, New York
Angela Kraft CrossOrganist/Pianist/Composer/
Recording ArtistOrganist
Congregational ChurchSan Mateo, California
William KuhlmanOrganist
Professor of Music EmeritusLuther CollegeDecorah, Iowa
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
Tong-Soon KwakOrganist
Professor of OrganCollege of MusicYonsei UniversityArtistic Director
Torch International Organ AcademySeoul, Korea
David K. LambOrganist/Choral Conductor/
Oratorio AccompanistDirector of Music/Organist
First United Methodist ChurchColumbus, Indiana
Maija LehtonenOrganist/Pianist/Recording Artist
Senior Lecturer, Organ FacultyOulu PolytechnicOrgan and Violin
with Manfred GrasbeckHelsinki, Finland
Colin AndrewsOrganist/Lecturer/Recording Artist
Lecturer, Organ Performance & Sacred Music StudiesEast Carolina University
School of MusicGreenville, 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
Laura EllisOrganist
Associate Professor of Organ and CarillonUniversity of FloridaGainesville, Florida
Faythe FreeseOrganist/Lecturer
Associate Professor of OrganSchool of Music
University of AlabamaTuscaloosa, Alabama
Bach BabesBaroque Music Ensemble
Variable GroupingsSoprano, Strings, Flute, Oboe, Continuo
Milwaukee Symphony Orchestra Associates
Martha H. Stiehl, Artistic DirectorOrgan and Harpsichord
University of Wisconsin-Milwaukee
ConcertArtistCooperative
ConcertArtistCooperativeBeth Zucchino, Director, [email protected]
David K. Lamb, Associate Director, [email protected] Lynch Road, Sebastopol, CA 95472
PH: 707-824-5611 FX: 707-824-0956 www.ConcertArtistCooperative.com
Sabin LeviOrganist/Harpsichordist/Carillonneur/
Lecturer/Recording ArtistOrganist and Composer in Residence
First Christian Church of IndependenceAssistant Music Director
Shireinu Choir of Kansas CityKansas City, Missouri
clete Press), in collaboration with thebrass quintet Gabriel V and Extol hand-bell choir. The program, recorded onthe E. M. Skinner organ at the Churchof the Transfiguration in Orleans, Mass-achusetts, includes works by Daniel
Priory label (PRCD 830). Recorded onthe Steinmeyer organ of Altoona Cathe-dral, Pennsylvania, the programincludes Twenty Preludes and Fugues,op. 78, Three Chorale Improvisations,W14, and op. 75, nos. 1, 2, 3, and 4. Forinformation: <www.priory.org.uk>.
J. William Greene is featured on anew recording, Buxtehude at Lynch-burg, on the Pro Organo label (CD7170). Recorded on the Taylor & Boodyorgan at Holy Trinity Lutheran Church,Lynchburg, Virginia, the programincludes BuxWV 157, 179, 137, 224,219, 202, 161, 174, 149, 198, 184, 220,221, 175, 171, and 136. For information:<www.zarex.com>.
Composer Lee Hoiby’s Private FirstClass Jesse Givens, a setting for voiceand piano of a last letter home from anAmerican soldier who died in Iraq, per-formed by baritone Andrew Garland, isviewable on YouTube at <http://www.youtube.com/watch?v=5wqnPjkqu20>.US Army Pfc. Jesse Givens died in Iraqin the service of his country on the firstof May 2003, in his 34th year. He wrotethis letter to his wife Melissa, his five-year-old son Dakota (nicknamed“Toad”) and his unborn child Carson(nicknamed “Bean”). The work was orig-inally written for a consortium of malevocal ensembles led by Cantus of Min-
Pinkham, Craig Phillips, Michael Bed-ford, Purcell, Pachelbel, Bach, and oth-ers. For information: <www.paracletepress.com>.
Stefan Engels is featured on a newrecording, Sigfrid Karg-Elert, The Com-plete Organ Works, Volume 3, on the
David Chalmers
Stefan Engels
J. William Greene
6 THE DIAPASON
neapolis, Minnesota. Cantus first per-formed it in March 2006. An audio file ofCantus’s performance can be down-loaded at <www.cantusonline.org>.
Shortly thereafter, Hoiby made a ver-sion for baritone and piano, which hadits first performance by Andrew Gar-land with the composer accompanyingat a concert of Hoiby’s music presentedby the music department of the Univer-sity of Wisconsin at Madison. TheYouTube video dramatization featuresGarland lipsynching the Madison audio.
David Kinsela is featured on a newrecording, Daybreak, volume 1 in aseries of Buxtehude organ works, on theorgan.o label (ORO 106). Recorded onthe 2004 Aubertin organ at St-Louis-en-l’Île, Paris, the program includes BuxWV146, 172, 223, 177, 218, 151, 211, 205,204, 171, 209, 191, and 137. For infor-mation: <www.organo.com.au>.
Ann Labounsky is featured on a newDVD, Life and Music of Jean Langlais,produced by the Los Angeles chapter ofthe American Guild of Organists. TheDVD is based on the scholarship ofLabounsky, narrator and performer,who has published a biography, JeanLanglais: The Man and His Music, andmade the first recording of his complete
organ works for the Musical HeritageSociety. Using many original materials,the DVD program includes photos,maps, music scores, interviews with stu-dents and associates of Langlais, andperformances of excerpts of his music.The voice of Langlais is also heard,speaking in both French and English.Available for $28; 800/518-7214; <laago.org/langlais>.
Choral music by Dan Locklair wasperformed at concerts and church ser-vices in December. On December 1and 2 the Piedmont Chamber Singers,William Osborne, music director, per-formed Locklair’s Three ChristmasMotets, along with settings of Latin textsby Poulenc, Palestrina, Richard Deer-ing, and Luca Marenzio, Three FluteNoels by Jon Washburn as well as sets ofcarols by Colin Bumbry and John Rutteras part of their Festival of Carols con-cert at St. Timothy’s Episcopal Church,Winston-Salem, North Carolina. TheChoral Arts Society, Robert Russell,conductor and artistic director, per-formed the composer’s Gloria, whichthey commissioned in 1978, at Cathe-dral of the Immaculate Conception,Portland, Maine, December 2 and 3.
The Providence Singers, AndrewClark, artistic director, performedLocklair’s en natus est Emmanuel
Eric Plutz is featured on a newrecording, Musique Héroïque, on thePro Organo label. Recorded on the Aeo-lian-Skinner/Mander organ of PrincetonUniversity Chapel, the program includesworks by Brewer, Dubois, Dupré, Stan-ford, Telemann, and Jongen. For infor-mation: <www.zarex.com>.
Stephen Roberts presented recitalsin Bratislava, Slovakia; Vienna, Austria;and Györ, Hungary, in November. InBratislava he also was interviewed forSlovak radio and gave a lecture on thehistory of the organ in the USA to theorgan class of the conservatory. In Vien-na, Austria, he played a recital at thechurch of St. Anton as part of the festi-val “Wiener Orgelkonzerte.” The recitalwas recorded for broadcast over ORFAustrian Radio. During the tour he pre-sented the European premiere of ThreeOrgan Scenes by Kevin Isaacs, a facultymember at Western Connecticut StateUniversity, where Roberts teachesorgan. Stephen Roberts is on the rosterof Concert Artist Cooperative.
John Scott, organist and director ofmusic at St. Thomas Church, New YorkCity, is playing the organ works of Diet-rich Buxtehude to mark the 300thanniversary of the composer’s death, ina series of ten organ recitals on Saturdayafternoons (4 pm). The series began onJanuary 20, and continues February 3,10, 17, 24; March 31; April 28; May 12,19, 26.
Scott performs on the Taylor &Boody organ, built in 1996 and consist-ing of 21 stops over two manuals andpedal. The instrument is inspired by thetradition of organbuilding that wasactive in the Netherlands and NorthGermany in the 17th and 18th cen-turies. For information: 212/664-9360;<www.SaintThomasChurch.org>.
23 march 2007 friday at 7:30pm
S A I N T M AT T H E WPA S S I O N J. S. Bach
The Saint Thomas Choir of Men and BoysMusica Angelica Los AngelesOrchester Wiener Akademie Martin Haselböck, director
15 may 2007 tuesday at 7:30 pm
VESPERS S. Rachmaninoff
The Saint Thomas Choir of Men and BoysJohn Scott, director
2007 saturday concertsat 4–4:45 pm (free)
TEN SATURDAYSWITH BUXTEHUDEJohn Scott plays the complete organworks of BuxtehudeJanuary 20 · February 3, 10, 17, 24 · March31 · April 28 · May 12, 19, 26
tuesdays, wednesdays, thursdays at 5:30 pm (free)
CHORAL EVENSONGSERVICE Sundays at 4:00 pm
Order concert tickets & CDs at: www.SaintThomasChurch.org or phone 212-664-9360
December 16 at the Cathedral of SaintsPeter and Paul, Providence, andDecember 17 at St. Mary’s Church,Bristol, Rhode Island. On December 17the Choir and Tower Brass of FourthPresbyterian Church, Chicago, John W.W. Sherer, director of music and organ-ist, performed the composer’s Gloria.
Hector Olivera will perform a soloconcert at Notre Dame Cathedral inParis, and will lead two trips to Europe.August 11–18: a luxury custom-madetour to Paris, including his performanceat Notre Dame Cathedral; August19–31: cruise the Mediterranean fromVenice to Rome, Sorrento, Florence,Dubrovnik and Monte Carlo. For infor-mation, phone Admiral Travel Galleryat 888/722-3401.
Ann Labounsky
James Raymond Garner (1951–2006) died on October 31, 2006 of heartfailure while at home on his ship, theSea Wave. An accomplished concertorganist, organbuilder and church musi-cian, he was also at various times a com-puter retailer, Dixieland jazz musician,and sea captain. His initial organ studywas with Karl Bonawitz in NewportBeach, California. Bonawitz was a stu-dent of Pietro Yon and an organist atmany famous theaters during the silentmovie era. Garner also studied withJustin Colyer, a former student of VirgilFox, and he quickly developed anexpressive and flamboyant style of play-ing reminiscent of Fox.
Garner majored in organ perfor-mance at the University of Redlands,studying with Raymond Boese, andearned the bachelor of music degree in1974. Following graduation, he estab-lished an organ building, restoration andmaintenance firm, Raymond Garner &Co., which existed in various formsthroughout his life. He was responsiblefor the construction and preservation ofnine or more instruments, including ahandheld portativ organ for the NationalCathedral in Washington, D.C. Ray’s“Magnum Opus” was a three-manualLevi U. Stuart mechanical action organ,which he resurrected from a Masonichall in Sydney, Ohio, and placed in St.John’s Episcopal Church in SanBernardino, California, following threeyears of restoration.
Following his installation of tworestored organs in churches in Kalispell,Montana, Ray relocated there in 1982.An active musical force in NorthwestMontana, he was a founding member ofthe Glacier Symphony and Chorale, andin the early years of that organizationcould be found variously playing bas-soon, tuba, percussion, singing tenor orconducting. He was also a Dixielandjazz musician, and played both pianoand sousaphone in several ensembles,performing in many jazz festivalsthroughout the West. In 1993 he andKarla West co-founded the Glacier JazzStampede, a festival that attracts dozensof Dixieland groups from across thecountry each year. Ray was a virtuosicragtime pianist, and specialized in therepertoire of Jelly Roll Morton.
In 1994 Ray moved to Denver to takethe position of organist at the FirstChurch of Christ, Scientist. He lateralso took the post of organist at theCathedral of the Immaculate Concep-tion in Denver, eventually becomingassociate director of music. He was thelogistics director of the Denver nationalAGO convention in 1998.
In 2000 Ray became assistant directorof music at St. Mary’s Cathedral in SanFrancisco, later moving on to St. Cather-ine of Siena R.C. Church in Martinez,St. Sebastian the Martyr R.C. Church inGreenbrae, and eventually to his finalposition, music director at St. PerpetuaR.C. Church in Lafayette, California.
Ray was a member in the ThirdDegree of The Knights of Columbus(Council No. 7683, Lafayette, Califor-nia), where he was affectionatelydubbed with the title, “Odemeister.”Early in 2006 he determined to pur-chase the historic tugboat “Sea Wave,”berthed in Seattle. After arduous labor,he sailed it to Point Richmond, Califor-nia, where it is now docked. While inSeattle, he was spotted by a production
Eric Plutz
David Kinsela
John Scott
Nunc Dimittis
James Raymond Garner
St. Olaf College’s Newest
LaboratorySaturday, Feb. 24, 7:30 p.m.
Chapel Rededication Hymn Festivalfeaturing the St. Olaf Cantorei
John Ferguson, conductor
Sunday, Feb. 25, 3:30 p.m.
Inaugural RecitalCatherine Rodland, organ
Sunday, March 18, 3:30 p.m.
St. Olaf Orchestra ConcertJohn Ferguson, organCatherine Rodland, organChristopher Atzinger, pianoSteven Amundson, conductor
Saturday, April 21, 9 a.m.
Master Class Larry Smith, professor of organ
Indiana University
Sunday, April 22, 7:30 p.m.
St. Olaf Band ConcertJohn Ferguson, organCatherine Rodland, organTimothy Mahr, conductor
Our renewed Boe Memorial Chapel, with its new Holtkamp organ, creates a
uniquely versatile space for worship, concerts and recitals, and serves as a lab
for teaching and learning church music in the 21st century.
8 THE DIAPASON
company, which led to his (and SeaWave’s) appearance in a Chevrolet com-mercial. At this point he became amember of the Screen Actor’s Guild.
Ray will be remembered as a vibrant,exciting performer who specialized inthe French Romantic composers andwho was also a talented improviser. Heis survived by his mother Genevieve,wife Patrice, former wife Shauneen, andchildren Sydney, Adrienne, and Mor-gan. A Mass of Resurrection and memo-rial was held on November 11, 2006 atSt. Perpetua Church.
—David Hatt
Daniel Pinkham—composer, organ-ist, harpsichordist, conductor, and long-time music director at Boston’s King’sChapel—died December 18, 2006, atthe age of 83. A prolific composer, hisoutput included symphonies, concertos,organ works, and especially music forchorus. His Christmas Cantata is a sta-ple of the choral repertoire.
Daniel Pinkham was born in Lynn,Massachusetts on June 5, 1923. Hestudied organ and harmony at PhillipsAcademy, Andover, with Carl F. Pfat-teicher; then at Harvard (A.B. 1942;
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M.A. 1944) with A. Tillman Merritt,Walter Piston, Archibald T. Davisonand Aaron Copland. He also studiedharpsichord with Putnam Aldrich andWanda Landowska, and organ with E.Power Biggs. At Tanglewood he studiedcomposition with Arthur Honegger andSamuel Barber, and subsequently withNadia Boulanger.
In 1946 he was appointed to the facul-ty of the Boston Conservatory of Music.In 1953 and 1954, he also taught at Sim-mons College and Boston University.After serving as visiting lecturer at Har-vard University in 1957–58, he joined thefaculty of New England Conservatory,where he remained until his death. AtNEC, Pinkham taught harmony andmusic history in addition to composition.
He composed music well into hislater years. The evening beforePinkham’s death, Edward E. Jones ledthe Harvard University Choir in theworld premiere of Pinkham’s A CradleHymn at Memorial Church in Cam-bridge. Pinkham’s extensive catalog canbe found at <www.danielpinkham.net>.
Pinkham’s scholarship and work wererecognized with a Fulbright Fellowshipin 1950 and a Ford Foundation Fellow-ship in 1962. He received honorarydegrees from NEC as well as fromNebraska Wesleyan University, AdrianCollege, Westminster Choir College,Ithaca College, and the Boston Conser-vatory. In 1990, Pinkham was namedComposer of the Year by the AmericanGuild of Organists. In 1996 DanielPinkham received the Alfred Nash Pat-terson Foundation Lifetime Achieve-ment Award for contributions to theChoral Arts.
Jon Spong died in Iowa City, Iowa,November 11, 2006. Born in DesMoines, Iowa, in 1933, he received hisbachelor and master of music degreesfrom Drake University, where he was anorgan student of Frank B. Jordan, and avoice student of Andrew White. Hereceived an honorary Doctor ofHumane Letters from Grand View Col-lege, Des Moines, in 1990.
Spong held combined organist/choir-master positions in many churches inDes Moines, Iowa City, and at Philadel-phia’s First Baptist Church. He alsotaught at Drake University, WashingtonState University, Angelo State Universi-ty, University of Missouri-Kansas City,the University of Cincinnati CollegeConservatory of Music, and Luther Col-lege in Decorah, Iowa.
From 1964 to 1999 Jon Spong wasthe primary accompanist for SherrillMilnes, baritone with leading operahouses in the United States and Europe.With Milnes, he recorded on RCA,VAI-Audio, and New World labels, andwith Todd Thomas, operatic baritonefrom Philadelphia, on Diadem Records.
Spong had coached at the Vocal ArtsAcademy in Philadelphia and conduct-ed masterclasses with the CedarRapids Opera Theatre. He performedmany times at the White House andplayed at the Lincoln Memorial PrayerService as part of President Carter’sinaugural celebration.
He was a noted composer, withnumerous published organ solos andanthems of sacred music from severalpublishers, including Cantate MusicPress, MorningStar Music Publishersand Lorenz Publishing Company. Heplayed the premiere performance ofMyron Roberts’ Nova, and played thefirst performance of several composi-tions by Alice Jordan. He gave numer-ous church organ dedicatory programs,as well as recitals for state, regional andnational conventions of the AmericanGuild of Organists.
A memorial celebration for JonSpong was held December 1 at the IowaCity Senior Center, Iowa City, Iowa.Memorials are to be made to the CedarRapids Opera Theatre, 1120 SecondAvenue S.E., Cedar Rapids, IA 52403.
—Robert Speed
Kenneth Edward Williams died onAugust 22, 2006, in Venice, Florida, atthe age of 78. After serving in the U.S.Army, he earned degrees from BostonUniversity and Union Theological Sem-inary, and was a certified church musi-cian and commissioned church workerin the United Presbyterian ChurchU.S.A. He served as organist for church-es in Boston, New York City, Indi-anapolis, Atlanta, and Wilmington,Delaware; Milburn, New Jersey; andBartlesville, Oklahoma. He also held theposition of music director at PrincetonTheological Seminary for two years. Alongtime AGO member, he served asdean of the Sarasota chapter 1994–97.He and his wife Lynelle directed the1989 Montreat Conference on Worshipand Music and served on the faculty ofthe conference for several years.
Daniel Pinkham
Jon Spong
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Here & There
Bärenreiter-Verlag announces newBach releases. Early Versions of theMass in B minor, edited by Uwe Wolf(BA 5293a, €17.95), contains MissaBWV 232I (1733 version), Credo inunum Deum BWV 233II/1 (early ver-sion in G), and Sanctus BWV 232III(1724 version). These early versionsshed light on the history of movementsof Bach’s Mass in B minor. The corre-sponding volume of the New Bach Edi-tion (series II, volume 1a) serves as aconducting score. Werner Neumannhas edited Schweigt stille, plaudertnicht (Coffee Cantata, BWV 211) (BA10211a, €7), and Mer hahn en neueOberkeet (Peasant Cantata, BWV 212)(BA10212a, €8), two of the best knownand most frequently performed ofBach’s cantatas. The editions are basedon the New Bach Edition and featurestraightforward and easy to play pianoreductions by Andreas Köhs. Studyscores and instrumental parts are avail-able for both cantatas. St. Matthew Pas-sion: Early Version BWV 244b, editedby Andreas Glöckner (BA 5099a,€18.95, instrumental parts available),presents the 1729 version, whichrequires only a single continuo group inpieces for double chorus, and exhibitsother differences in instrumental scor-ing, voice leading, and chorale usage.
Bärenreiter has also released GeorgPhilipp Telemann: HarmonischerGottesdienst (BA 5891 and 5894, €29.95each), Christmas cantatas from Tele-mann’s 1725 cantata cycle. The practicalTelemann had scored the cantatas forhigher voices (BA 5891) and middlerange (BA 5894); the solo instrumentpart can be played by violin, oboe,recorder, or flute. For information:<www.baerenreiter.com>.
The National Association of Pas-toral Musicians has announced newpublications: Hiring a Director of MusicMinistries, newly updated and expand-ed ($6.00); and National CertificationStandards for Lay Ecclesial Ministers($14.95). For information: <www.npm.org>.
Pape Verlag Berlin has announcedthe publication of Dokumentation vonOrgelrestaurierungen (Documentationof Organ Restorations), edited by Wolf-gang Rehn. The book presents the pro-ceedings of the 2004 conference of theInternational Association of Organ Doc-umentation (IAOD) in Boldern-Männedorf, Switzerland, with contribu-tions by Friedrich Jakob, Martin Kares,Joost van Gemert, Niclas Fredriksson,Marc Schaefer, Georg Carlen, WolfgangRehn and Paul Peeters. It includes thecomplete inquiry form of the IAOD formaking inventories of organs. Berlin,2006, 168 pages, 23 photographs,French binding; ISBN 3-921140-71-4,€36.00 plus postage. For information:Prof. Dr. Uwe Pape, Pape Verlag Berlin,Prinz-Handjery-Str. 26a, 14167 Berlin,Germany; Tel: 030-811 10 64, Fax: 030-805 817 55; <[email protected]>, <www.pape-verlag.de>.
The Royal School of ChurchMusic (RSCM) has announced newreleases. The Voice for Life Songbook isa compilation of inspirational and sacredpieces for young and adult singers andincludes a demonstration CD. Over 40warm-up songs, rounds and canons,along with traditional and new piecesfor single melody and two parts arefound in the collection, compiled andedited by Esther Jones and Leah Per-ona-Wright.
Sunday by Sunday Collection 2 is anew volume of 30 choral works for com-munion services. The volume includesintroits, anthems and pieces for all partsof the communion service, along with amass setting by Peter Nardone. Othercomposers represented include PeterAston, Richard Shephard, DavidOgden, Colin Mawby, Simon Lole, andGeoff Weaver. For information: <www.rscm.com>.
A four-manual Allen Renaissance Heritage™ console in a special two-tone finish has been recently installed in Philadelphia’s Leverington Presbyterian Church, located in the heart of the Roxborough section. The 24 Mudler-Hunter pipe ranks and 79 Allen digital voices are controlled by individual drawknobs. The handsome console features rosewood manual and pedal sharps, rosewood rocker tablets, rosewood drawknob faces with maple stems, and Skinner-style key cheeks. The manual naturals are Laukhoff Ivora. Cathedral-style side panel mouldings complement the inspired console design. An adjustable bench, adjustable music rack and console dolly are finished to match the console’s exterior finish, which is custom-matched to the existing woodwork of the sanctuary. The digital audio is located behind the pipe façades, in and near the pipe chambers.
150 Locust Street, P.O. Box 36 Macungie, PA 18062-0036 USA
Phone: 610-966-2202 Fax: 610-965-3098
E-mail: [email protected]
LEVERINGTON PRESBYTERIAN CHURCHPHILADELPHIA, PENNSYLVANIA
PEDAL 2nd Voices/Pipes64 Resultant32 Contre Bourdon32 Contra Violone16 Diapason Prinzipal16 Gedeckt Pipes only16 Bourdon16 Bourdon doux (Sw)16 Contra Gamba (So)16 Violone8 Principal Pipes only8 Octave Oktav8 Bass Flute Pipes only8 Bourdon Pipes only8 Gedacktflöte8 Gamba (Solo)4 Prestant Pipes only4 Choralbass4 Fife Pipes only4 Flûte2 Octave Pipes onlyIV Fourniture Pipes onlyIV Mixture32 Contre Bombarde32 Contre Dbl. Trumpet (Gt)16 Bombarde Posaune16 Double Trumpet (Gt)8 Trompette4 Clarion
SWELL English Swell/Pipes16 Bourdon doux8 Geigen Diapason Open Diapason8 Bourdon8 Gedeckt Pipes only8 Flute Celeste II Erzähler Celeste II8 Erzähler Pipes only8 Viola Pipes only8 Viola Celeste Pipes only8 Salicional Viole d’Orchestre8 Voix Celeste Viole Celeste4 Principal Pipes only4 Octave Geigen Octave4 Rohrflöte Pipes only4 Traverse Flute
2 2/3 Nasard2 Octavin Pipes only2 Flautino Pipes only2 Piccolo
1 3/5 TierceIV Fourniture Mixture VIII Plein jeu Pipes only16 Contre Trompette Double Trumpet8 Trompette Trumpet8 Hautbois Orchestral Oboe8 Vox Humana Vox Humana4 Clairon Clarion
Tremulant16 Swell to Swell
Swell Unison Off4 Swell to Swell
English SwellChimes mechanical
(in Swell chamber)
GREAT Second Voices/Pipes16 Double Diapason Quintaton16 Bourdon8 Principal Pipes only8 Diapason Prinzipal8 Bourdon8 Gedeckt Pipes only8 Harmonic Flute Metalgedackt8 Gamba4 Prestant Pipes only4 Octave Oktav4 Spitzflute4 Harmonic Flute Pipes only
2 2/3 Twelfth Sesquialtera II2 2/3 Nazard Pipes only
2 Super Octave Pipes only2 Fifteenth2 WaldfluteIV MixtureIII Cymbale Pipes onlyIII Sharp Mixture16 Double Trumpet8 Tromba
TremulantChimes Carillon
SOLO (no pipes)16 Gamba Celeste II8 Flauto Mirabilis8 Solo Gamba8 Gamba Celeste4 Gambette Celeste II16 Trompeta Real 8 Trompeta Real 8 French Horn8 Corno d’Bassetto8 Cor Anglais4 Trompeta Real
TremulantCelesta
CHOIR (no pipes)16 Contra Viole8 Holzgedackt8 Viole8 Viole Celeste4 Prinzipal4 Koppelflöte4 Violes II2 Oktav
1 1/3 QuintflöteIII Cymbale16 Bass Clarinet 8 Petite Clarinette
TremulantPI
PE
A
ND
D
IG
IT
AL
C
US
TO
M
OR
GA
NS
www.allenorgan.com
10 THE DIAPASON
resource for organists and organ com-mittee members who are consideringthe purchase of a new pipe organ or hav-ing their existing pipe organ rebuilt.<www.PetersonEMP.com> is the maincompany web site containing back-ground on the firm, downloadable ver-sions of the online product catalog andother resources for organbuilders, andaccess to instruction manuals includingusers’ manuals for Peterson control sys-tems. <www.ICS4000.com> was createdspecifically to provide information aboutthe Peterson ICS-4000™. The ICS-4000 performs switching, combinationaction, and MIDI-related functions.This system’s list of features includes abuilt-in record/ playback system; filetransfers to and from a USB memorystick; the unique “Organist Folders” for-mat of combination action memory levelorganization with password protection;and a compact control panel. This web-site includes an onscreen, interactivedemonstration of the control panel’smenu system. For information: 800/341-3311; <[email protected]>.
The Marriott Center at BrighamYoung University is not only home toCougar basketball, but also hosts devo-tionals, forums, firesides, commence-ment exercises, concerts and pageants.For such events, a large organ is neededto support congregational singing, cam-pus choirs and orchestras, as well asother various musical events.
The criteria for the organ of this22,700-seat arena included a large spec-ification with a large audio system. Theinstrument also had to be portable toaccommodate a variety of events and dif-ferent set-up configurations. The 79-stop, four-manual Allen Quantum™organ was built with three large movabledollies that contain the organ’s customaudio system. The console is mountedon a movable platform so the entireinstrument can be moved to a storagearea. The organ is also equipped with asmall audio system and headphone jacksto allow students and faculty to rehearsewhile the organ is in storage. The organis mainly used for the university’s week-ly televised devotionals.
JAV Recordings has announced therelease of Paul de Maleingreau: Sym-phonic Organ Works, Vol. 1 (AE-10611). This new release is dedicated tothe large-scale symphonic organ worksof Belgian composer Paul de Malein-greau, a contemporary of his better-known compatriot Joseph Jongen. Theprogram includes Symphonie de l’Ag-neau Mystique, op. 24; Symphonie de laPassion, op. 20; and Suite Mariale, op.65, performed by Peter Van de Velde atOur Lady’s Cathedral, Antwerp; theorgan is by Pierre Schyven, 1891. CD-Audio: Stereo, DDD SACD: 5.0 Multi-channel Surround Sound + 2.0 Stereo,DSD. For information: <www.pipeorgancds.com>.
Musical Concepts has announcedthe release of Bach, Complete OrganMusic, performed by Walter Kraft, fromthe Vox Box Recordings 1961–1967 (cat-alog no. MC 191, UPC 851950001919).Walter Kraft recorded Bach’s completeorgan works on 20 historic instrumentsin Germany, France, Switzerland, theNetherlands, Sweden and Denmark,most built during the composer’s life-time. This set was regarded as completeat the time, although it leaves out allalternative versions of the many choralepreludes. Released in a series of three-disc sets by Vox in one of the label’s mostambitious undertakings, these record-ings made the works available to a wideaudience at a bargain price. Now for thefirst time this complete set is availableon 12 CDs in new digital remasterings ofthe archival Vox tapes from sonicallyrestored analog masters—over 14 hoursof music, 196 works. Available from<Arkivmusic.com>. For information:< w w w . m u s i c a l c o n c e p t s . n e t / M C191.htm>.
The Library of Congress haslaunched an online Performing ArtsEncyclopedia to serve as a centralizedguide for exploration of the performingarts. It focuses on music, motion pic-ture, broadcasting, recorded sound,manuscript, rare book, and other non-book collections. The site is available at<www.loc.gov/performingarts/encyclopedia>.
Peterson Electro-Musical Prod-ucts has created three organ-relatedwebsites. <www.PipeOrgans.com> is a
Walter Kraft Bach works
Fratelli Ruffatti five-manual, 89-rank organ at Friendship Missionary BaptistChurch, Charlotte, North Carolina
Fratelli Ruffatti three-manual, 49-rank mechanical-action organ at Chiesa delSanto Volto, Turin, Italy
Fratelli Ruffatti has completed anew five-manual, 89-rank organ forFriendship Missionary Baptist Church,Charlotte, North Carolina, which fea-tures a 32 Contra Principal in the mainfaçade. Installation began in May andwas finished in mid-June; voicing contin-ued through September. The dedicationrecital was played by R. Monty Bennett,the church’s organist, on November 17.Ruffatti has also completed a three-man-ual, 49-rank mechanical action organ forthe Chiesa del Santo Volto, the co-cathe-dral of Turin, Italy, featuring 18 trackerruns and casework of European maple.
Also recently completed is therestoration of the oldest organ in Malta,built in the 16th century and attributedto Raffaele La Valle of Palermo, themost prominent organbuilder of theSicilian Renaissance. The organ, at theCo-cathedral of St. John in Valletta, hadbeen silent for more than 100 years. Thededication of the restored organ tookplace on December 5 with a recital byFrancesco Cera. Its restoration is thesubject of a DVD documentary pro-
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
duced by the Valletta RehabilitationProject and Fratelli Ruffatti. For infor-mation: <www.www.ruffatti.com>.
Allen Quantum at BYU
16th-century organ at the Co-cathedralof St. John, Valletta, Malta, restored byFratelli Ruffatti
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12 THE DIAPASON
sense to spend hundreds of thousandsof dollars on an organ that is hinderedby poor placement.
The organ should be placed where itcan be best heard, where it can bestlead, where its visual presence is mostinspiring. The placement of the consoleor keydesk should allow the organist aview of the choir, the altar, pulpit, cen-ter aisle—all the places in the buildingwhere things might happen that wouldaffect the player’s timing, response, andparticipation in the flow of worship.Also, the experience of the congregationcan be enhanced by their ability to seeand interact with the organist as a wor-ship leader. One church where I servedas music director had the organ consoleplaced in an awkward hole in the chan-cel floor, out of sight for most of thecongregation. There was a wonderfulwoman in the congregation who habitu-ally sat in the little area where eye con-tact with the organist was possible.Every time I started a hymn, she’d nodor shake her head to let me knowwhether or not she liked that one. It wasa ritual that I really enjoyed.
What’s Wright for one . . . Frank Lloyd Wright is revered for his
visual designs. But when touring hisbuildings, one is struck by their imprac-ticability. Houses have built-in severefurniture such as chairs with stiffupright backs and flat seats. BecauseMr. Wright abhorred clutter, hedesigned houses without closets.
on Italian and Spanish organs withdivided keyboard. (Some fabulous duoscan be played with a 16 in the righthand and a 4 in the left, or a Cornet inthe right hand and a reed in the left.)However, most of the preludes assumeone undivided keyboard. Not one workin Orgeleinbuch will require pedal. Thisfirst installment is Jerusalem, QuaeÆdificatur, op. 193, no. 1.
We visited Taliesin West, the archi-tecture school and enclave built byWright on the outskirts of Phoenix, Ari-zona. There we saw many examples ofWright’s imposition of his opinions onthose who would use his buildings. I wasparticularly impressed by the auditori-um, intended for performances ofmusic, with very dry and close acoustics,and permanently installed seats andmusic racks for the performers. As achurch musician, you might try that thenext time a brass quintet comes toplay—nail some chairs and stands to thefloor and see what reactions you get.
In my work with the Organ ClearingHouse, I am often involved in deter-mining the placement of an organ.Sometimes we are charged with placingan historic organ in a new location, andmust deal with the constraints of floorspace as it relates to the “traffic” of theleaders of worship. Sometimes we areconsulting with churches that are plan-ning new buildings, working with archi-tects to help see that the building willhave a good place for an appropriateorgan. Any organbuilder can tell warstories about working with architects—and I expect that many architects haveequivalent organbuilder stories.
Several years ago a church engagedme as consultant. They had completedand dedicated a new building and wereready to discuss commissioning a neworgan. Large gifts had been announcedto begin a fund, and I was told howtheir architect had prepared a place foran organ. The drawings showed a figu-rative organ façade on the wall of thechurch and a location for a console. Butthe façade was on an outside wall. Thearchitect showed some photos of organshe had copied from a book on liturgicalarchitecture that showed façade pipesin various artistic arrangements on thewall of a church. When I told him (infront of the organ committee) thatthere would necessarily be an eight- orten-foot deep room behind the façade,he admitted that he was not aware ofthat. I suppose the books to which hehad referred left out that part. Therewas simply no place in the room wherea pipe organ could be installed, and theparish was deeply disappointed.
A study of organ history allows usthree rules for good organ placement:
1. The organ should be in the sameroom in which it will be heard.
2. The organ should be as high aspossible on the center of the long axisof the room.
3. The organ should be in the samelocation as the choir and any othermusical ensembles that would ordinari-ly perform with it.
Rules are made to be broken. Theone about “the same room” is referringto organ chambers. Sound waves do notbend. They travel in straight lines. If anorgan is placed in a deep chamber onthe side wall of a chancel, most of thecongregation will necessarily be hearingreflected sound rather than directsound. Following my rule number one,this would be a recipe for an unsuccess-ful organ, but we’ve all heard wonderfulinstruments in situations like this.
Placing an organ as high as possibleon the center of an axis implies that theinstrument is either at the rear of theroom, or front and center. When com-bined with rule number three, placingthe organ in the back means that thechoir is in the back also. This is a classic,traditional situation shared by theThomaskirche in Leipzig and virtuallyall of the great churches in Paris. Butmany American congregations preferthe placement of the choir in the frontof the sanctuary where they can bedirect participants and leaders of theliturgy. St. Thomas Church on FifthAvenue in New York famously has theorgan placed in chancel chambers abovethe choir stalls. Attend Evensong thereand I promise you will not be distractedby the disadvantages of the placementof choir and organ.
Or walk two blocks east and threeblocks south to St. Bartholomew’sChurch on Park Avenue, where you willfind organs placed in the chancel, reargallery, and above the dome, all played
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Jerusalem, Quæ Ædificatur
From Das Orgeleinbuch by Leonardo Ciampa (Op. 193, No. 1)
Das Orgeleinbuchby Leonardo Ciampa (Op. 193)
Whereas Das Orgelbüchlein means“The Little Book for Organ,” DasOrgeleinbuch is “The Book for a LittleOrgan.” As much as I love a four-manu-al E. M. Skinner, I am equally thrilledwhen I play historic, one-manual organsin Europe. Sometimes the keyboardoffers only 45 notes. But what of it? Anarchitect once told me, “The hardestplot to design for is an unflawed perfectsquare.” Did not Michelangelo carveDavid out of a damaged hunk of mar-ble? (That’s why David is leaning slight-ly to one side.) In the same way, theseorgans need not be restricting—theycan be liberating.
However, what do you play on them?Since the time of Vierne, reams of“manuals only” music have been writ-ten. Unfortunately little of it is effective,if even playable, on these instruments. Iwas determined to fill this void, creatingmusic not constrained by these limita-tions but, instead, inspired by them.
The Orgeleinbuch runs the gamut ofstyles—fugues, chorale preludes, Gre-gorian preludes, and dance movements.The ecclesiastical preludes touch oneach of the major Christian seasons(Advent, Christmas, Lent, etc.), whilethe dance movements aren’t ecclesiasti-cal at all. Some preludes will be playable
In the wind . . .by John Bishop
Location, location, locationNear where I live there’s a long hill
with a sweeping curve on a two-laneU.S. highway. It’s often snow-covered,or worse, covered with black ice, thatspookiest of road conditions where asheet of invisible ice lurks to deceive theunwary. Just about halfway up the hillthere’s an auto body repair shop. WhenI drive by I wonder if the proprietorchose the site because it would take justa few seconds for him to get his towtruck onto the road. His location mustbe a primary source of his success.
When we place a pipe organ in achurch building, we should remind our-selves of this basic wisdom. Not that theorgan is preying on the unfortunate forits success, but that good placement issimple wisdom. It doesn’t make much
14 THE DIAPASON
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The book is a pleasure to use.Tables, pipe scales, and the like areclearly set out, and the illustrations,many of them in glorious color, are ajoy. Anyone interested in any aspect oforgans or organ music will treasurethis volume.
—W. G. MarigoldUrbana, Illinois
William Tortolano, A GregorianChant Handbook. GIA Publications,$7.95; 800/GIA-1358, <www.giamusic.com>.
I will always be grateful to a fellowgraduate student who in the aftermathof the Second Vatican Council gave mea copy of the 1929 edition of the Liberusualis. Sister Mary had the instinct ofthe sower who went forth to sow. “Iwant you to have these,” she explainedto the organists and musicologistsamong her acquaintances, “because theMother House is no longer going to usethe Latin rite. These books will bethrown away and I am afraid that thewhole tradition of Gregorian chant willbe lost in a generation. I am placingthem in the hands of people who willappreciate them.” Fortunately the inter-ruption of the tradition never became ascomplete as she feared.
Now William Tortolano, EmeritusProfessor of Fine Arts/Music at Col-chester College, Colchester, Vermont, alifelong specialist in Gregorian chant,has produced an introductory handbookfor the growing number of musiciansand congregations attracted to this vitalsource of Western music. His expertiseis so secure and the organization of thetext so sensible that the reader is accel-erated along the learning curve withremarkable ease. He presents a wealthof information without overwhelmingthe reader, because what is supplemen-tary is artfully subordinated to the mainmaterial. For instance, the first chaptertreats not only all the notes and signswith their Latin names, from scandicusresupinus to episema, but also offers apassing illustration of the neums in useprior to the introduction of the staff byGuido of Arezzo, and some introducto-ry comments on the research into Gre-gorian chant done by the Benedictinesof Solesmes in the nineteenth century.
Subsequent chapters deal with theeight modes and their associated charac-teristic motifs, and the psalm tones. Thechallenges of learning the latter promptin their turn a chapter dedicated to thebest use of modern notation and Englishtranslations to present Gregorian chant.One chapter is devoted to chironomy,the method of conducting chant.
Four chapters illustrate the history ofthe sung parts of the regular Mass andthe Requiem Mass, and introduce sometunes deemed accessible for congrega-tional singing. A thorough guide toLatin pronunciation (Italian model, notViennese) is appended. Always theauthor’s tone is practical and encourag-ing: “While some ordinaries are ratherdifficult . . . some are quite easy andaccessible for congregational singing.”Or again, “An ever-growing number ofparishes have funeral choirs, oftenmade up of retirees and others who aregenerally at home during the week.This is a wonderful ministry within theparish community.”
A brief description on the back coverdeclares: “While libraries contain schol-arly volumes on the history, develop-
from one console, accompanying thechoir seated in the chancel. Again, bro-ken rules lead to terrific sound.
The organ placed front and center ina church sanctuary is common enough,but it is often the source of discontent.The fair question is raised, are we wor-shiping the organ or the cross? Some-how, hanging a big cross in front of theorgan doesn’t help. Other parishes findthat the organ façade behind the altarprovides a magnificent inspiring archi-tectural background for worship.
The examples I’ve cited are all tradi-tional settings. The challenge today isthat contemporary styles of worship, var-ious new technologies, and new methodsof construction provide us with count-less situations where traditional stan-dards do not apply. If in the past, thearchitect and organbuilder would dis-cuss the concept of optimal placementof the organ in a building, now thosemeetings include sound and video con-sultants. Public address equipment andenormous video screens are becomingpart of church architecture, dominatingforward sight lines and conflicting withthe placement of the pipe organ. Shouldthe placement of microphones influencethe placement of a pipe organ in thehope that the sound of the organ will notbe carried by the P.A. system? What’snext? I suppose they will institute instantreplays with color commentary like atelevised football game. (That remindsme of Peter Schickele as P.D.Q. Bachand the Beethoven’s Fifth Sportscast.)Organbuilders will shake their heads,but, like wedding videos, these thingsare here to stay.
The hurrieder I go, the behinder Iget.
Technological advances make thingseasier for us. People of my parents’ gen-eration celebrated the introduction ofrefrigeration. My grandfather pointedout that his lifetime spanned travel byhorse-drawn carriages, the introductionof the automobile, mechanized flight,and men walking on the moon. I have alove-hate relationship with the computeron which I write this column, but don’tsuggest I should try to do without it.
I have friends who resist new tech-nologies. One says he’ll never own a cellphone, one doesn’t even own a tele-phone answering machine. It’s veryhard for me to be in touch with thesepeople because my acceptance of cellphones, fax machines, and e-mail leavesme impatient. The seven seconds ittakes for a document to open on thecomputer can seem like a long time. ButI suggest that as we accept all thesethings and put them to use, we need topay attention to their effect on our lives.Just because we have a cell phone in ourpocket doesn’t mean we have to answerit if we’re talking in person with a friend(a recent newspaper etiquette colum-nist fielded a question about cell phonesin public restrooms). Or we ask if any-one really believes that video games areenhancing the intellectual developmentof our children.
Enrico Caruso made quite a name forhimself without the use of microphones.
I doubt that the operas of Mozart or theplays of Shakespeare would havebecome so popular if their contempo-rary audiences couldn’t understand thewords. The dramas of Aristophanes(448–380 BC), Euripides (440–406BC), and Sophocles (496–406 BC) wereenhanced by glorious amphitheaterswhose acoustics would baffle the bestmodern audio consultant. Ten years agoI restored an organ for a small church inLexington, Massachusetts, whichenjoyed the legend that “Emersonpreached here.” How did the congre-gants hear him without the tinny P.A.system on which they now depend? Orhow did Phillips Brooks make such aname for himself preaching in the cav-ernous Trinity Church on CopleySquare in Boston without electronicenhancement—or without a jumbo-tron, for goodness sake? I just don’tbelieve they couldn’t be heard.
We ask the simple question, whycan’t we build buildings like theamphitheaters in Delphi or Athens orthe grand stone churches of Paris? Sim-ple answer—too expensive. A high ceil-ing means better acoustics (this doesn’tapply to amphitheaters!), but a modernbuilding contractor can tell you the costof each additional foot of ceiling heightin a public room. We seat 400 people ina room with a 20-foot ceiling and softwalls, add carpeting and cushionedpews, and we get acoustics similar tothose of our living rooms at home.
In order to be able to hear, we createartificial acoustics—microphones forspeakers and singers and digital 32stops so we can pretend we’re in a “real”building. I’m not suggesting the aboli-tion of technology in worship. As I saidearlier, it’s here to stay. I am suggestingthat we consider its use and effect onwhat we do. If we are installing publicaddress equipment, let’s be sure it’s ofgood quality, well installed, and that weknow how to use it. Where’s the dignityof public worship if the opening wordsare “testing, testing . . . ” or the ubiqui-tous call that defines the early 21st cen-tury, “Can you hear me?”
What does this have to do with organplacement? Plenty. Among the design-ers, consultants, and contractorsinvolved in the creation of a new churchbuilding, the organbuilder is likely to bealone in making an effort to filter the listof conflicting technologies. This canmean that the organbuilder is perceivedto be backwards, resisting change,insisting that the old ways are best. Avisitor to an organ shop might note thebeauty of old-world craftsmanship, butthat same visitor might find the organ-builder to be old-fashioned as hedefends proper placement of the organin a committee meeting.
Good organbuilders are informed bythe past. They study the work of theirpredecessors and try to emulate themin their work. And organbuilders areamong the strongest proponents of theway things ought to be made and theway things used to be made better.Take a look at a handful of woodscrewstaken from an organ built in 1860 or1915 and you’ll forever disdain the dull-
threaded, shallow-headed, crooked-shafted, out-of-center junk they sell atHome Depot. But we don’t makefriends of the architects, the acousti-cians, the audio consultants, or themembers of the organ committee if weare known for disdain of things modern.I don’t mean we have to accept micro-phones without question, and I certain-ly don’t mean we have to incorporatevideo screens in our organ façades.
We should look for any opportunityto inform or enlighten our clients aboutthe factors that lead to a successfulorgan installation. We should encouragethe design and construction of buildingsthat enhance sound rather than absorbit. And we should always be looking forbalance between the ancient world thatfostered our craft and the modern worldin which we live. �
RONALD CAMERON BISHOPConsultant
Pipe OrgansDigital EnhancementsAll-digital Instruments
8608 RTE 20, Westfield, NY 14787-9728Tel 716/326-6500 Fax 716/326-6595
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Atlanta, GA 404.931.3103 Coulterorgans.com
Book Reviews
Dulce melos organorum: FestschriftAlfred Reichling zum 70. Geburts-tag, edited by Roland Behrens &Christoph Grohmann. GdO 2005(Gesellschaft der Orgelfreunde,Mettlach, 2005). 571 pages;<www.gdo.de>.
This volume is the annual gift of theGesellschaft der Orgelfreunde for itsmembers and, at the same time, aFestschrift for Alfred Reichling, presi-dent of the Society from 1973–1998and a noted organ historian and musi-cologist. The contents include 114 illus-trations, many of them in color, and 31articles of varying length. In additionthere are the tabula gratulatoria andindexes of authors, names, places,organ specifications, and the addressesof contributors.
The articles make available reportsfrom numerous trips of the Gesellschaft.As examples one may list a fairly longarticle on the Frankfurt builder Macran-der, by Martin Balz; “The Organ Historyof an English Village Church,” by HilaryDavidson (the only article not in Ger-man); “Beiträge zur Orgelbaugeschichtevon Mafra (Portugal),” by GerhardDoderer; “Die OrgelbauerfamilienKönig in Ingolstadt, Münstereifel undKöln,” by Hermann Fischer/TheodorWohnhaas; and “Der OrgelbauerJohann David Sieber,” by Ji í Sehnal.
Numerous articles are devoted totypes of organs (“Bemerkungen zu denKleinorgel-Typen Portativ, Regal, Posi-tiv,” by Rudolf Walter), and organ loca-tion (“Vom Hängen und Schweben. Aus-gewählte Schwalbennestlösungen derWerkstatt Klais,” by Philipp C. A. Klais).There are several articles on composers(notably Reger), and types of composi-tions (“Das Et in terra pax im BuxheimerOrgelbuch,” by Franz Körndle).
I am tempted to say that every aspectof organ history and construction,organbuilding, and organ music is atleast touched upon. American andBritish readers should remember thatthe articles reflect tours of theGesellschaft, which are almost exclu-sively limited to the Continent.
The honoree, Alfred Reichling, isnoted for his Bach scholarship and for hiscomprehensive knowledge of organ his-tory, with emphasis on the age of Bach.He will surely have appreciated this finetribute, a tribute that reflects so muchthe life and work of Reichling himself.
FEBRUARY, 2007 15
ment, interpretation, and various theo-ries of Gregorian chant, this book is aprimer that brings the reader to theexperience of basic chant performanceand is a stepping-stone into the world offurther chant study.” A thoughtfullyannotated bibliography facilitates such aprogress. Speaking of the many bookson chant written prior to Vatican II, itsays, “These can be found in libraries,antiquarian bookstores, and even oldcabinets in the back of choir lofts!”
—Gale KramerAnn Arbor, Michigan
Mary Jane and David Sursa Performance Hall
Ball State UniversityMuncie, Indiana
Opus 5 • 006 ranks • 51 stops
823 Massachusetts Avenue • Indianapolis, IndianaVoice: 800.814.9690 • Facsimile: 317.637.5236
www.gouldingandwood.com
New Recordings
Sigfrid Karg-Elert: The CompleteOrgan Works, Volume 1. StefanEngels, organ. The Späth organ ofSt. Georgskirche, Riedlingen, Ger-many. Priory Records PRCD 816<www.priory.org.uk>. Availablefrom the Organ Historical Society
($16.98 plus shipping), 804/353-9226, <www.ohscatalog.org>.
Triptych, op. 141: Legend, GregorianRhapsody, Marche Pontificale; SursumCorda, op. 155, no. 2; A Cycle of EightShort Pieces, op. 154: Introitus, Gagliar-da, Melodia Monastica, Aria Semplice,Appassionata, Canzona, Toccatina,Corale; Prelude in C, W74; Partita Ret-rospettiva III, op. 151: Phantasie, Dialo-go, Minuetto, Finale.
Sigfrid Karg-Elert (1877–1933) hasrarely been accorded the prominence hedeserves as Germany’s leading impres-sionist composer of organ music. PrioryRecords is therefore to be congratulatedfor taking the initiative in issuing a set ofrecordings of his complete organ works.Karg-Elert wrote extensively for theorgan, and this project will therefore bea considerable undertaking. StefanEngels seems an excellent choice as theplayer for the first disc, and so does theorgan of the Georgskirche in Riedlingen,a warm Romantic-Symphonic style 3/68mechanical-action instrument built byHartwig Späth (Freiburger Orgelbau) in
1997. It is built very much in theRomantic style, and with a beauty andtone palette reminiscent of the 19th-century instruments of builders likeWalcker, Steinmeyer and Reubke, theinstrument is thus an ideal medium forKarg-Elert’s music.
The Triptych was dedicated to thethree conveners of the first LondonKarg-Elert Festival of 1930. The firstmovement, Legend, is a work of manycontrasts, both of tempo and of dynamiclevel. Its harmonic texture is full ofwarmth with the occasional moments ofexcitement. The Gregorian Rhapsodythat follows is more ebullient in its char-acter, although again it shows many con-trasts in its tone color and dynamic level.In spite of its name it does not includeGregorian melodies, although it is some-what modal in character. The motif B-A-C-H features in the main theme. After asoft fugal section in the middle it buildsup to a climax before ending on a qui-eter, somewhat mysterious note. Thefinal movement, the Marche Pontificale,sounds, as the leaflet observes, as if it
was written in order to be as different aspossible from Widor’s composition ofthe same title. One almost wonders ifKarg-Elert intended the piece as anirreverent lampoon of ecclesiasticalpomp. Its beginning is surprisingly calmand sedate for a march, but as it devel-ops it takes on a character that is bothplayful and lyrical, and then builds up asthe main theme, the chorale SchönsterHerr Jesu, is introduced and developed.
The charming Sursum Corda is thesecond of Karg-Elert’s Cathedral Pre-ludes of 1932, op. 155, although unfortu-nately the first is thought no longer toexist. The score of Sursum Corda itselfwas only recently rediscovered in a base-ment in Boston. The calm beginningmakes good use of the Vox Humana andof the abundant strings on the Späthorgan, after which there is as in so manyof Karg-Elert’s works a progression to aclimax followed by a return to the earli-er calm at the end. The Sursum Corda isfollowed by A Cycle of Eight ShortPieces for Organ, op. 154, another set ofKarg-Elert’s later works for the organ. It
16 THE DIAPASON
In the chorale prelude on O Menschbewein the ranks composing the Cornetgive out the highly ornamented melody,Malcolm Archer showing his skill inconveying the highly charged spiritualdimension to this work, all the orna-ments again being neat integrations intothe melodic line. The Prelude andFugue in E-flat is also well played; in thePrelude the contrasted choruses displaytheir own charm, and the final Fuguefinishes most magisterially, despitebeing taken at quite a pace. The pedalBassoon provides plenty of weight herein the final bars.
The booklet contains informationabout the performer, composers, andthe pieces, as well as a brief introduc-tion to the organ with a good colorphoto on the cover; it would, however,have been nice to have had a list of reg-istrations provided. The playing is gen-erally of a high standard showing aware-ness of the historical performance prac-tice of the period, and the chosen regis-tration in particular shows that it is pos-sible to overcome the apparent lack ofcertain stops and tone colors (perhaps a16 Open Diapason in the Pedal wouldhave been a great advantage) by a care-ful approach and judicious selection,although it is a pity that both of the Eng-lish voluntaries were for Trumpet—oneasks why one of the delightful Cornet orFlute Voluntaries was not included. At66 minutes the CD may be consideredon the short side, but the quality out-weighs this. It is recommended listen-ing, and hopefully will inspire thoseorganists who preside over more modestinstruments that there is a large reper-toire that can be presented successfully,providing that the voicing is of the stan-dard achieved here by Woodstock.
—John CollinsSussex, England
Music from the Second Empire andBeyond. Jesse E. Eschbach, organ-ist. Raven, OAR-660, <www.ravencd.com>.
Jacques-Nicolas Lemmens, Prélude[in E-flat Major]; Alexandre-CharlesFessy, from Manual de l’Orgue: Premierprélude avec pédale à 2 pieds obligée[Marchand], Deuxième prélude sur lesplains jeux avec pédale à deux pieds,Prélude avec pédale obligée, Préludeavec pédale obligée [Fugue, grand-choeur]; Edouard Batiste, transcriber:from Deux Marches Funèbres, op. 16:Marche en si-bémol mineur (Chopin,op. 35); César Franck, Deuxième Choralen si mineur; Jacques-Nicolas Lem-mens, Sonate Pontificale: Marche Pon-tificale, Fugue Fanfare; Nicolas-Mam-mès Couturier, Prélude et Fugue [en UtMajeur]; César Franck, Fantaisie en UtMajeur (version 2); Eugène Gigout,Grand Choeur Dialogué.
Jesse Eschbach, chair of the keyboardstudies division for the College of Musicat the University of North Texas, hasestablished a firm reputation as a scholarof French organs and organ music.Known and respected for his scholar-ship, Dr. Eschbach has recently releaseda book entitled Stoplists of AristideCavaillé-Coll, a valuable resource in
becomes less Bach-like and reverts toKarg-Elert’s own characteristic style.This manner of incorporating 200 yearsof compositional development in a singlework recalls the Poulenc Organ Concer-to. The work, and the recording, endswith a massive climax.
This is an excellent recording, whichI thoroughly recommend. I hope thatthis series of compact discs will dosomething toward rescuing some ofSigfrid Karg-Elert’s organ music fromthe obscurity that it has for too longendured.
—John L. SpellerSt. Louis, Missouri
Sounds of Fotheringhay: MalcolmArcher plays the Vincent Woodstockorgan at St Mary and All SaintsChurch, Fotheringhay. LammasLAMM191D. TT 66:44; <www.lammas.co.uk>.
The 14 tracks on this CD includepieces by English, French, German,and Dutch composers covering the 16thto 18th centuries, chosen to show off theversatility of the small 2-manual organby Vincent Woodstock in FotheringhayChurch. Installed in 2000, the organ hasmechanical action and 15 stops on itstwo manuals and pedal: the Great hasan Open and a Stopped Diapason and aDulciana at 8 , Principal, Fifteenth, 4-rank Mixture, and Trumpet; the Swellhas 8 and 4 flutes, Nazard, 2Gemshorn, and Tierce, which togetherform a Cornet; the Pedal has Bourdon,Bass Flute, and 16 Bassoon, with theusual couplers.
The first track is the Sonatina in Dminor by Christian Ritter, which, likeworks of his contemporary Buxtehude,combines free sections sandwiching afugue. Malcolm Archer captures theimprovisatory rhapsodic atmosphere ofthe freer sections most impressively.(The CD notes err in stating that onlytwo organ pieces by Ritter are known:first, the Suite in F# minor mentioned isfor harpsichord, and second, there is afurther Suite in C minor that has sur-vived). The next two tracks are Englishvoluntaries from the 18th century. JohnStanley’s Voluntary in D major, op. 6,no. 6, features a perky Trumpet move-ment as the second of its four move-ments. The opening Adagio displays thewarm tones of the Diapason, and in thethird and fourth movements—a furtherAdagio for Swell, and an Allegro markedoriginally as a dialogue between theEcho Division and Flute—MalcolmArcher selects stops appropriate to con-vey the spirit of the music, the originalsuggestions not being available. Thenext voluntary is here ascribed to John
Travers, but is not from the collectionprinted after his death, rather from an18th-century anthology containingpieces composed, according to thecover, by “Dr Green and Mr Travers,”but without specific pieces being allot-ted to each composer. Another Trum-pet Voluntary in two movements, againthe bars intended as a Trumpet echo aretaken by the Swell. In both these piecesthe articulation is not always as sharp asit could be, neither are all the markedornaments played. The Trumpet is closeto an 18th-century English Trumpet inits gentler tone, commanding withoutbeing shrill in the upper octave.
The following four movements byFrançois Couperin are taken from hisMesse pour les Couvents. The Plein Jeushows off the transparent voicing of thechorus, and the Fugue sur la Trompettegives another opportunity to savor thetone of the stop in a movement in whichMalcolm Archer shows a neat approachto the notes inégales. The highlight ofthe set is the Tierce en Taille, in whichthe Swell stops making up the Cornetshow a refined nasal quality, quieterthan the classical stop of the name, butstill effective. Couperin’s compositionalskill is amply matched here by Archer’sinterpretational skill, and the Dialoguesur les grands jeux forms a worthy clos-ing movement to this group.
These are followed by an attractiveperformance of Sweelinck’s four varia-tions on Unter der Linder Grüne, withthe phrasing nicely pointed by cleararticulation, especially in the lively righthand passagework with its runs in sixths.Also most effective on this recording isthe cumulative registration, startingwith 8 Stopped Diapason, adding Fif-teenth in the second and third varia-tions, and then the Principal for thefinal. Buxtehude is represented by threepieces. A reflective performance of theCiacona in E minor contains lighter reg-istration for some of the passages, andthe staccato treatment of the dactylicrhythmic figures contrasts well with themore generally applied legato. The twochorale preludes on Ein feste Burg andKomm, heiliger Geist both present themelody in a highly ornamented form inthe right hand, the first being given outon the trumpet, the second on a fluecombination. Both are well played andcapture the spirit of the work, withexcellent balance between the solo voic-es and the accompanying left hand andpedal, each of which can be clearly dis-tinguished. The ornamentation is wellplayed, sounding integral and impro-visatory, and never merely mechanical.
The CD closes with three well-knownpieces by Bach, the Fugue a la giguebeing played with some vigor on 8 to 2 .
was probably written with his 1932 Unit-ed States tour in mind and dedicated tohis daughter Katharina who accompa-nied him on the tour. The structure ofthe cycle is interesting. The eight piecesare in four pairs, written in such a waythat the first half of each pair flowssmoothly into the second. Each memberof each of the pair contrasts sharply withthe other, but in a way in which eachseems to complement rather than tosubvert the other. Of particular interestis the vigorous, arpeggiated Appassiona-ta, reminiscent of Mendelssohn in itsextensive use of minor thirds, whichleads into a warmly textured march-likeCanzona. Also of interest is the bubblingscherzo-like Toccatina leading to a mas-sive and majestic Corale.
The Prelude in C is a charming minia-ture that forms one of the ten sketchesposthumously collected and publishedby Karg-Elert’s English friend and biog-rapher Godfrey Sceats as A SecondSketch Book in 1951. The silvery tones ofthe soft chorus stops and the gentleflutes of the Späth organ are particularlyeffective here. The Partita Retrospetti-va, op. 151, was dedicated to Karg-Elert’s most loyal of friends, Ernest M.Skinner. When Karg-Elert came on his1932 tour of America he was already adying man, and his organ playing was inconsequence a pale shadow of what ithad once been. Skinner’s sympatheticand enthusiastic support did much torescue what was otherwise a disastrousrecital tour. What is Retrospettiva aboutit—that is, retrospective or looking backto earlier times—is that the suite incor-porates a number of compositional tech-niques and styles from historic com-posers, particularly from the classicalperiod. The ability to write in many dif-ferent styles was indeed a particular tal-ent of Karg-Elert, in which he had some-thing in common with his Italian con-temporary Ottorino Respighi. Particu-larly effective is the way that the lovelyharmonic flutes of the Späth organappear answering one another in contra-puntal elegance in the second move-ment, the Dialogo, subtitled “Homage toJ. C. Bach,” a piece that is quite charm-ing in its classical simplicity. By contrastthe Minuetto which follows is in a muchmore 20th-century idiom, with rich tex-ture and harmonies reminiscent at timesof Gershwin. It ends rather suddenlywith a whimsical soft 32 foot pedal solobeneath the manual strings. The toccata-like Finale is clearly intended as Karg-Elert’s homage to J. S. Bach, with its vig-orous pedal solos and manual flourishesinterspersed with softer passages. Thelast line of chorale, Wachet auf, ruft unsdie Stimme, appears as a motif at theend, at which point the movement
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FEBRUARY, 2007 17
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hear the liquid combination of flutes,bourdons, salicionals, and the Récit Bas-son-Hautbois, but it also introducesthree of the other reed stops on thisorgan—the Positif Cromorne, theGrand-Orgue Clarinette, and Récit CorAnglais, the latter two of which are freereeds. Each of these stops has a charm-ing and unique character.
Eschbach’s playing of César Franckon this recording is one of those rareunions of a superb organ and musician.It is here that the player’s love forCavaillé-Coll organs and the literatureof 19th-century France is joyously man-ifest. Many listeners will be interestedin hearing the seldom-heard secondversion of Franck’s Fantaisie in CMajor, which Eschbach speculates isthe version that people heard at theinauguration of the Saint-Sulpice organin 1862. This version has been availablesince 1980, published by the Germanpublisher Robert Forberg Musikverlag.Eschbach’s sense of phrasing through-out this work is natural and elegant, andhis playing of the concluding Adagiocontains an almost prayer-like quality.
Little-known composer Nicolas-Mammès Couturier, organist at theLangres cathedral for 56 years, is repre-sented by his manualiter Prelude andFugue in C Major, which demonstrateshis contrapuntal style used even at theend of the 19th century. The recordingconcludes with a spirited rendition of
Eugène Gigout’s Grand Choeur Dia-logué, which demonstrates the organ’sblazing tutti. Eschbach’s rhythmic pac-ing of this work is rock solid and per-fectly paced.
This is a first-class recording and anabsolute must for any serious organ stu-dent—particularly connoisseurs of 19th-century French organ music. Much ofthe music on this recording is not part ofthe mainstream organ repertoire, yet it isa telling example of organ literature dur-ing the mid 1800s. Eschbach’s playing ismusical, informed, and a perfect com-plement to this music. He has writtenfine program notes and also provides aninformative description of the organ andits stoplist. The fine organ, playing, andmusic will assure this recording’s statusas a collector’s item for years to come.
—David C. PickeringGraceland University
Lamoni, Iowa
The Eastman Italian Baroque Organ.Hans Davidsson [Frescobaldi andRossi], David Higgs [Zipoli, Scarlat-ti, Gherardeschi], William Porter[Quagliati and Pasquini], organists.Loft LRCD 1077, <www.loft.cc>, orfrom Gothic Records, <www.gothicrecords.com>.
Frescobaldi, Toccata Quarta (LibroII), Bergamasca (Fiori Musicali); M.Rossi, Toccata Quarta, Toccata Settima;
Zipoli, All’Offertorio, All’Elevazione II,Al Post Communio, Pastorale (Sonatad’intavolatura); D. Scarlatti, Sonata inC Major, K.255; Gherardeschi, Sonataper organo a guisa di banda militare chesuona una marcia; Quagliati, Toccatadell’Ottavo tuono [1593], Canzoni II,XV (Ricercari e canzoni [1601]); Pasqui-ni, Ricercare con la fuga in più modi.
Performed by three of the Eastmanfaculty, this recording of “the only full-size Italian Baroque organ in NorthAmerica” is an aural portrait presentinga wide range of Italian organ music andshowing off the many splendid colorsof this historic instrument. With four-teen stops over its single manual andpedal, the organ is a reasonably good-sized 18th-century instrument, discov-ered in a Florentine antique shop,restored, and now housed since mid-2005 in the University of Rochester’sMemorial Art Gallery.
The Frescobaldi Toccata that opensthe program displays the warm, sensu-ous Voce umana, and the succeedingBergamasca and Rossi Toccate providea sampler of the many combinationspossible from the organ’s disposition.(The ending of Rossi’s Toccata VII is anilluminating if slightly ear-bendingexample of the results produced by thecombination of highly chromatic writingand meantone tuning.)
Zipoli’s Post Communio provides ataste of the flute registers, while the
researching the organs of this pivotalorgan builder. His present recordingspans organ music of the SecondEmpire in France, the period of govern-ment from 1852–1870 established byNapoléon III, nephew of NapoléonBonaparte. The instrument featured onthis recording is the 1857 Cavaillé-Collorgan at the Cathédrale Saint-Jean inPerpignan, a city located in southernFrance. Unfortunately, this organ, likemany other French organs, did notescape the “additions” and “improve-ments” made by those associated withthe organ reform movement during theearly 20th-century. In 1929–1930, Mau-rice Puget expanded the organ’s originalcompass, added new stops, and enclosedthe Positif division. Thankfully, in 1990Jean Renaud restored the organ to itsoriginal 1857 condition, complete withmechanical action, original wind pres-sures, voicing, and removing Puget’sadditions. The voicing of both founda-tion and reed stops, numerous solo reedregisters (Cor Anglais, Cromorne, Bas-son-Hautbois, Clarinette), and harmonicflutes at 8 , 4 , and 2 pitch help yield anorgan that is a telling example of Cavail-lé-Coll’s work from the 1850s.
There exists on this recording someinteresting repertoire by composersboth familiar and unfamiliar, whichdeserves to be better known. For exam-ple, many organists associate the nameJacques-Nicolas Lemmens only with hisFanfare in D Major and his well-knownorgan method. One of the loveliestpieces on this recording is from thisorgan method, the Prelude [in E-flatMajor]. This work features the 32 , 16 ,8 , 4 foundation stops, providing a vel-vety tonal palette that washes over thelistener. Lemmens composes a rivetingmodulation to G-flat major abouthalfway through the work that rivals thearresting modulation E-flat minor to F-sharp minor found later in the recordingin the Franck B-minor Choral. TheLemmens Prelude would serve as awonderful opening selection on anorgan recital.
Two movements from Lemmens’less-known Sonate Pontificale alsoappear on this recording. The thirdmovement, entitled Marche Pontificale,contains an energetic, march-like rondotheme that appears throughout themovement. Organists looking for a newprocessional or uplifting postlude willfind this work rewarding for both playerand audience. The third movement,entitled Fugue Fanfare, whose fuguesubject does indeed evoke a fanfare-likequality, demonstrates Lemmens’ skillsas a contrapuntist.
The name Alexandre-Charles Fessywas previously unknown to this review-er. Eschbach notes that Fessy, who wasoriginally organist at La Madeleine inParis, was “transferred” to Saint-Roch,Paris after Lefébure-Wély’s stunninginaugural recital of the Madeleine organin October 1846. The four preludes onthis recording are part of an organmethod that Fessy wrote in the mid-1800s. The first prelude is actually thewell-known double-pedal Plein Jeu byLouis Marchand found in his PremierLivre d’Orgue. The French classic PleinJeu registration sounds right at home onthe Perpignan Cavaillé-Coll, illustratingthe fact that the romantic period organsof Cavaillé-Coll were indeed an out-growth of the French Classic organsthat preceded them. The second andthird preludes by Fessy sport conserva-tive harmonic language and figurationsrelating more to the classical era than tothe middle romantic period in whichthey were composed. The fourth pre-lude, a fugue, calls for a Grand Chœurregistration, a descendant of the Frenchclassic Grand Jeu. This prelude openswith a simple, yet catchy fugue subjectthat pervades the entire piece.
Eschbach treats the listener to a per-suasive and moving account of Chopin’sfamous funeral march in B-flat minor.This work, transcribed by Antoine-Edouard Batiste, former organist atSaint-Eustache, exemplifies the manytranscriptions that organists playedthroughout 19th-century France. Notonly does this work allow the listener to
Pastorale adds the piquant flavoring ofthe Tromboncini in a perhaps tongue-in-cheek imitation of a shepherd’s bag-pipes. Like many contemporaneousItalian and revolutionary French com-positions, the Sonata . . . di banda mil-itare provides all the “glorious” effectsof a military band on parade, with ripi-eni and tromboncini on full display andthe warbling uccelliera providing anavian background.
The Quagliati and Pasquini worksbring back the simple, limpid flute regis-ters, with the Pasquini also providing anopportunity to hear the beauties of thePrincipale 8 on its own.
All three performers display an affini-ty for the instrument and literature alike.An opportunity to see, hear, and, per-haps, play this organ should impel manya visit to Rochester.
—G. Nicholas BullatRiver Forest, Illinois
The Great Organs of First Church,Vol. 2, David Goode, organ.Gothic Records G 49223, $14.95<www.gothicrecords.com>.
Improvisation: Fanfare on FCCLA;Wagner (arr. Lemare): Overture to DieMeistersinger; Howells: Master Tallis’sTestament; Copland (arr. Fesperman):Passacaglia; Buxtehude: Fantasia onWie schön leuchtet der Morgenstern; deGrigny: Récit de tierce en taille, Fugue,Dialogue sur les Grands Jeux; Fres-cobaldi: Toccata avanti il Ricercare,Canzona dopo l’Epistola; Purvis:Greensleeves; Bach: Vater unser imHimmelreich, BWV 682; Thalben-Ball:Elegy; Goode: Concert Fantasy onThemes by Gershwin.
What is billed as “The World’s LargestChurch Organ” in the First Congrega-tional Church of Los Angeles began as amodest E. M. Skinner instrument ofsome 58 ranks. It has been increased to346 ranks over some 19 divisions. A fea-ture of the booklet is that each of the 14selections played in the recording isgiven a notation as to which part of theinstrument is used: “On the WholeOrgan,” “On the Italian and Musicians’Gallery Organs,” etc. Five of the piecesuse the entire instrument.
The original Skinner is heard in How-ells’ Master Tallis’s Testament, deGrigny on the Schlicker Gallery Organ,and so on. The Récit de tierce en taille isserene and beautiful. Frescobaldi is gen-tle and persuasive. David Goode lets themusic speak for itself throughout thisestimable disc. Purvis’s Greensleeves andThalben-Ball’s familiar Elegy haveromantic sweep and sound—Doctorwould have been pleased.
The final selection, played on (youguessed it) THE WHOLE ORGAN, isGoode’s Concert Fantasy on Themes byGershwin. It features some wild sounds,approaching in places, dare I write, aMighty Wurlitzer! Here are 79 minutesof pieces musically played throughout—a most enjoyable recording.
On a Sunday Afternoon, Vol. 2,Washington National Cathedral,Gerre Hancock, organist. JAVRecordings JAV 144, $18.95, <www.pipeorgancds.com>.
Victimae Paschali Laudes (improvisedversets); Bach: O Wither Shall I Flee,BWV 646, Art Thou, Lord Jesus, fromHeaven to Earth Now Descending, BWV650, My Soul Doth Magnify the Lord,BWV 648; Sowerby: Canon, Chaconyand Fugue; Improvisation on SubmittedThemes: A Symphony.
The first few minutes of this disc con-sist of improvisations on VictimaePaschali Laudes with alternating versessung by the men of the Cathedral Choir.To write anything about how well GerreHancock improvises for the augustreadership of this magazine will be
rather like preaching to the choir. If youdon’t know by now, Honey, as Virgilwould have said, you simply have notbeen paying attention! This programwas recorded live, but congregationnoise is minimal.
Three Schübler Chorales follow the“Victimae,” and Sowerby’s Canon, Cha-cony and Fugue is played with Gerre’sexpected style and élan. A symphonicimprovisation of nearly 29 minutes occu-pies the second half of this splendid pro-gram. A useful feature is that the themesused during the four movements areprinted in the accompanying booklet. Itis wonderful playing, and we are fortu-nate to have it available to hear againand again.
Philadelphia Gothic, Joseph Jack-son, organist. The First PresbyterianChurch in Philadelphia, Möller/Reuter organ. Direct-to-TapeRecording Co. DTR2011, 856/547-6890, <www.dtrmusic.com>.
Liszt: Klagen, Sorgen, Zagen, Liebe-sträume; Whitlock: Fantasie Choral No.2 in f-sharp; Yon: March Pastorale(Shepherds’ March); Karg-Elert: Sym-phonic Chorale op. 87/2 (Jesu, meineFreude).
This instrument contains over 90ranks, and produces a most effectivesound under Joseph Jackson’s imagina-tive playing. Two massive compositionsare played at the beginning and the end:Liszt’s Variations on Weinen, Klagenand Karg-Elert’s Symphonic Chorale on“Jesu, meine Freude.” We do not hearthese monumental works enough, sohere is an opportunity to hear themsplendidly played again and again.
In between are an interesting FantasieChoral No. 2 by Percy Whitlock, PietroYon’s Marche Pastorale—just the ticketfor your Christmas Eve recital, and aversion of Liszt’s Liebestraum No. 3.The Karg-Elert, by the way, concludeswith an extremely difficult fugue, excit-ingly played.
Historic Organs of Connecticut,Organ Historical Society OHS-94, 4CDs for $29.95 plus $7 shipping,<www.ohscatalog.org>.
This wonderful bargain, recordedduring the 1994 convention, features35 organs, 44 compositions, 10 hymnssung by the attendees, and 38 perform-ers! Instruments range from tiny one-manuals to the Yale Woolsey Hall Skin-ner. The package includes a 32-pagebooklet with stoplists and photos ofeach instrument.
50 Years of the Crouse Holtkamp,Syracuse University, SUR-1012.Available from the Organ Histori-cal Society ($14.98 plus shipping),804/353-9226, <www.ohscatalog.org>.
The importance of this instrumentderives in large part from the organteaching that has been done on itthrough the years. Performers here arethe legendary Arthur Poister (Bach: Pre-lude & Fugue in E-flat, BWV 552;Franck: Pièce héroïque) and subsequentteachers Will Headlee (de Grigny: Récitde Tierce en taille; Dupré: Cortège etLitanie), Donald Sutherland (Scheidt:Cantio sacra Warum betrübst du dichmein Herz), David N. Johnson (Improvi-sation in Baroque Style [Passacaglia]),Katharine Pardee (Duruflé: Choral variésur Veni Creator, op. 4), and Christo-pher Marks (Messiaen: Alléluias sereinsfrom L’Ascension). Recordings of thenine selections date from 1965 to 1999.Notes on the music, a history of theorgan, and brief bios of the performersare included. Hundreds of past organstudents should obtain this recording toremind them of the good old days!
–Charles Huddleston HeatonPittsburgh, Pennsylvania
Heinrich Scheidemann, CompleteKeyboard Works Part 2: 8 MagnificatCycles, edited by Klaus Beckmann.Schott ED 9729, €34.95.Heinrich Scheidemann, CompleteKeyboard Works Part 3: Free OrganWorks, edited by Klaus Beckmann.Schott ED 9730, €26.95.
Heinrich Scheidemann (c1595–1663)was one of the leading composers of theNorth German school who studied withSweelinck in Amsterdam, becomingorganist at the Katherinenkirche inHamburg. These are the remaining twovolumes devoted to his organ works,edited by Klaus Beckmann and pub-lished by Schott in the Masters of theNorth German Organ School series.
The second volume contains worksbased on the Magnificat. There are, infact, nine settings—seven are attributedto Scheidemann in the source, that onthe seventh tone is anonymous butaccepted as being by Scheidemann,while Beckmann argues that the finalone, an imposing one-movement secondsetting on the eighth tone, may well beby Franz Tunder, organist at theMarienkirche in Lübeck from c1641–67.
Apart from the setting on the eighthtone mentioned above, Scheidemanncomposed four verses for each tone, inthe Hamburg tradition of his predeces-sor Hieronymous Praetorius, but with areduction of voices from five to four andthe introduction of echo effects. Giventhat the Magnificat actually contains 12verses, it is seemingly unclear as to howthe organ was interpolated into the can-ticle, but certainly the choir must havesung groups of verses.
In the settings of the first verse, thecantus firmus is heard in half notes in thebass in four tones (3rd, 4th, 6th and 7th),decorated in the bass in the fifth tone,and plain in the tenor in the others. Thefirst verses occupy about 30 bars, andonly in the sixth tone does 16th-note pas-sagework disturb the smooth flow ofquarters and eighths. Pedals are advis-able, but careful consideration couldlead to a manualiter performance.
The second verse is normally in theform of a choral fantasia requiring twomanuals and pedal and is the longest andmost interesting of the four. Most set-tings run to over 100 bars and includemuch 16th-note figuration, passages inquarter- and eighth-note triplets, andecho effects as phrases switch betweenRückpositiv and Organo, requiring nim-ble and controlled fingerwork. Some-times passages are repeated from onemanual to another, at other times theyoverlap as in the first tone. The writingin bars 145–152 of the third tone (verysimilar to bars 30–34 of Tunder’s choralefantasia on Christ lag in Todesbanden)demands particular dexterity!
The settings of the third verse arequite varied in their structure, rangingfrom 62 bars in the fifth tone to 117 inthe second; only that of the seventh tonespecifies two claviers and pedal, but allrequire pedal, ranging from a continuo-style bass (as in the sixth tone) to givingout the cantus firmus (fifth tone). High-ly decorated passagework and tripletsalso occur.
The fourth verse is headed Manu-aliter in five tones (1st, 3rd, 4th, 6th and8th), Pedaliter in the fifth and seventhtones. Although there is no originaldirection in the second tone, the cantusfirmus is given out first in the treble,then in the bass in the pedal. This set-ting and those on the third and eighttones are in three voices only. The can-tus firmus is given out in the treble inthe first, fourth and sixth tones, in thetenor in the third tone—care beingneeded to ensure smooth changes from
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those not used to this form of notation.Many of the pieces do not attain theexpressive power of Scheidemann’sworks based on chorales and the Magni-ficat settings, and leave one to wonderfurther about the role of the non-liturgi-cally based works in the Hamburg ser-vice. As mentioned above, with carefulplanning many of them are eminentlysuitable for performance on harpsichordand clavichord as well.
These two volumes give a most valu-able insight into what would have beenimprovised at this time, but the Magni-ficat settings in particular will require asuitable instrument and a performerwith a first-rate technique who is alsowell versed in the performance prac-tice of the place and period for a con-vincing performance. That said, theywill most definitely repay the detailedstudy required.
These editions are a valuable additionto the series, but a scrutiny of the text ofthe second verse on the second tonereveals that in the closing 11 bars thechanges between the Organo and theRückpositiv have not been indicated assuch, and as in the Toccata in C in thevolume of the free works, the player isleft to work out from the direction of thestems and beaming of the notes what isplayed on which manual; this also occursin the second verse of the Magnificat onthe Eighth Tone in the closing threebars. In several cases in each volume the
hand to hand (a possible solution wouldbe to play it on the pedals), and in thebass in the seventh and eighth tones, inthe latter finishing with a flourish of16th-note passagework. In the fifth tonethe cantus firmus is given out in a deco-rated form in the treble. Much of thewriting is 16th-note passagework thatwill test the fingering.
The third volume contains the surviv-ing works not based on chorale melodiesor the Magnificat, comprising twelvepraeambula, two fugues, two toccatas,(that in G being marked for two key-boards, manualiter), a canzona, and afantasia, plus an anonymous arrange-ment of the Toccata in G for two manu-als and pedals. A comparison with Wern-er Breig’s edition of the chorale settingsfor Bärenreiter in 1971 shows that Beck-mann does not include Praeambula in Cand G, the Canzona in G, Fantasias in Cmajor and D minor, as well as variants ofthe Praeambulum in E, the Canzona inG, and another variant of the Toccata inG. Beckmann also uses a third stave toindicate a pedal part in several pieces,but it is not overtaxing to mentally adjustto using the left hand.
Most of the praeambula are relativelyshort at about 60–70 bars and are impro-visatory in feel, in mainly quarter- andeighth-note movement, frequently builton sequential patterns and imitations,with a few containing stricter fugalentries as a middle section, such as thecanzona-like rhythm with repeated notesin no. 3 in d-minor. Particularly effectiveis the chromatic section in no. 4 in d-minor in a dotted quarter and eighth for-mula, leading to a closing section in 16thnotes; such closing figuration is alsofound in no. 6. Of the two fugues in d-minor, the first is a contained working in32 bars of the descending triad A F Drising to A B C, while the secondincludes the subject in augmentationagainst 16th-note passagework before aclose in quarters and eighths.
The manualiter Toccata in C—with itsscale passages and 16th-note figurationleading to another example of a canzona-like subject before a close built onsequences—is most successful, especial-ly so when played on harpsichord orclavichord. The toccata for two manualsrequires some nimble fingerwork tochange manuals, but a scrutiny of thetext of the complex echo effects aroundbar 75 reveals that several changesbetween the Organo and the Rückposi-tiv have been omitted, as indeed havethe changes from bar 150 to the end, andthe player is left to work out what isplayed on which manual from the direc-tion of the stems and beaming of thenotes. This magnificent piece wouldhave benefited from more careful edit-ing. A manualiter Canzona in F is remi-niscent of Frescobaldi and Froberger inits three sections—in the second one thesubject is transformed into a triple-timevariant. The Fantasia in G is anotherpiece that would sound particularly wellon harpsichord and clavichord; in itScheidemann shows his debt to Sweel-inck’s toccata style.
The shorter pieces are still fresh todayand offer useful material for services,while the longer ones should feature inconcerts, whether on organ or stringedkeyboard instruments. The printing isclear, and the introduction in Germanand English gives a brief introduction tothe general style of the non-chorale-based works as well as reasons for reject-ing some of the pieces included by Breigin his edition. Facsimile pages of part ofthe Praeambulum on the Fourth Tone exE and the Toccata in G in New Germantablature make fascinating reading for
player must take care to read the nota-tion correctly, since dotted notes are nottied over the barlines.
The introduction in German and Eng-lish contains much useful information onthe life and duties of the organist inHamburg in the 17th century (apparent-ly they received free accommodation!),as well as a penetrating stylistic analysisof the genres and consideration of attri-butions. As I have commented previous-ly in my review of the chorale preludes(THE DIAPASON, October 2006, p. 19), itis a great pity that in this series devotedto the masters of the North GermanOrgan School, the extensive discussionof the sources and the critical commen-tary on the individual pieces is in Ger-man only. These two volumes are rec-ommended, but a fuller selection of thefree pieces and the same Magnificat set-tings are found in Breig’s edition, sothere is little need for players whoalready own these to buy the Schott edi-tion reviewed here unless they can readGerman fluently in order to benefit fromthe extensive source information.
—John CollinsSussex, England
K. Lee Scott, Voluntary on ShadesMountain. MorningStar MSM-10-592, $7.00.
K. Lee Scott’s 1987 hymn tuneShades Mountain sets Erik Routley’s
FEBRUARY, 2007 19
paraphrase of the 17th-century text, anallegorical description of the Crucifix-ion—the Tree of Wisdom, Jesus, bearsthe “scars of suffering,” yet “it lives!—its grief has not destroyed it.” The tuneowes a debt to the 18th century: Scottclothed this text with a simple, lovelyfoursquare classic-style melody, pri-marily with intervals of a fourth andsmaller, over a direct harmonic schemein common time. Scott’s tune uses thesame rhythms as the 1739 BayeuxAntiphoner tune Diva Servatrix, towhich this text has been set previously.Scott’s setting is available as a hymntune—in Augsburg’s 1995 Lutheranhymnal With One Voice, and in YaleUniversity Press’s 1992 A New Hymnalfor Colleges & Schools, for instance—and also as a choral anthem (MSM-50-3000, see James McCray’s review inAugust 2006 issue of THE DIAPASON).
The present voluntary, written for atwo-manual instrument, is straight-forward, alternating a varying inter-lude (indicated for strings) with threeiterations of the tune, each in a differ-ent textural placement and registra-tion. At just under five minutes andmoderately easy, it will be appreciat-ed not only by organists but also bycongregations—both those who knowthe tune and, given the tune’s melodi-ousness, also by those who as yet donot. Recommended.
—Joyce Johnson Robinson
JOHANNUSthe revolution
... and they sound great
www.johannus.com
The 2007 Resource Directory wasmailed with the January issue ofTHE DIAPASON. Please check yourlisting in the Directory and makecorrections at <www.TheDiapason.com>.
For assistance, contact JoyceRobinson, 847/391-1044; <jrobinson @sgcmail.com>.
Additional copies of the Directo-ry are available for $5 each.
20 THE DIAPASON
Pipe Organs of the KeweenawHoughton County, Michigan Janet Anuta Dalquist
IntroductionThe Keweenaw Peninsula, the north-
ernmost part of Michigan’s UpperPeninsula, projects into Lake Superiorand was the site of the first copper boomin the United States. The land wasmined by prehistoric miners, starting in3,000 B.C., and has produced over 1.5billion pounds of pure copper. Its majorindustries are now logging and tourism.The northern end, referred to locally asCopper Island, is separated from therest of the peninsula by the KeweenawWaterway, a natural river that wasdredged and expanded in the 1860sacross the peninsula between the citiesof Houghton on the south side andHancock on the north.
The Keweenaw’s importance in min-ing led to the founding of the MichiganCollege of Mines (now Michigan Tech-nological University) in Houghton in1885. From 1964–1971, the Universityof Michigan cooperated with NASA andthe U.S. Navy to run the KeweenawRocket launch site.
In the Keweenaw, many artifacts,buildings, and locations have been doc-umented and preserved for local histor-ical museums and the KeweenawNational Historic Park. What have notbeen documented are the historic pipeorgans in the area. It is the intent of thisarticle to do that. Included are a briefdescription and history of each churchstructure and a description, stoplist, andphotos for each pipe organ featured.Information was gleaned from booksabout the area, brochures and bulletinsfrom the individual churches, clippingsfrom Upper Peninsula newspapers, andpeople—the local organists and pastorsand local historic preservationist, EdYarbrough. A bibliography is includedat the end of the catalog.
In 1995 the Pine Mountain MusicFestival (PMMF) for the first timeincluded a pipe organ recital and work-shop in their concert schedule. Twomajor events happened at that time.First, the Keweenaw group formed theOrganists of the Keweenaw, and sincethen we have met three or four times ayear sharing in presenting programs foreach other. The second event was anorgan crawl to visit the historic organsthat David Short had “rediscovered”thirty years earlier. Shortly after, Ibegan collecting material for a catalogof the Keweenaw organs.
David Short has been a partner withme in the collection of this material. Inhis early enthusiasm he becameacquainted with all the instruments list-ed and registered some of them with theOrgan Historical Society. I am indebtedto him for providing access to the build-ings and the instruments and providingmuch of the history. I collected thestoplists, wrote the histories from thecollected sources, did all the photogra-phy, and formatted the information. Heread the draft and corrected technicalerrors. It is to him that I dedicate thiscatalog. Errors are strictly my own.
These magnificent music machines area valuable historic resource in theKeweenaw. They reflect the boom daysof the copper mining era when people ofwealth who lived in the area sought thebest music for their churches andarranged for the purchase of these instru-ments. To replace any one of these pipeorgans at this time would cost a minimumof $200,000 and many times more for thelarger instruments. Their great valuerequires regular maintenance and caresimilar to any other major investmentsuch as automobile or home. Well-main-tained pipe organs live for centuries. Aloss of any one of the Keweenaw pipeorgans is a loss of history, loss of a valu-able asset, and, because they are windinstruments similar to the human voice, aloss of the very best way to lead the peo-ple of a congregation in their song.
We hope this catalog will trigger inter-est in the organs of the Keweenaw fromthe local folk as well as travelers to thisunique place. To see the organs, visitorsmay contact the church offices to makearrangements for a convenient visit.
HistoryPeople have always had their songs.
Prior to the boom of the music publish-ing industry in the early 1900s, peoplematched their voices with whateverinstruments they had—homemade orstore-bought. Angus Murdoch writes inBoom Copper of the “Grand Cal-lithumpian” parade in Calumet (BoomCopper, 1943, 199), where bands fromall over the Copper Country gatheredfor the Fourth of July celebration. Thebands were from mining companies,lodges and guilds, various “locations,”and represented various ethnic groups.Larry Lankton quotes Bishop Baragabeing surprised at
“the fast spreading of civilization on theshores of Lake Superior . . . [where] therewas even a piano on which a young Amer-ican woman played very skillfully . . . Manysettlers undoubtedly brought musicalinstruments with them. Others special-ordered instruments at frontier stores. Byas early as 1849–50, John Senter’s store inEagle River did a modest trade in musicalinstruments, selling an accordion, a melo-dion, bass violas and bows, a violin andbow, guitars and guitar strings. Flageolets,and a German flute, a tuning fork, and aviolin and cello instruction book” (Beyondthe Boundaries 1997, 168–169).
The ethnic folk brought with themtheir song. They sang drinking songs, folksongs, or parlor songs such as publishedin The Gray Book of Favorite Songs, andthey sang their hymns. Much of whatdefined ethnic identity and culturethrough the decades was the song of thechurch in their hymnals. Indeed, the reli-gious belief of people is, in large part,
learned and remembered from thewords and tunes of their hymns. It wasonly in the last decades of the 20th cen-tury that some foreign-language hymnalsceased to be used and the hymns begunto be sung in English. During all thattime the leader of that song was, and stillis, the organ.
Reed pump organs were common inboth church and home. Thurner, in writ-ing about the early 20th century, quotesClare Moyer who recalled a pump organin her home (Strangers and Sojourners,1994, 187). Most likely, church congre-gations that could not afford pipe organsbought reed pump organs instead. Someof these instruments, now over 100 yearsold, still survive. At least two are current-ly used during summer services in localchapels. Others, also in working order,can be seen in local museums.
Acquisition of pipe organs probablyreflected the wealth of the congrega-tion. Some instruments from the late19th century cost little over $2000. TheBoom Copper folks wanted for theirlocal churches what they had had “outEast”—the pipe organ. This was notuncommon for people in remote areas.During the “Gold Rush” in Canada’sDawson City in the Yukon, a framePresbyterian Church, built to hold 650people, had a pipe organ, which hadbeen shipped to the church by steam-boat up the Yukon River. The Congre-gational Church in Calumet bought aGarret House organ in 1870 from themanufacturer in Buffalo, New York. Itwas shipped—keydesk, 16 metal andwood pipes and all—to Lake Lindenand then transported up the hill toCalumet. Some time later, the congre-gation decided to get a larger organand bought a Hook & Hastings instru-ment, again from “out East.” The Gar-ret House was given to the Lake Lin-den Church and made the journeyback down the hill. Sad to say, the
Calumet church met with disasterwhen both the building and the organwere destroyed by fire. The congrega-tion joined with the Presbyterian con-gregation that had in their building a1905 Estey organ. Both the Estey,which was rebuilt in 1970, and the Gar-ret House, which has been cleaned andreconditioned, are still in use. There isa great irreplaceable investment in theKeweenaw pipe organs!
Thurner writes that the GermanLutherans in Laurium built a church“early in the twentieth century [whichhad] an altar with elaborate woodcarving, three steeple bells, and anorgan . . . ” (Strangers and Sojourn-ers, 134). Armas Holmio describesthe Finnish Lutheran Church thatwas built in 1889 on ReservationStreet in Hancock: “In the balcony ofthe new church, which was the mostimposing one owned by FinnishAmericans of that time, there was alarge pipe organ . . . ” (History of theFinns in Michigan, 2001, 188). Thatorgan, a Kilgen dating from 1915, wasmoved to the newly constructed Glo-ria Dei building after the LutheranChurch mergers in 1964.
The Houghton Methodists sufferedseveral fires, the last one in 1916destroying a pipe organ, according toTerry Reynolds’ history of the church(Grace of Houghton, 37). Until their newbuilding was erected, the Methodistsworshiped for a time with the First Pres-byterians on Franklin Square, and thenseparately in the Masonic Temple.When the Methodists decided to pur-chase an organ for their new church, thePresbyterians apparently took advantageof the opportunity. Both churches dealtwith the same company during the sameperiod of time and ended up with simi-lar instruments, the Methodists’ Maxcy-Barton organ being somewhat larger.When the Presbyterian church wasrazed to allow for highway expansiondown Montezuma Hill, their Maxcy-Barton was purchased by a local partyand installed in the family home.
Sadly, the same did not happen for thelarge Austin organ in the First Congrega-tional Church of Hancock, which wasrazed about the same time. The musichistory of that church, which includedamong others the notable baritone WillHall, was impressive. The organ hadplayed a huge musical role in the churchand community, but unfortunately couldfind no local home, and was sold to aparty outside of the area.
Another organ has lain in state forover 30 years. When one local churchclosed, no home could be found for thepipe organ. Pastor John Simonson dis-mantled the instrument and madeplans to install it in an enlarged garageon his property. The project was notcompleted, and the organ now awaitsresurrection, hopefully to be placed inthe St. Anne Heritage Center inCalumet, where it could be used forconcerts, weddings, and other eventsand to echo the music of the ethnicpeople of the area.
The Keweenaw boasts pipe organs dat-ing from 1870 to 1968. All are in workingorder and in regular use, and several aretracker organs. All of the Keweenawtracker organs now have electric blowers;however, two of the trackers can still behand pumped. One has a detached andreversed keydesk. Several of theKeweenaw organs are in their originalstate with no changes having been made.They were installed with electric blowersand with either electro-pneumatic orelectro-magnetic action. Three have beenmoved to different locations. Althoughthe consoles have been moved in at leasttwo churches, the innards of the instru-ments remain the same. One organ hasbeen enlarged to meet the specificationsfor the original instrument. Others have
Garret House, Heritage Center, Lake Linden
FEBRUARY, 2007 21
been so enlarged with additional pipesand digital circuitry that they no longerresemble the original instrument. Onlytwo organs have three manuals. One hasan echo organ placed at the opposite endof the sanctuary from the main organchamber. Another is a beautiful one-manual, no-pedalboard organ with fullyexposed pipes.
The Keweenaw pipe organs are irre-placeable treasures, a legacy from thosefolks of the Boom Copper days whosought to bring the best of instrumentsto their churches for their peoples’ song.These are instruments worthy of preser-vation, care, and constant use. Let thembe heard!
Pipe Organs of the Keweenaw,Houghton County, Michigan
Calumet, LauriumCommunity Church, Calumet. Estey,
1907; Verlinden 2M, 1970St. Paul the Apostle, Calumet. Kilgen
2M, 1869; Lauck, 2001 St. Paul Lutheran (Missouri Synod),
Laurium. Schuelke 2M, 1902; Verlin-den, 1963
Hancock, HoughtonFirst United Methodist, Hancock.
Kimball 2M, 1905; electro-pneumatic1958; refurbished, Lauck, 2005
Gloria Dei Lutheran, Hancock. Kil-gen 2M, 1915?; moved to new location1969; rebuilt and enlarged, Fabry, 2000
Grace United Methodist, Houghton.Maxcy-Barton, 1931; rebuilt, Verlinden,1971
Michigan Technological University.Wurlitzer, 3M, c1920; installed at MTU,John Wagner, Wicks, 1970–1975
David and Carol Waisanen residence.Maxcy-Barton 2M, c1931–1933; movedfrom original location, 1975
Sts. Peter & Paul Lutheran (MissouriSynod), Hancock. Haase 2M, 1901;modified and electrified, Haase, 1960;rebuilt, Roscoe Wheeler, 1997
Trinity Episcopal, Houghton. Austin3M, 1913, 1976, 1987
1846–1960 and manufactured more than3,200 pipe organs during the first half ofthe 20th century. On November 5, 1969,the Calumet organ was removed by Ver-linden Organ Company, Milwaukee.Roman J. Leese, president of Verlinden,designed a new chamber, and the organwas reinstalled with most of the originalpipes on July 13, 1970. It was convertedto electro-pneumatic, and the consolewas moved from next to the chamber toa well at the opposite side of the choirloft. It is totally under expression. Thefirst service with the new installation wasplayed July 17, 1970, with James Abramsat the console. Dedicatory recitalist onNovember 5, 1970, was Harvey L.Gustafson. (Source: church records byCharles Stetter)
St. Paul the Apostle Church301 Eighth Street, Calumet, MI
49913; 906/337-2044.Kilgen, 1905, reverse tracker, 2M, 17
stops; oak, 18 wide, 9 deep; originalcost $4,000. Rebuilt, cleaned, newtrackers, manuals regulated, 1 stop*
Celebrating the reopening of the Salt Lake Mormon Tabernacle Salt Lake City, Utah
April 18-22, 2007
Featured recitalists:Gillian Weir
Ken Cowan
Lecturers:Joseph Dzeda
Jack Bethards
Ken Cowan
Other Events: • Gala opening concert with the Utah
Symphony, Keith Lockhart, Music
Director
• Daily noon organ recitals with
Tabernacle staff organists
• Mormon Tabernacle Choir rehearsal
• Music and the Spoken Word broadcast
• Round-table discussion
• Behind-the-scenes tour of the
refurbished Tabernacle
• Banquet ($25.00 per person)
All events are free except for the banquet. For information or to register:Mormon Tabernacle Choir50 East North Temple Street
Salt Lake City, UT 84150
Phone: 801-240-4150
Fax: 801-240-4886
Email: [email protected]
TH I R
D
1867
SALT LAKE MORMON TABERNACLE 2007
mormontabernaclechoir.org/acos
For a complete schedule of events and
online registration, visit:
Showcasing the majestic LDS Conference Center pipe
organ, Now Let Us Rejoice: Organ Hymns for the Sabbathfeatures Mormon Tabernacle organists John Longhurst, Clay
Christiansen, and Richard Elliott performing 23 hymn-based
compositions. In this 80-minute inaugural recording, familiar
hymn tunes such as “I Need Thee Every Hour” and “Sweet Is
the Work” combine with the regal strains of “Jehovah, Lord
of Heaven and Earth” and “Now Thank We All Our God” to
provide a wide range of religious expression.
CD $16.98
For more information about this recording,visit mormontabernaclechoir.org
Lake Linden, HubbellHeritage Center (former First Congre-
gational Church), Houghton County His-torical Museum, Lake Linden. GarretHouse 2M, 1870; cleaned, Dana Hull,2001; restored, Helmut Schick, 2002
St. Cecilia RC, Hubbell. Felgemaker2M, c1900
St. John’s Lutheran (Missouri Synod),Hubbell. Verlinden 1M, 1968
St. Joseph’s RC, Lake Linden. Casa-vant Frères 2M, 1916; overhauled 1957;electro-pneumatic, Verlinden, 1982;cleaned, new console, J. A. Hebert,1995; additions, Lauck, 2001
Lake Linden United Methodist, LakeLinden. Lancashire-Marshall 2M, 1893;Hugh Stahl, 1950
Keweenaw areaRockland Roman Catholic. Garret
House, 1859 (not functional)
Calumet and Laurium
Community Church of Calumet201 Red Jacket Road, Calumet, MI
49913; 906/337-4610.Estey tracker 1907; rebuilt, Verlinden
“incorporating most of the stops fromthe original organ,” electro-pneumatic,1970. 2M/28 stops, 16 ranks
Placement: center front of sanctuaryin well of choir loft, facing organ cham-ber
GREAT (enclosed)8 Open Diapason 61 pipes8 Melodia 61 pipes8 Dulciana 61 pipes4 Octave 61 pipes4 Waldflote 12 pipes2' Fifteenth 12 pipesII Grave Mixture 122 pipes8 Trumpet 61 notes
16 Great to Great4 Great to Great8 Swell to Great4 Swell to Great
Four combination pistons
SWELL (enclosed)16 Bourdon 73 notes8 Stopped Diapason 73 pipes
8 Salicional 73 pipes8 Voix Celeste TC 49 pipes4 Principal 73 pipes4' Flute d’Amour 12 pipes4 Salicet 61 notes
22⁄3 Nazard 61 notes2 Principal 61 notes2 Flautino 61 notes
13⁄5 Tierce 57 notes8 Trumpet 73 pipes4 Clarion 61 notes
Tremolo16 Swell to Swell4 Swell to Swell
Swell Unison OffFour combination pistons
PEDAL (enclosed)16 Bourdon 32 pipes16 Lieblich Gedeckt 12 pipes8 Octave 12 pipes8 Bass Flute 32 notes8 Gedeckt 32 notes4 Choral Bass 32 notes8 Trumpet 32 notes8 Great to Pedal8 Swell to Pedal4 Great to Pedal
Deagan Chimes - 21 bellsExpression pedal for entire organCrescendo pedalSforzando toe pistonGreat to pedal reversible toe piston
The Calumet Congregational Churchwas the church of James MacNaughtonand Alexander Agassiz and representedthe elite and wealthy of the community.The original church, built in 1874,burned down in 1949. In 1971 the con-gregation merged with the CalumetPresbyterian Church, which had beenbuilt in 1894 to serve the Scottish Pres-byterians in the area. The mergedchurches, first named the FederatedChurch, then became the CommunityChurch of Calumet (Congregational-Presbyterian). In 2005 the congregationseparated from the Presbyterian Church(USA) in order to lease the basementfacilities to the Copper Country Com-munity Arts Council. It retains affiliationwith the United Church of Christ.
The organ was originally built fromtwo Estey trackers from Brattleboro,Vermont. Estey was in business from
Estey, Community Church of Calumet
22 THE DIAPASON
added, Lauck, 2001. Pneumatic pedal,hand pump preserved.
Placement: rear balcony, facing frontof sanctuary
GREAT8 Open Diapason8 Trompette*8 Melodia4 Octave4 Flute d’Amour2 Fifteenth
16 Bourdon
SWELL (enclosed)8 Violin Diapason8 Salicional8 Aeoline8 Oboe Gamba (2 ranks, non-reed)8 Stopped Diapason4 Violina4 Flute Harmonique2 Flautina
Swell to GreatTremolo
PEDAL16 Bourdon8 Violon Cello
Great to PedalSwell to Pedal
Pneumatic assistFive foot pedals: soft to loud
The parish was established in 1889 bySlovenian immigrants and was originallynamed St. Joseph Roman CatholicChurch. The original 1890 wood framebuilding was destroyed by fire in 1902.The new twin-spired church was built ofJacobsville sandstone from 1903 to 1908at the cost $100,000. In 1928 St. Joseph’sParish absorbed St. Anthony’s PolishParish. After 1966 they absorbed St.Mary’s (Italian), St. Anne’s (French), St.John’s (Croatian), and took the name St.Paul the Apostle Parish. The structurewas designated an Historical Building inthe State of Michigan in 1983.
The 1905 Kilgen organ is a reversetracker. Although operating with electricpower, the organ retains the originalpump and can be operated in that man-ner. (Source: church brochure)
St. Paul Lutheran Church (MissouriSynod)
146 Tamarack, Laurium, MI 49913;906/337-0231.
Schuelke, 1902; rebuilt Verlinden,1963
Placement: rear balcony, right side ofconsole faces the front of the sanctuary
GREAT8 Diapason8 Melodia8 Dulciana4 Principal
III Mixture8 Trumpet
16 Great4 Great
Great Unison Off16 Swell to Great8 Swell to Great4 Swell to Great
ChimesTremulant
SWELL8 Geigen8 Bourdon8 Salicional8 Celeste4 Harmonic Flute2 FifteenthII Sesquialtera
16 Krummhorn8 Krummhorn8 Trumpet4 Fagotto
16 Swell4 Swell
Swell Unison OffChimesTremulant
PEDAL16 Bourdon8 Octave Bass4 Fagotto8 Great to Pedal8 Swell to Pedal4 Great to Pedal4 Swell to Pedal
Presets are inside the organ chamber
The congregation formed in 1879.The first church building was located onScott Street in Calumet. The presentbuilding was dedicated 1899.
The Schuelke tracker organ was givento the congregation in 1902 by Mr.Ernest Bollman. In 1929 two recitalswere performed by Mr. Martin, Chica-go, to celebrate the 50th anniversary ofthe church. In 1961 Rudolf Patsloffdonated the trumpet rank, which ismounted to the left of the chancel in thefront of the church. Franz Ziems, organ-ist for many years, left a bequest to ren-ovate the organ. Renovation was com-pleted by Verlinden Co., Milwaukee, inOctober 1963. The dedicatory recitalwas played by Rev. Harvey Gustafson,Minneapolis. He played four morerecitals after that time. The chimes weregiven in memory of John Messner. Thecasework of the chamber is the work ofArthur Jarvela. (Source: e-mail fromchurch organist Jan List)
Hancock and Houghton
First United Methodist Church401 Quincy Street, Hancock, MI
49930; 906/482-4190.Kimball, 1905, tracker, 2M, 11 ranks;
rebuilt to electro-pneumatic action1950; new wind lines, 1998; refurbished2005 by Fabry, Antioch, Illinois.
Placement: front left dais; console ison a moveable platform
Console: not AGO, but radiating ped-alboard
GREAT8 Open Diapason8 Melodia8 Dulciana4 Principal4 Flute
22⁄3 Twelfth2 15th4 Great to Great
16 Swell to Great8 Swell to Great4 Swell to Great
SWELL8 Violin Diapason8 Stopped Diapason8 Gamba4 Flute d’Amour
22⁄3 Nazard2 Flautino
Tremolo16 Swell to Swell4 Swell to Swell
PEDAL16 Bourdon16 Gedeckt8 Principal8 Bass Flute4 Flute8 Great to Pedal4 Great to Pedal8 Swell to Pedal
with the organist’s back to the choir andcongregation. In 1950 the organ wasconverted to electro-pneumatic and theconsole moved from its tracker positionto a well at the opposite side of the choirloft. In 1998 the sanctuary was renovat-ed and choir loft was leveled to make aflat dais across the chancel area. Theorgan console was placed on a moveableplatform and new wind lines installed byFabry, Inc. In 2005 Fabry also replacedslide tuners in the pipes, installed a newblower, and repainted the pipes locatedabove the paneling fronting the lowerpart of the chamber. (Sources: Monette;church organist Carol Waisanen)
Kilgen, St. Paul the Apostle Church,Calumet
Console, St. Paul the Apostle Church,Calumet
Schuelke, St. Paul Lutheran Church,Laurinum
Kimball, First United MethodistChurch, Hancock
Console, First United MethodistChurch, Hancock
The congregation of the FirstMethodist Church organized in 1860,the first of any denomination to beestablished in Hancock. The first build-ing was erected in 1861. The presentstructure of Jacobsville sandstone andbrick was dedicated in 1903.
In 1905 the Kimball tracker organwas installed, a gift from Mr. and Mrs.W. H. Roberts. The console was builtinto the paneling of the chamber withthe choir loft on either side and in front,
Kilgen, Gloria Dei Lutheran Church,Hancock
Gloria Dei Lutheran Church(ELCA)
1000 Quincy Street, Hancock, MI49930; 906/482-2381.
Kilgen, 1915? 2M; moved to newbuilding, 1969; console rebuilt andpreparation made for additions, Fabry,2002
Placement: rear balcony; left side ofconsole faces front of sanctuary
GREAT8 Diapason8 Gedeckt8 Dulciana4 Principal4 Flute d’Amour4 Dulcet
12th Dolce15th Dolce
13⁄5 Dolce Tierce16 Great to Great4 Great to Great
16 Swell to Great8 Swell to Great4 Swell to Great
ChimesUnison OffMIDI to Great
SWELL8 Violin Diapason8 Gedeckt8 Salicional8 Voix Celeste4 Principal4 Flute d’Amour
22⁄3 Nazard2 Flautino8 Trompette8 Oboe
Tremolo16 Swell to Swell4 Swell to Swell
Unison Off
PEDAL32 Resultant16 Bourdon16 Lieblich Gedeckt8 Diapason8 Bass Flute8 Gedeckt4 Choral Bass8 Great to Pedal8 Swell to Pedal4 Great to Pedal4 Swell to Pedal
Memory SelectTransposerSwell presets: 5, Swell to PedalGreat presets: 5, Great to PedalGenerals: 10, TuttiToe studs:
General cancel10 generalsSwell to PedalGreat to PedalResultantTutti
The Gloria Dei congregation tracesits roots to 1867 when the Scandina-vian Evangelical Lutheran Congrega-tion was formed. It was reorganized in1880 as the Finnish Evangelical
FEBRUARY, 2007 23
Lutheran Congregation. The first woodframe building was partly destroyed byfire in 1896 and again in 1909. A brickbuilding was constructed in 1910.Shortly after, a member of the congre-gation, Andrew Johnson, gave the firstpipe organ to the church. In 1955 thename of the church was changed to St.Matthew’s Evangelical LutheranChurch. In 1962 most of the nationalLutheran church bodies merged intothe Lutheran Church of America.Salem Lutheran (Swedish) and St.Matthew’s (Finnish) merged in 1966and adopted the name Gloria Dei.
The present building was constructedin 1969, and the Kilgen organ from St.Matthew’s was moved and installed inthe new structure. In 2002, the organwas rebuilt by Fabry, Inc. of Fox Lake,Illinois. (Sources: Monette; churchrecords and members)
Grace’s history from 1854 to 2004 isdocumented in booklet form by Profes-sor Terry Reynolds of the Social ScienceDepartment of Michigan TechnologicalUniversity. The church stems from a“Methodist Class” that formed in 1854,an outgrowth of Methodist missions thathad begun around 1832 with the Ojibwanatives of the Upper Peninsula. A framebuilding was constructed in 1859 and in1890 money was first raised to purchasean organ. In 1893 a new sandstonestructure was built and again, in 1907,church records show efforts to raisemoney for an organ.
An organ must have been installed inthat structure as the church historyreports a fire in 1916, which destroyed,among other things, the organ. Thepresent Maxcy-Barton was installed in1931. It is most likely that the Maxcy-Barton organ of the First PresbyterianChurch was also installed at that time asthe organs are similar except that theMethodist instrument is larger. In 1971Verlinden rebuilt the instrument and inthe 1990s the console was moved fromthe dais to the main floor level on leftside of the chancel. (Source: Reynolds)
Michigan Technological UniversityMacInnes Ice Arena, 1400 Townsend
Drive, Houghton, MI 49931.Rudolph Wurlitzer Company, c1920;
installed May 1975Placement: platform on rafters, west
wall of MacInnes Ice Arena, access on a50-ft. ladder climb
1119 pipes, 15 ranks, 130 stopsdrumsbells130 stops24 notes, cathedral chimes32-note pedalboard
This instrument was first installed inthe Presbyterian Church, Utica, NewYork, and later moved to the home ofJames Thomas, who added theatre organcomponents from two Pennsylvania the-atre organs and accessories from a Bostonradio station. The instrument, valued at$75,000, was donated to MTU in the late1960s through the efforts of John Wag-ner, class of ’61. It was moved to MTU in1970 with initial installation done byWagner and completed by the WicksOrgan Company, Highland, Illinois.
The organ was first played for Michi-gan Tech’s commencement exercisesMay 1975 by Gerrit Lamain, director ofthe Suomi College (now Finlandia Uni-versity) Choir, Hancock, and later ofMinneapolis, Minnesota. Lamain enter-tained hockey fans prior to MichiganTech’s games until he left the area,returning regularly to play for Tech’scommencement exercises. The consoleis mounted on a high platform at thewest end of the MacInnes Ice Arena.Access is achieved by climbing a 50-footladder. An article and pictures featuringthis instrument can be found in theApril 2000 “Alumnus” magazine ofMichigan Tech. (Source: Nordberg)
David and Carol Waisanen resi-dence, Hancock, MI.
Maxcy-Barton, Oshkosh, WI, 2M, 8ranks, 1931–33?, electro-pneumatic;installed by owner, 1975
Placement: music room, console onbalcony (former back porch); organchamber installed with original panelingand grillework
GREAT8 Open Diapason 61 pipes8 Melodia 73 pipes8 Dulciana 61 pipes4 Flute 61 notes
Unison Off
SWELL8 Stopped Diapason 73 pipes8 Salicional 73 pipes8 Vox Humana 61 pipes4 Flute d’Amour 61 notes
TremulantUnison Off
PEDAL16 Bourdon 12 pipes
(20 notes from Sw St. Diap.)8 Flute (from Sw St. Diap.)
Couplers16 Great to Great4 Great to Great
16 Swell to Great8 Swell to Great4 Swell to Great8 Great to Pedal8 Swell to Pedal
Combination pistons:3 Swell, controlling Swell and Pedal organsand couplers, cancel3 Great, controlling Great and Pedal organsand couplers, cancel
Balanced expression pedalBalanced adjustable crescendo pedal
First installed in the First Presbyter-ian Church, Houghton between 1931and 1933, it is believed that this instru-ment was installed during the sameperiod that a larger Maxcy-Barton wasplaced in the Grace Methodist Church.Maxcy organs were custom built to fitthe acoustics of the space. The organchamber in the Presbyterian church was
at the front of the sanctuary andenclosed in a wooden grillework similarto the one in Grace. The detached con-sole was located below the rostrum andin front of the choir loft, which was anelevated tiered area at one side of thechancel. The building was razed in 1976due to highway construction, and theinstrument was purchased by a privateparty. The owner converted his backyard to a vaulted music room. The organchamber is enclosed in the originalwood grillework from the church andthe console sits on what used to be theback porch of the home. (Sources: TheDaily Mining Gazette; Waisanen)
Sts. Peter and Paul LutheranChurch (Missouri Synod)
323 Hancock Street, Hancock, MI49930; 906/482-4750.
Haase, tracker 1901; modified andelectrified by Haase Organ Co., Maren-go, IL, 1960; rebuilt, Roscoe Wheeler,Curran, MI, 1997
Placement: balcony, rear of church, leftside of console faces front of sanctuary
Refinement, Grandeur,Delicacy, & Grace
Member, Associated Pipe Organ Builders of America112 West Hill Street
Champaign, Illinois 61820800.397.3103 • www.Buzardorgans.com
John-PaulBuzardPipe Organ Builders
All Saints Episcopal Church, Atlanta, GARaymond & Elizabeth Chenault, Music Directors
Console, Grace United MethodistChurch, Houghton
Maxcy-Barton, Grace United MethodistChurch, Houghton
Grace United Methodist Church201 Isle Royale, Houghton, MI
49931; 906/482-2780.Maxcy-Barton, 1931; rebuilt Verlin-
den, 1971Placement: left of chancel, below dais
GREAT8 Open Diapason8 Melodia8 Salicional8 Dulciana4 Octave4 Wald Flute4 Dulcet
22⁄3 Twelfth2 Fifteenth
16 Great to Great4 Great to Great8 Swell to Great4 Swell to Great
Chimes
SWELL16 Bourdon8 Stopped Flute8 Salicional8 Dulciana8 Vox Celeste4 Principal4 Flute d’Amour4 Salicet
22⁄3 Nazard2 Flautino
13⁄5 Tierce8 (Syn) Orchestral Oboe
16 Swell to Swell4 Swell to Swell
Unison OffTremulant
PEDAL16 Sub Bass16 Bourdon8 Octave8 Bass Flute8 Bourdon8 Cello4 Choral Bass4 Flute8 Great to Pedal8 Swell to Pedal4 Great to Pedal
3 pistons and cancel on Swell3 pistons and cancel on GreatOne toe stud, coupler 1 expression pedal1 crescendo pedal
Maxcy-Barton, Waisanen residence,Hancock
24 THE DIAPASON
gregational denomination to jointly con-struct a building in Hancock. Disagree-ment followed as to which denominationthe building would be dedicated. TheEpiscopalians, who comprised themajority of the joint church board, float-ed the building across Portage Lake toHoughton to the site of the presentchurch. Construction on the presentchurch began in 1907 and was complet-ed in 1910 when it was dedicated.
The Austin organ was installed in1912 with the dedicatory service playedby Edwin Arthur Kraft of TrinityCathedral, Cleveland, Ohio. The Echoorgan was dedicated in 1924 with arecital played by Joseph Kershaw. Dur-ing a building renovation in the 1970sthe wind lines and electrical work tothe Echo organ were dismantled. In2001 Father Ted Durst initiated refur-bishing during which time the Echoorgan was again connected to the mainorgan. A re-dedicatory recital wasplayed in 2002 by Deward Rahm of St.Peter’s Episcopal Church, Chicago,Illinois. (Sources: Centennial History;recital service bulletin)
•Lake Linden and Hubbell
Heritage Center (former First Con-gregational Church), Lake Linden, MI.Property of Houghton County HistoricalMuseum Society.
Garret House, Buffalo, New York,1873–4, 2M/23 stops, tracker, installed1887; cleaned, Dana Hull, 2001; cleanedand restored, blower replaced 2002,Helmut Schick, Ann Arbor, MI
Placement: left front of sanctuary,bench faces away from audience
GREAT8 Open Diapason8 Viol d’Amour (TC)8 Stopped Diapason Bass8 Melodia4 Flute4 Principal2 Fifteenth
Tremolo
SWELL (enclosed)8 Open Diapason8 Clarabella (TC)8 Stopped Diapason Bass8 Stopped Diapason Treble4 Violina8 Hautboy (TC)
PEDAL16 Bourdon
GREAT8 Principal8 Quintaten8 Gemshorn4 Octave
22⁄3 Twelfth2 Fifteenth
Great Unison Off8 Great to Pedal4 Great to Pedal
16 Great to Great4 Great to Great
SWELL8 Rohr Gedeckt8 Salicional4 Koppel Flute
22⁄3 Nazard2 Flautino8 Oboe
Swell Unison OffTremolo
16 Swell to Great8 Swell to Great4 Swell to Great
16 Swell to Swell4 Swell to Swell8 Swell to Pedal
PEDAL 16 Sub Bass16 Quintaten16 Posaune8 Principal8 Rohr Flute8 Oboe4 Choral Bass
Great expression pedalSwell expression pedalCrescendo pedalSforzando pedal pistonSwell enclosedGreat open
Presets for Swell and Great individually andin combination; located within the organchamber.MIDI to Swell, Great, PedalSchulmerich carillon keyboard attached toconsole
CHOIR8 Violin Cello Rank 78 Spitzflute Rank 88 Dulciana Rank 94 Flute Rank 108 Clarinet Rank 11
Tremolo Choir 16, 4Choir Unison OffSwell to Choir 16, 8, 4
ECHO 8 Chimney Flute Rank 218 Viole Aetheria Rank 228 Vox Angelica Rank 234 Fern Flute Rank 248 Cor Anglais Rank 258 Vox Humana Rank 26
TremoloChimes 25 Bars
16 Pedal Bourdon (ext of Rank 21)
PEDAL32 Resultant Bass Wired16 Open Diapason (ext of Rank 1)16 Bourdon Rank 2716 Contra Dulciana (ext of Rank 9)16 Gedeckt Swell 8 Flute (ext of Rank 27)
16 Echo Bourdon (ext of Rank 21)Great to Pedal 8, 4Swell to Pedal 8, 4Choir to Pedal 8, 4
Programmable thumb pistons under eachmanual
Toe pistons: 10 General; 5 Pedal with somereversibles
Crescendo pedalSwell expressionChoir expressionChoir and Great are on same wind chest
The forming of the Houghton Episco-pal congregation began in 1860. Theparish was officially founded in 1861when the congregation entered into anagreement with members of the Con-
The congregation, the first Lutheranone in the Copper Country, was found-ed in 1867 as the Deutsche EvangelischeLutherische Peter and Paul’s Gemeindein Hancock. The first church structurewas built in 1867 and the present churchstructure in 1881.
In 1901 the organ was purchased forthe sum of $500 from St. Stephen’sLutheran Church in Milwaukee, Wis-consin. The dedicatory recital wasplayed by Professor Karl Haase. Mostof the original pipes were constructedin Berlin, Germany by AugustLaukhuff Orgelteile. New ones wereconstructed and added by the DurstOrgan Co., Erie, Pennsylvania. Underthe Rev. Mr. Boomhower the organwas refurbished in 1997 at the cost of$25,000. Improvements included workon all inner mechanical works and solidstate circuitry. Total cost for repairsand improvements up to 1998 was$30,000. This church also houses in itsbelfry tower three bells of 1,000, 800,and 600 pounds. (Sources: Monette;service bulletin)
Trinity Episcopal Church205 East Montezuma, Houghton, MI
49931; 906/482-2010.Austin, 1913, 3M, 26 ranks; new con-
sole, 1958; rebuilt with new console,1976; rebuilt, Roscoe Wheeler, IronMountain, MI, 1987; repaired, includingreinstallation of the Echo organ, Lauck,2004.
Placement: chancel, right side, in wellfacing the opposite side
GREAT8 Open Diapason Rank 18 Clarabella Rank 28 Dulciana Choir4 Octave Rank 34 Stopped Flute Choir2 Fifteenth (ext of Rank 1)
III Mixture Ranks 4-5-6Great 16Great 4Great Unison OffSwell to Great 16, 8, 4Choir to Great 16, 8, 4Echo on GreatEcho on Great OffChimes (Echo) 25 bars
SWELL16 Bourdon Rank 128 Rohrflute Rank 138 Viole d’Orchestre Rank 144 Geigen Principal Rank 154 Flute Harmonique Rank 16
22⁄3 Nazard Rank 172 Flautino Rank 188 Cornopean Rank 198 Oboe Rank 20
TremoloSwell 16, 4Swell Unison Off
Haase, Sts. Peter and Paul LutheranChurch, Hancock
Austin, Trinity Episcopal Church, Houghton
Console, Trinity Episcopal Church,Houghton
St. Cecilia Roman Catholic ChurchGuck Street, Hubbell, MI 49934;
906/296-6971.A. B. Felgemaker, Erie, Pennsylvania,
c1900, 2M, 12 ranks, trackerPlacement: gallery, rear of sanctuary
GREAT8 Open Diapason8 Flute8 Dulciana4 Octave2 Super Octave
16 BourdonBellows Signal
SWELL8 Stopped Diapason8 Viola8 Aolina4 Flute Harmonique8 Oboe
PEDAL16 Bourdon
CouplersSwell to GreatSwell to PedalGreat to Pedal
Tremolo
St. Cecilia Church, organized in 1893to provide for German, French, andIrish immigrants, was an offshoot of St.Joseph’s Church in Lake Linden. Theframe building was dedicated in 1893. Itfeatures a stained glass window of St.Cecilia, the patron saint of churchmusic, playing an organ. (Source: e-mailfrom David Short, 2-14-06)
St. John’s Lutheran Church (Mis-souri Synod)
311 Guck Road, Torch Lake Town-ship, Hubbell, MI; 906/296-1022.
Verlinden, 1M, 5 ranks, 1968, RoscoeWheeler, Iron Mountain, Michigan; 2flute added, Verlinden, 1977; rebuilt2006, B. K. Kellogg & Associates*
Stoplist (257 pipes)8 Open Diapason8 Flute8 String4 Flute2 Flute4 Coupler
16 CouplerTremulant
*Rebuilding 2006 (354 pipes)8 Principal8 Holz Gedackt8 Traverse Flute
8 Dulciana8 Unda Maris TC4 Octave4 Traverse Flute2 Octave
16 Coupler4 Coupler
Tremulant
Crescendo pedalNo pedal organNo presets
The church was formed on May 15,1893 by twelve men who gave the con-gregation the name “Saint JohannesCongregation.” The white frame build-ing was dedicated August 13, 1893. Theorgan was installed by Verlinden in1968. The open pipes of this uniqueinstrument are mounted in the reargallery of the sanctuary. The rope forthe steeple bell descends amidst thepipes. The console is placed at one endof the gallery. The first part of the dedi-cation service in November 1968 wasplayed on the existing electronic instru-ment. During the service the pastor,Frank J. Schulz, demonstrated thenewly installed pipe organ, and theremainder of the service was played onthat instrument. A 2 flute rank wasadded in 1977 as a memorial to thelongtime organist.
The organ was rebuilt during 2006.Relay switches, console stop controls,key contacting systems and wiring werereplaced, and the leather on the windregulator, the tremulant and the wooden
CouplersSwell to GreatGreat to PedalSwell to Pedal
Tracker (mechanical) action; parts and caseare all hand-crafted580 pipes, 12 ranks, 2 manuals, 25 pedalsHitch-down Swell pedalMay be hand-winded (pumped)
The organ was built in 1873–74 inBuffalo, New York, shipped to Lake Lin-den, and then transported in 1874 to theCongregational Church in Calumet,which served the wealthy class duringthe copper boom era. It was replacedthere by a larger instrument (Hook &Hastings of Boston) and returned, as agift from the Calumet church, to theLake Linden church.
The Lake Linden church was built in1896 at the cost of $8,325. A museumpiece in itself, the building was designedby Holabird & Roche of Chicago in theVictorian Stick style on a non-coursedmine-rock foundation. It was dedicatedFebruary 27, 1887, with the dedicatoryservice being played by Professor Roney,organist of the Michigan Grand Com-mander of the Knights Templar.
In the summer of 1887 a firedestroyed almost all of Lake Linden, butthe frame Congregational Church sur-vived. It housed eight families for sever-al months until new homes were found.The congregation ceased as a church in1979, and ownership was taken over bythe Houghton County Historical Muse-um. Grants have helped to renovateplumbing, roofing, electrical wiring,heating, and repainting of the outside ofthe building.
Dana Hull, Ann Arbor, representativeof the Organ Historical Society, andHelmut Schick of the University ofMichigan cleaned and restored theorgan during 2001 and 2002. A newblower replaced the original. (Sources:Taylor; The Daily Mining Gazette)
“Beautifully made, much detail andcare; shows growth and refinement in anorgan shipped to the hinterlands; finials,medallions in the casework, nice lines inthe presentation; some expensive woodhere and there, very well cut and fin-ished; excellent pipework.” (Source: e-mail from David Short quoting DanaHull and Helmut Schick, 10-04-01)
pipe stoppers renewed. Interior actionswere reconditioned as needed and onerank of pipes was added. Cost was$16,000. (Source: e-mail from organistJune Peterson, 2-4-06)
FEBRUARY, 2007 25
Garret House, Heritage Center, LakeLinden
Felgemaker, St. Cecilia RomanCatholic Church, Hubbell
Verlinden, St. John’s Lutheran Church,Hubbell
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.
Casavant Frères, St. Joseph’s RomanCatholic Church, Lake Linden
St. Joseph’s Roman Catholic Church701 Calumet Street, Lake Linden,
MI 49945; 906/296-6851.Casavant Frères Opus 41, 1916, tubu-
lar pneumatic; overhauled by PipeOrgan Craftsmen, Minneapolis, Min-nesota, 1957; converted to electro-pneumatic, Verlinden, 1982; dismantledand cleaned, new console, J. A. Hebert& Son Associates, Troy, Michigan, 1995;enlarged to meet original specificationsby Lauck Pipe Organ Company, Otsego,Michigan, 2001*. 2M/23 stops, 25 ranks,electro-pneumatic.
Placement: rear gallery, right side ofconsole to front of church
Lake Linden United MethodistChurch
53237 N. Avenue, Lake Linden, MI.Lancashire-Marshall, Moline, Illinois,
1893, $2100, 2M/19 ranks, tracker, pneu-matic assist pedal; Hugh Stahl, 1950
Placement: center front of chancel,keydesk back of pulpit facing the case
GREAT (58 notes)8 Open Diapason8 Dulciana 8 Melodia4 Octave4 Flute Harmonique
22⁄3 Twelfth2 Fifteenth
16 TrompetteTremoloPedal CheckBellows Signal
SWELL (enclosed)16 Lieblich Gedact16 Bourdon Bass8 Open Diapason8 Stopped Diapason8 Aeoline8 Salicional4 Flauto Traverso4 Fugara2 Flautino8 Oboe
PEDAL (27 notes) (pneumatic) 16 Bourdon8 Flute
CouplersSwell to GreatSwell to PedalGreat to Pedal
5 pedal presets, loud to softOriginal cost: $2100Additional work done by Hugh Stahl
The Methodist Church was formedshortly after 1868, the year that twoMethodist missionaries had beenassigned to organize a Sunday School inthe Lake Linden area. The present sanc-tuary was built and dedicated in 1886.
The organ was installed in 1893 andconsidered something of a “wonder.” Atone point, an organist traveled to LakeLinden from Houghton and stayed theday so as to play both morning and
evening services. The organ was origi-nally winded by hand, and the blowerwas installed after World War I, muchearlier than work done by Stahl. It isthought he may have worked on thepneumatics in the two pedal ranks, pos-sibly doing needed repairs, and affixedthe company tab to the keydesk at thattime. Roscoe Wheeler of Iron Mountain,Michigan, did maintenance on the organfor many years prior to James Lauck tak-ing over in 2001. (Source: e-mail fromDavid Short, 2-14-06)
St. Mary’s Roman Catholic Church71 Michigan Ave., Rockland, MI.Garret House, 1859. On board inside
case: “1859 - Irish Hollow - Ontonagon -Lake Superior - Michigan”
The oldest pipe organ in Michigan, by12 years. Thought by Dana Hull and Hel-mut Schick of Ann Arbor to be one of thefirst organs built by Garret House, possi-bly made from a template instrument,roughcut, less refined than the Lake Lin-den instrument. The congregation is stillactive. This organ must be restored.
(Source: Short)
Bibliography
Books, Pamphlets, MagazinesButler, Ruth Gibson. Centennial History,
1860–1960. With photos from Mr. andMrs. George Pruner. Hancock, MI: Trini-ty Episcopal Church [1960]
Fisher, James and Good, R. Allen. 100thAnniversary of the First CongregationalChurch, 1862–1962. Hancock, MI [1962]
Holmio, Armas K. E. History of the Finns inMichigan. Translated by Ellen M. Ryynanen.Detroit: Wayne State University Press, 2001.
Lankton, Larry. Beyond the Boundaries: Lifeand Landscape at the Lake Superior Cop-per Mines, 1840–1875. New York: OxfordUniversity Press, 1997.
Monette, Clarence J. Churches of Hancock(Hancock, Michigan Remembered, vol.II; Twenty-fifth of a Local History Series).Lake Linden, MI: Welden H. Curtin,c1985.
Murdoch, Angus. Boom Copper: the Story ofthe First U.S. Mining Boom. New York:Macmillan, 1943.
Nordberg, Erick. “From the Archives: Justlike the Montreal Forum.” Michigan TechAlumnus (April 2000), Houghton, MI:Michigan Technological University.
“Restoring the tracker organ—15th centurydesign for the 21st century.” Newsletter(Fall 2001), Lake Linden, MI: HoughtonCounty Historical Society.
Reynolds, Terry S. Grace of Houghton: A His-tory of Grace United Methodist Church,Houghton, Michigan, first edition.Houghton, MI: Grace United MethodistChurch, 2004.
Thurner, Arthur W. Strangers and Sojourners: aHistory of Michigan’s Keweenaw Peninsula.Detroit: Wayne State University Press, 1994.
Brochures and BulletinsBlessing and rededication of the organ. [Ser-
vice bulletin, April 22, 2001.] St. JosephChurch, Lake Linden, MI.
GRAND-ORGUE8 Montre 65 pipes8 Melodia 65 pipes8 Dulciana 65 pipes4 Prestant 61 pipes
22⁄3 Quint* 61 pipes2 Doublette* 61 pipes
III Fourniture* 183 pipes8 Trompette* 61 pipes4 Grand-Orgue to Grand-Orgue
RÉCIT (enclosed)8 Principal 65 pipes8 Bourdon 65 pipes8 Viola di Gamba 65 pipes8 Voix Céleste 53 pipes4 Flute Harmonique 65 pipes2 Octavin* 61 pipesII Sesquialtera TC* 98 pipes8 Hautbois 65 pipes4 Chalumeau* 61 pipes
Tremulant4 Récit to Récit
PÉDALE16 Bourdon 30 pipes16 Gedeckt 30 pipes8 Flute Bouchée 12 pipes4 Prestant* 32 pipes
16 Bombarde*(ext G-O) 12 pipes4 Chalumeau Recit
Tirasses8 Grand-Orgue/Pédale4 Grand-Orgue/Pédale8 Récit/Pédale4 Récit/Pédale
16 Récit/Grand Orgue8 Récit/Grand Orgue4 Récit/Grand-Orgue
*Added stops 200123 stops, 25 ranks, 1340 pipes
Combination pistons:6 thumb pistons, Swell8 thumb pistons, Great6 thumb pistons, Pedal8 general pistons (thumb/toe)8 memory levels - Peterson
St. Joseph Church was founded andthe first building dedicated in 1871. In1902 a new structure was built on thesame site. The Casavant Frères organwas installed in the rear gallery in 1916with the dedicatory recital played bythe Rev. Father Dobblestein,O.Praem., thought to be from DePere,Wisconsin. The pipework is believedto have been made in Canada and theworkmen from South Haven, Michi-gan. During the late 1990s, throughthe efforts of director of music andorganist David Short and Father EricOlson, the organ was cleaned and theconsole replaced. In 2001 twelve rankswere added by the Lauck Organ Com-pany, Otsego, Michigan. (Source:church brochure)
[Brochure with photos (c1984) by EricMunch]. St. Paul the Apostle Church,Calumet, MI. [n.d.]
Celebrating 140 Years: 1861–2001. FirstUnited Methodist Church, Hancock, MI.
Brochure about Estey Organ Museum. Brat-tleboro, VT, February 2006.
Historic Churches of Calumet. Research andtechnical assistance by Ed Yarbrough and theKeweenaw National Historic Park. CalumetHeritage Celebration 2001 Committee.
Keweenaw Family Resource Center: Benefitorgan recital [Service Bulletin, October 13,2002]. Trinity Episcopal Church.Houghton, MI.
Organ dedicatory service & recital [ServiceBulletin, March 29, 1998]. Sts. Peter & PaulLutheran Church, Hancock, MI: 1998.
Stetter, Charles. How Our New Pipe OrganCame About [Service Bulletin, November5, 1970. Organ Dedication]. Mimeo-graphed copy of original kept in the organchamber. Calumet Congregational Church.
The History of the First CongregationalChurch of Lake Linden: now the HoughtonCountry Heritage Center. Program produc-tion by Andrew McInnes. Houghton Coun-ty Heritage Center [Lake Linden, MI: n.d.].
Work to be done on the pipe organ of St.Joseph Church. [Brochure with photos]St. Joseph Church, Lake Linden, MI, n.d.]
Newspaper Articles“Arts, Culture & Heritage.” The Daily Mining
Gazette (Houghton, MI), July 31, 1994. Burack, Susan. “The Organs of Lake Linden:
carrying the tune of tradition.” The DailyMining Gazette (Houghton, MI), July 31,1994.
“Church marks 110 years.” The Daily MiningGazette (Houghton, MI), August 8, 2003.
“First Presbyterian Church of Houghton buysMaxcy organ.” The Daily Mining Gazette(Houghton, MI) [1930–33?] [photocopy].
Fisher, Nancy Beth. “Saving the music;restoring the 1874 Garret House organ.”The Marquette Monthly: arts & humanities(Marquette, MI), August, 2001.
“Museum gets grant for organ.” The Mar-quette Monthly: arts & humanities (Mar-quette, MI), July, 2001.
Taylor, Richard. “Renowned organist to dedi-cate restored organ in Lake Linden.” TheMarquette Monthly: arts & humanities(Marquette, MI), August 2003.
E-mail Notes and Personal SourcesArten, Kathleen. Organist, Community
Church, Calumet, MI.Halkola, David and Viola. Members, Gloria
Dei Lutheran Church.Hokenson, Ron. Pastor, Gloria Dei Lutheran
Church, 1960s.List, Jan. Organist, St. Paul MSL Church,
Laurium, MI.Peterson, June. 2 February 2006. Organist,
St. John’s Lutheran Church, Hubbell, MI.Photo St. Andrew’s Presbyterian Church, Daw-
son City, Yukon, 1995, taken by author.Seaton, Lois Isaac. Member of Gloria Dei
Lutheran Church.Short, David. Numerous e-mail notes and con-
versations. Director of Music and Organist,St. Joseph’s RC Church, Lake Linden, MI.
Waisanen, Carol. 13 February 2006. Organist,First United Methodist Church, Hancock, MI.
[Correspondence from Fabry, Inc. with Glo-ria Dei Lutheran Church, 9 July 2001]
Janet Anuta Dalquist holds degrees fromMacalester College, McCormick TheologicalSeminary, and the University of Michigan.She began playing for church services at theage of 12, served as a substitute organist invarious churches from 1956–1988, and in1989 was appointed organist at Portage LakeUnited Church (UPUSA/UCC), Houghton,Michigan. She is a co-founder of the Organ-ists of the Keweenaw and holds membershipsin the AGO, PAM, ALCM, OHS and theHymn Society. As a professional academiclibrarian, she served as director of the SuomiCollege (now Finlandia University) libraryfrom 1968 to 1984 and as collection managerof the J. Robert Van Pelt Library at MichiganTechnological University in Houghton from1984 to 1994.
26 THE DIAPASON
Console, St. Joseph’s Roman CatholicChurch, Lake Linden
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
Lancashire-Marshall, Lake Linden Unit-ed Methodist Church
Lancashire-Marshall, Lake Linden Unit-ed Methodist Church
1184 Woodland St. SW, Hartville, Ohio 44632330-966-2499 www.keggorgan.com
FEBRUARY, 2007 27
EROI Festival 2006Eastman School of Music Joel H. Kuznik
The 2006 EROI Festival was present-ed by the Eastman School of Music andthe Westfield Center October 12–15.The topic was “Aspects of AmericanOrgan Building in the 20th Centurywith emphasis on E. M. Skinner andJohn Brombaugh.”
The Eastman Rochester OrganInitiative (EROI)
When the Eastman School of Musicopened its doors in 1921, it housed thelargest and most lavish organ collectionin the nation, befitting the interests ofits founder, George Eastman. Mr. East-man provided the school with opulentfacilities and stellar faculty, creating anexpansive vision for organ art and edu-cation in the 20th century.
Over the years, the Eastman Schoolhas built on this vision by offering oneof the most distinguished organ pro-grams in the world. In keeping withthis tradition of excellence, the East-man School of Music has embarked ona long-range plan, the EastmanRochester Organ Initiative (EROI),which will extend George Eastman’svision into the 21st century.
With the aim of making Rochestera global center for organ perfor-mance, research, building, andpreservation, the Eastman School willassemble a collection of new and his-toric organs unparalleled in NorthAmerica. An incomparable teachingresource, this collection will offeraccess to organs of diverse styles andtraditions to talented young musiciansfrom around the world.
Tourists, scholars, and music loverswill be drawn to Rochester to hear thevaried sounds of these extraordinaryinstruments. The Italian Baroque organinaugurated within the frame of theEROI Festival 2005 marks the first con-crete milestone in EROI Phase One. Anew instrument closely modeled after aLithuanian organ built by Casparini in1776 will be constructed and installed inChrist Church (Episcopal) by 2008, incooperation with the Episcopal Dioceseof Rochester.
The restoration of the historic Skin-ner organ, housed in the EastmanSchool’s Kilbourn Hall, and the restora-tion and replacement of the school’sfourteen practice organs, will completethe initial phase of this ten-year plan.
—The EROI Brochure 2006
See <www.esm.rochester.edu/organ/>for information on Eastman, EROI Fes-tivals, and for a PDF file of the 2006 Fes-tival brochure, which has the completefestival program, biographies of partici-pants, and detailed documentation of allthe instruments played, with specifica-tions and historical background forvenues and organs. For information onorganbuilders with links to E. M. Skin-ner and John Brombaugh, see<http://en.wikipedia.org/wiki/Category:Pipe_organ_builders>.
Photo composition and text: Joel H.Kuznik
Photo credit: Nicole Marane
Organs
attendees with an authentic perfor-mance on the mighty Wurlitzer Opus1492 (1926, 121 stops, 12 ranks;restored by the Rochester TheatreOrgan Society) at the Rochester Muse-um and Science Center.
Builder John Brombaugh discussesthe concept of his Opus 9 and theimportance of “vocale” voicing, inspiredby his experience as a boy singer andfound in old instruments throughoutEurope, typically in Principal sounds toimitate the human voice.
At the opening of the EROI FestivalWilliam Porter, known for his tradi-tional improvisatory skills, delighted
Bozeman-Gibson Opus 24 (1984, 23stops, 31 ranks, with gifts of VoxHumana by Paul Fritts, 2005, and Pedal16 Posaunenbass by Flentrop Orgel-bouw, 2006), modeled on Gottfried Sil-bermann’s instrument at Grosshart-mansdorf, Germany. Currently on loanto Eastman and housed at Asbury FirstUnited Methodist Church.
“Gleason’s Dream Machine” designedby the legendary Harold Gleason forEastman’s Kilbourn Hall, SkinnerOpus 325 (1922, 6,030 pipes, 91 ranks,83 stops), scheduled to be restored by2010. Today it is Rochester’s largestorgan.
John Brombaugh’s landmark 1972Opus 9 (20 stops, 29 ranks), originallybuilt for Ashland Avenue Baptist in Tole-do, Ohio; now on loan to Sacred HeartCathedral (RC), Rochester until 2008,when they receive a 52-stop Paul Frittsorgan. The compact casework andpipework of extraordinary craftsmanshipcomplement the remarkable sound.
Holtkamp organ (1962, 40 stops, 45 ranks) at the Lutheran Church of the Incar-nate Word, with its modern façade and neo-baroque tonal concept, typical of themid-20th century.
Historic Pennsylvania Samuel Bohlerorgan (1869, 8 stops, 7 ranks), with aclear, crisp sound, at the LutheranChurch of the Incarnate Word. Built forMuddy Creek Presbyterian Church,Pennsylvania; restored by R. J. Brunnerand Co. in 2006.
Console of the South End Organ, Aeo-lian Opus 947 (1904, 59 stops, 66ranks), in the George Eastman House,where Harold Gleason played for break-fast each day and musicales twice aweek with a resident string quartet. Stillplayable by rolls or console.
Computer image of the Craighead-Saunders organ to be installed inChrist Church (Episcopal) beginningJuly 2007, with completion in 2008. Theorgan is modeled on the exceptionalCasparini organ (1776) at the HolyGhost Church in Vilnius, Lithuania.
� page 28
28 THE DIAPASON
Festival attendees listen attentively to the panel’s illuminating discussion on Brombaugh.Orpha Ochse, recipient of Eastman’sAlumni Achievement Award, gave aremarkably insightful keynote lectureon “The American Organ in the 20thCentury,” citing builders and styles asthey were affected by history and cul-ture.
Thomas Murray of Yale gave anidiomatic demonstration of the Kil-bourn Hall Skinner Opus 325, the firstof many organs he played.
Paul Jacobs
Diane
Meredith
Belcher
Frederick
Hohman
PAST JUDGES: Colin Andrews,
Diane Meredith Belcher, Benjamin
Doby, Paul Fejko, Janette Fishell,
Frederick Hohman, Marilyn Mason,
Katharine Pardee, Cherry Rhodes,
Catherine Rodland, John Rose,
John Walker and John Weaver
TENTH ANNUAL
Albert Schweitzer Organ Festival/USA North American Competition
Panel of JudgesHigh School Division
FIRST PRIZE: $2,000 Provided by Ahlborn - Galanti Organs
Other prizes also awarded
College/Young Professional*
FIRST PRIZE: $3,500Provided in part by J.H. & C.S.
Odell Organ Builders
This includes an appearance on
our 2007-2008 Concert Series
Other prizes also awarded
*Through age 26
AUDITION TAPES/CDS:
Due on June 1, 2007
THE COMPETITION:
September 7-9, 2007
For Information &
Application:
First Church of Christ
250 Main Street
Wethersfield, CT 06109
www.firstchurch.org/asof
860.529.1575 Ex. 209
John Brombaugh and friends—how many do you know? Left to right: builder MartinPasi, Aaron Reichert (Taylor & Boody), Munetaka Yokota (GOArt, Göteborg),John Brombaugh, builder George Taylor, builder Paul Fritts, Bruce Shull (PaulFritts), Frits Elhout (Flentrop), and Mats Arvidsson (GOArt, Göteborg).
Presenters
Roger Sherman led a panel on Brombaugh’s contributions to organbuilding andimpact on performance with Munetaka Yokota (GOArt, Göteborg), WilliamPorter, David Boe (Oberlin) and Erica Johnson (student of Harald Vogel andDMA candidate at Eastman). Boe also gave a keynote speech on Brombaugh’s earlyformative years as a builder.
Barbara Owen presented a truly infor-mative illustrated lecture on “E. M.Skinner—The Man,” and Jack Bethards(not pictured) shared a moving tributeto Skinner the builder with his focus onorchestral sound.
Jonathan Ambrosino articulatelyintroduced Skinner Opus 325 in East-man’s Kilbourn Hall and many otherinstruments during the festival.
Concerts
A model opening recital at Asbury FirstUnited Methodist Church played on theBozeman-Gibson and on an AustinOpus 215 (70 stops, 76 ranks) by talent-ed students (left to right) ChristopherPetit, Erica Johnson, Robert Kwan,and Kola Owolabi playingMendelssohn, an improvised partita,Gubaidulina, Saint-Saëns, and Krebs.
Chair David Higgs with student artistsLars Gjerde, Justin Wallace,Michelle Rae Martin, and Rudy deVos in a skillfully rendered concert ofdifficult contemporary music at St.Mary’s Church (RC) on Austin’s Opus2186 (1952, 56 stops, 50 ranks).
FEBRUARY, 2007 29
Interior of the 1200-seat First Churchof Christ, Scientist, with 1916 Casa-vant rebuilt by Möller (66 stops, 53ranks). (Photo credit: Tiffany Ng.)
GREAT16 Bourdon8 Praestant I–II8 Holpijp4 Octave4 Spielflöte2 Octave
III–X Mixture8 Trumpet
RÜCKPOSITIVE8 Gedackt4 Praestant4 Rohrflöte2 Octave
11⁄3 QuinteII Sesquialtera8 Musette
PEDAL16 Subbass8 Octave
16 Fagot8 Trumpet (Gt)
Joel H. Kuznik, NYC, has been writing for50 years, with over 35 recently publishedarticles. A native of Waukegan, Illinois, hestudied organ with Austin Lovelace at North-western University, David Craighead at theEastman School of Music, Mme. Duruflé andJean Langlais in Paris, and Anton Heiller atthe International Concours in Haarlem. Hehas had a career as church musician and col-lege organist, and has served the AGO asDean of the Ft. Wayne Chapter, on the Exec-utive Board of the NYC Chapter, and on theNational Finance Committee.
Organbuilders and Eastman faculty after their impressively compelling recital onBrombaugh’s Opus 9. Left to right: David Higgs, chair; John Brombaugh, WilliamPorter, Hans Davidsson, and George Taylor, who assisted in building Opus 9.
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Also at the St. Mary’s concert, theSchola Cantorum of Christ Church(Episcopal), composed of Eastman stu-dents under Stephen Kennedy, pre-sented refined, carefully blended read-ings of challenging contemporary choralmusic.
A relaxed post-concert Schola Canto-rum with David Higgs, accompanist,on the left and Stephen Kennedy,director, on the right.
Francesco Cera of Rome displayedmuscular virtuosity in the closing recitalon Eastman’s late 18th-century ItalianBaroque organ in the Memorial ArtGallery.
Remarkable Spaces
Sacred Heart Cathedral (RC) (notpictured), a recently renovated modernliturgical space, features BrombaughOpus 9, and is the future site of a 52-stop organ by Paul Fritts, 2008.
30 THE DIAPASON
Cover feature: Austin Organs Milestones 1893 – 1937 – 2007
pany was producing over 80 new pipeorgans annually. This trend continueduntil the crash of 1929 and ensuingdepression era. The company soldieredon, a bit weakened because of the lack ofnew business, tremendous overhead (thefactory was expanded over three timesfrom its original footprint), and companyfinancing of new instruments to church-es, from which payments only dribbledin. In July 1935, THE DIAPASON pub-lished the announcement that the AustinOrgan Company would close its doors.Non-specific Austin assets and raw mate-rials were sold, and remaining contractswere completed (the final A.O.C. con-tract was number 1885). A few folksremained to complete warranty work andmove the Austin tools and machines intostorage. At this time, young FredericBasil Austin and long-time employeeHarold Dubrule kept the fires burningby completing some small rebuilds andservice jobs. It was this association thatinspired John T. Austin’s nephew to con-sider purchasing the company, a processthat was completed in 1937.
The second Austin milestone:1937—reorganization and moveinto a new facility
The “new” Austin Organs, Incorporat-ed opened its doors in February of 1937.The transition from the old managementto the new Austin was as seamless ascould be expected. They were able toreturn most employees to their worksta-tions, however, in a scaled-down facilitylocated directly behind the behemothstructure that had been home to thecompany for the previous 36 years. Forthe first few years, the company leasedthe property from G. F. Heublein & Bro.Distributors—liquor distributors formuch of the East Coast, famous for theirpre-mixed “Club Cocktails.” A woodenguard mounted to an ancient band sawthat is still in service in the Austin mill isactually a trespassing warning sign fromthe pre-1937 Heublein days. Within afew years, the property was purchased bythe Austin corporation, and over the nextthree decades the buildings wereexpanded several times.
Key for the cover illustration1. Original factory building, 158 Wood-
land Street. Occupied from 1899–1937.2. Opus 2, Sweetest Heart of Mary
Church, Detroit, 2 manuals, 20 stops. Still inregular service.
3. Opus 500, Panama-Pacific Exhibition,San Francisco, 4 manuals, 121 stops. Dam-aged in a 1989 earthquake, it remains in stor-age awaiting completion of restoration andinstallation.
4. Opus 2536, Trinity College Chapel,Hartford, 3 manuals, 62 stops.
5. Opus 2719, Our Lady of Czestochowa,Doylestown, Pennsylvania, 4 manuals, 65stops.
6. Opus 453, The Organ Pavilion, BalboaPark, San Diego, 4 manuals, 62 stops.
7. Opus 323, City Hall Auditorium, Port-land, Maine, 5 manuals, 124 stops.
8. Opus 2768, St. Mary’s College, Moraga,California, 4 manuals, 68 stops.
9. Opus 2782, Fountain Street Church,Grand Rapids, Michigan, 4 manuals, 139 stops.
10. The “new” factory building (1937), asexpanded several times.
Center: The Austin Universal Airchestlogo, including the crest with the motto: Sci-entia Artem Adjuvat. The motto and crest aresaid to have been the design of former Austinemployee Robert Hope-Jones.
Background: The background is a blue-print, Opus 2786, Assumption Church, West-port, Connecticut.
The first Austin milestone: 1893—the first instrument
The Austin story begins like so manytales of European emigration. It was inthe year 1889 that young John T.Austin sailed for the shores of the newworld with a man he met who was vis-iting England (the Austin family nativesoil) and was returning to California.The Austin family was considerablywell off: Jonathan Austin (the father)was a “gentleman farmer,” whosehobby was tinkering with organs andorganbuilding. During the voyage, allof John’s money was liberated from hisperson before arriving in New York,presumably the result of the kindnessof his traveling companion!
Penniless, he used his extraordinarywits to find his way to Michigan, andwas immediately hired by the Farrand& Votey firm in Detroit. In a few years’time, he had become plant superinten-dent, and in his free time he developeda concept for a new type of windchest.After building and servicing bar andslider (tracker organ) windchests, andcertainly seeing many of the new elec-tro-pneumatic actions coming on thescene, he was convinced that theremust be a better way. The folks at Far-rand & Votey were not interested, so in1893 he built and sold a new organ thathe built at the Clough & Warren (reedorgan) plant.
His concept was innovative, becauseyou could simply walk right into thewindchest (he called it an airbox) andservice the complete mechanism.Inside the airbox of many of these earlyinstruments were also the motor for thebellows and the electric (direct current)generator. He started selling these newinstruments with alacrity. It is an often-held belief that Austin organs havetracker-like lifespan, and this is evi-denced by the fact that several of these
early instruments, Opus 2 from 1894for example, continue to play well yearafter year.
A discussion of the Austin mecha-nism would easily consume an entirevolume, but in digest form, the organutilizes one manual motor (primarynote action) for each note, or key, in adivision, and one stop action motor foreach stop on a main windchest. Thevalves under each pipe are not leatherpouches, such as one might find in aSkinner, Möller, or other electro-pneu-matic instrument, but in an Austin, theyare simply mechanical valves connectedby wooden trackers (yes, trackers!) tothe manual motor for each particularnote. This mechanism is reliable andinherently self-adjusting. Springs andfelt guides allow wild changes inhumidity and temperature with nodegradation in performance. The wholeconcept is, in a word, brilliant!
In 1899, perhaps the apex of theAmerican Industrial Revolution, JohnT. Austin was just 30 years old when hemoved into the facility on WoodlandStreet in Hartford, Connecticut. Leg-end has it that that the crew (includingJTA) was installing the organ at theFourth Congregational Church (Opus22, now the Liberty Christian Center)when the factory in Detroit burned tothe ground. Actually, John T. Austin wasin Woodstock, Ontario, supervising theconstruction of the first and only Austinorgan constructed by the Karn-WarrenCompany. The date of the fire was Feb-ruary 2, 1899 (the feast of Candlemas!).On March 31 of that year, the AustinOrgan Company was incorporated inthe state of Maine. The company actual-ly signed a contract for a new organ onMarch 1 of that year and rented factoryspace in Boston—just down the streetfrom the first, soon-to-be Skinner organfactory. The following August, the boardof directors authorized the acquisitionof the Hartford facility.
The business moved along quickly. Itwould be safe to say that most instru-ments of this period were of moderatesize; literally dozens of three and four-manual instruments were deliveredbetween 1900 and 1915. This was thepoint in Austin’s history when somerather significant and interesting instru-ments were installed. For example:Opus 323, The Kotzschmar MemorialOrgan (www.foko.org) was built for theCity Hall in Portland, Maine. It was oneof the first municipal organs installed inthe country. The organ has been playedand maintained with loving care. Ahandsome, new five-manual drawknobconsole was built for the organ by theAustin firm in 2000.
This organ was followed a few yearslater by Opus 453, the Spreckels Organin Balboa Park, San Diego, on NewYear’s Eve, 1914. The largest and mostrenowned outdoor organ, it was the giftof businessmen John D. Spreckels andhis brother Adolph B. Spreckels. The
organ continues to be heard in regularconcerts and events. Dr. Carol Williamsretains the position as MunicipalOrganist, performing regularly to hun-dreds (www.sosorgan.com). This organwas originally built for the Panama-Cal-ifornia Exposition, before being re-gift-ed to the city.
Meanwhile, up the coast in San Fran-cisco, the Panama-Pacific Exposition inSan Francisco would open just twomonths later and run concurrently withthe San Diego event. Austin was chosenfrom a list of about 31 builders to con-struct the organ for this exposition, andwas given a stiff timeline: six months! Itwas completed the very morning that theexposition opened. When the expositionwas concluded, the organ was moved tothe Civic Auditorium. The city’s newmunicipal organist, Edwin Lemare,specified scores of tonal and mechanicalchanges that he required the AustinCompany to complete upon re-installa-tion. Of primary concern was the factthat the organ was being moved from aspace that seated 3,000 to an auditoriumwith a capacity of over 10,000. The organhad many years of fame, but fell to near-obscurity in the late 1950s. In 1963, theAustin firm built a stunning black lacquerdrawknob console. It saw a bit more use,but the horrific 1989 Loma Prieta earth-quake rendered the organ silent. Theorgan sustained some damage due tofalling debris. Funds were eventuallyallocated to repair and re-install theorgan. The organ was returned to Hart-ford, and much work had been complet-ed, but a few months into the project, adirective from the city ordered the organto be returned to San Francisco. Itremains in storage beneath the city,much like that final scene of IndianaJones’s Raiders of the Lost Ark!
Opus 558 would be the company’sfirst five-manual instrument, built forthe Medinah Temple (Masonic Lodge)in Chicago. This organ also had a sisterstopkey console of four manuals. Dur-ing this period, the company productionaveraged over 60 new pipe organs ayear! The next major instrument wouldbe for the Eastman Theater (for theEastman School of Music); Opus 1010was a unique theatre organ—the largestever—of 229 stops! It was, sadly,removed in the 1970s. There were addi-tional notable instruments during thistime: the University of Coloradoreceived a four-manual, 119-stop instru-ment in 1922. The Cincinnati MusicHall awarded a contract for Opus 1109,an 87-stop instrument that utilizedmuch of the existing Hook & Hastingspipework. Opus 1416, a four-manualinstrument of 200 stops, was built forthe Sesquicentennial Exposition inPhiladelphia. The final large concerthall organ of this period, Opus 1627,four manuals and 102 stops, was builtfor Hartford’s own Horace BushnellMemorial Hall in 1929.
By the mid-1920s, Austin Organ Com-
The Austin mechanism
The old factory
The new factory (current configuration)
The original factory was ratherfoursquare—four stories, small foot-print. Then a separate wood framestructure was built that served as anerecting room, then a fire, then the milland new brick erecting room, additionsto the main building that became pneu-matic departments, more voicingrooms, console and cabinet shop, etc.The design department and metal pipeshop grew along the railroad tracks,requiring the private rail siding to bemoved. In the late 1960s, the final addi-tion was the large shipping/receivingand casting room. This expansionrequired a somewhat more adventurousmove: purchase of land from theN.Y./N.H. & Hartford Railroad. Some-how, it was pulled off; the centerline ofthe main rail appears to have beenmoved slightly north, and the siding was
FEBRUARY, 2007 31
completely eliminated. The sprawl ofthe factory now reached nearly 50,000square feet. Sometimes it was notenough, but it is as efficient as anymulti-story manufacturing space can be.
A charming, vintage Otis elevatorallows safe and uncomplicated materialtransport between floors. Systemsthroughout the factory are up to date,and have been carefully maintained byconscientious staff and the foresight ofF. B. Austin’s son, Donald. Assumingthe role of president in 1973, Don was aformidable figure in the organ industry.He was a very private person, wellrespected by his colleagues and employ-ees. Aside from his devotion to the com-pany and care of the physical plant, hemaintained the Austin tradition of assid-uous design trends.
The well-regarded voicer, DavidBroome, who retired as tonal director atAustin in 1998, describes the “Austinsound” as never one of extremes. Austinhas, as he expresses it, not traditionallybeen a leader in any new tonal move-ment in organbuilding. That being said,the company has always built a well-bal-anced chorus. Even instruments fromthe 1930s, when so many of our hal-lowed builders (now gone) built themost tubby-sounding diapason chorus-es, one can hear the gentle articulationand effects of moderately scaled Austinpipework. We can argue about thesound of the vintage Austin trumpetsand oboes, etc., but we never find reedslike them—they not only remain intune, but have good, steady tonal coloras well. The construction of reed pipeswas just one of the more than fourdozen patents that the Austin Companywas granted through the years.
In 1999, Don Austin retired fromactive participation in the daily opera-tion of the company. He appointed hisdaughter Kimberlee as president. Hecontinued as CEO until his death inthe fall of 2004. In early 2005, Kimber-lee Austin resigned her position withthe company.
On an otherwise pleasant Monday inMarch of 2005, I received a phone callfrom Trinity College Organist JohnRose. He told me that as of that after-noon, the Austin Company would beclosing its doors. I was shocked. It feltas though my slightly peculiar but lov-able old uncle had passed away. (Wewere at that time competitors, ofcourse.) We wondered how in the worldthis could happen. Austin was always so. . . solid. The truth of the matter wasthat, in fact, the company did not“close”, but just temporarily ceasedmanufacturing new organs. There wasno bankruptcy, no liquidation of toolingor assets. Don Austin’s wife, Marilyn,retained the services of business consul-tants; the result of their consultationwas basically a public offering in theform of a letter sent to nearly everyorganbuilder or supplier in the country,while Marilyn and a few employeeskept the phones answered and madesmall parts for existing instruments.
The third Austin milestone: 2007—a new direction
In the late 1960s, Richard Taylor, aformer Aeolian-Skinner employee andNew England Conservatory graduate,arrived at Austin Organs to assume theposition of the soon-to-retire Les Bar-rows, who had been purchasing managerfor 59 years. After a couple of yearsworking in the plant and in the servicedepartment, the day finally arrived whenhe would occupy a small desk in the cor-ner of the factory offices on the secondfloor. At the rather generous rate of$2.00 an hour, he was fairly pleased withhis position. In the early 1970s, there wasa brief drop in organ sales, and DonAustin decided to cut back in everydepartment. He decided that there wasno need for a purchasing manager. So,Mr. Taylor moved on to other industries,among them, purchasing manager–mili-tary operations for Colt Firearms. By thelate 1980s, he had returned to organ-building, as superintendent at the formerBerkshire Organ Company in WesternMassachusetts.
As for me, I have studied engineer-ing in Springfield, Massachusetts,music at Westminster Choir College,and Emergency Medicine at North-eastern University. I had attended two
seminaries, and for a short time was anovice in a small Franciscan religiousorder. Leaving all that behind, I appliedscience to music, and was working withBerkshire Organs in its final years,where I discovered the absolute won-der of the technology that transmitsmusic from the organist, through theconsole, windchests and eventuallyevokes sound from the pipework.
Following the demise of BerkshireOrgans in 1989, we formed AmericanClassic Organ Company. While remain-ing a modest-sized operation, we com-pleted several new instruments andbuilt a respectable service business. Welocated the workshops in sleepyChester, Connecticut in 2000.
We came into the Austin picture dur-ing the summer of 2005. Through aseries of events, we received a letterproposing financial investment or pur-chase. After several weeks of soul-searching and discussions, we were ableto come to an agreement. In January2006, we purchased the assets and lia-bilities of the company. Almost immedi-ately a dozen employees returned totheir benches, sales representativesarrived back at the door, and the com-pany has begun to rebuild. Several newpeople have since been added to theroster of Austin employees. The newmanagement aims to build team spirit,stay nimble, and remain rational in theface of terror!
Among the projects completed thisyear have been dozens of action ordersfor existing Austin organs (often deliv-ered ahead of schedule). We designed,built and delivered a mahogany four-manual drawknob console in 62 days. Itwas constructed on the traditionalAustin steel-frame system. We com-pleted a major project on an instrumentin Lansing, Michigan, which required anew console, utilizing the existing(stripped and refinished) casework, re-actioning, and some tonal additions. Anew instrument, Opus 2790, will beinstalled this coming Easter. This con-tract was negotiated within a few weeksof restructuring. Several interestingprojects are pending for 2007. Themetal pipe shop has completed newpipework for the new organ on the floor
right now (Opus 2790) and other Austinprojects. We have also recently com-pleted extensive repairs and historicrenovation on several sets of vintageAeolian-Skinner pipework at the Mor-mon Tabernacle. We continue to castour own pipe metal, and manufactureboth flue and reed pipes.
The company is celebrating the mile-stones of 114 years since the first Austinorgan was built, and 70 years since reor-ganization and move into the currentfactory. We are on solid footing and ingood shape to complete projects largeand small, with confident vision of sig-nificant growth and expansion.
In quiet moments around the factory,you can hear the faint, yet distinct foot-steps of John, Basil, F.B., and DonAustin, as their spirits permeate everyprocess and instrument. The memoriesof so many gifted and wonderful peoplewho have literally spent their lives herecontinue to affect our days. They are alla constant reminder of our commitmentand challenge to continue Austin’s her-itage in American organbuilding. Weare humbled to bring new life into thisvenerable institution, and the many callsand notes we receive encourage us tomove forward to celebrate whatevermight be the “next milestone.”
—Michael Brian Fazio<www.AustinOrgans.com>
Photo credits: Most retrieved from theAustin archives and website. Taylor, Fazio &Bennett photographed by Victor Hoyt; col-lage on this page by Caryn Davis.
Bibliography: Much information garneredfrom Austin archives, remembrances and dis-cussions. Additional material from AustinOrgans by Orpha Ochse, Organ HistoricalSociety, 2001.
Some current Austin personnel at work: (top row) Jordan Burill, Ginny Sica, Benton (Ozzie) Osgood, Rafael Ramos; (bottomrow) Keith Taylor, Jadwiga Majewski, Stewart Skates, Colin Coderre & Tony Valdez
Factory superintendent & designerJames Bennett at work in the latter role.
The company motto—Scientia ArtemAdjuvat—was not just a clever market-ing concept for the Austin family; it wasa way of life. Many of the machines inthe factory that are used for Austin weremade right here. So, we have themachines that repair the machines,right here in the factory! The now
Edward Dubrule at work on the amaz-ing pedal action machine
famous seven-headed monster that isused to build pedal and stop actionblocks was originally built in the frontbuilding, and moved here in 1937. It hasbeen improved several times, mostrecently this year when we added newbushings and guides to allow the belts totravel and run their saws and drills effi-ciently. (Rafael Ramos, who has beenmill foreman since the 1980s, states thatit now runs faster and smoother thanever before.)
Lathe in one corner of the machineshop
Daniel Kingman (senior voicer) andAntonio Valdez from the pipeshop at theMormon Tabernacle, repairing pipeworkfrom Aeolian-Skinner Opus 1075
Michael Fazio (l), Richard Taylor (r)
32 THE DIAPASON
New Organs
C. B. Fisk, Inc., Gloucester,Massachusetts, Opus 124Christ Episcopal Church,Roanoke, Virginia
The new organ at Christ EpiscopalChurch, Roanoke, Virginia, is Opus 124of the Fisk firm: two manuals, 38 rankshoused in a mahogany case. CharlesNazarian, design consultant, developedthe visual design of the organ withmembers of the Fisk shop, and in con-sultation with the organ committee.
The mechanical key actions for Opus124 were made simple and direct toreduce the literal and figurative distancebetween musician and music. Some ofthe largest pipes are pneumatically con-trolled to preserve the lightness of touch.The Swell division was placed high in thecase, with its pipes arranged from back tofront in the 19th-century French style.The Great division was placed below and
to each side to speak boldly into the nave.The manual divisions are winded from asingle large wedge bellows to provide aunified breath for music requiring a flex-ible wind supply; a stopknob may bedrawn to engage an integrated system ofwind stabilizers. The mechanical stopaction ensures maximum longevity forthe instrument.
Rooted firmly in historic principles,Opus 124’s stoplist is a blending of ele-ments representing several centuries ofthe most noteworthy schools of Euro-pean organbuilding. If there is a strongnod in the direction of 19th-centuryParisian builder Aristide Cavaillé-Coll,it is because in his work one finds thediversity, integrity, drama, and expres-siveness of tone most becoming to themodern-day Episcopal worship service.The Hymnal 1982 and its many supple-ments resolutely celebrate all of these
musical qualities; the sacred choralrepertoire comes to life when supportedby such rich, sharply defined, symphon-ic sounds.
Pipe scalings, pipe metal alloys andsurface treatments, pipe constructions,and voicing techniques all follow his-toric precedents. One interesting exam-ple is the tapered, hammered leadSpillpfeife 8 on the Great; it is modeledafter the elegant Spillpfeife found in theHauptwerk of Friedrich Stellwagen’s1637 transept organ at the St. Jako-bikirche in Lübeck, Germany. Standingbeside it on the Great windchest ofOpus 124 is the hammered tin Violon-celle 8 , scaled and voiced after Cavail-lé-Coll’s numerous Violoncelle stops;the pipe bodies are overlength with tun-ing slots à pavillon in the French style,and the pipe mouths are fitted withCavaillé-Coll’s singular harmonicbridges, or freins harmoniques, all ofwhich contribute to the pipes’ charac-teristically rich, edgy timbre. Theinstrument is also home to a quartet ofCavaillé-Coll-inspired harmonic flutes.Due to their double-length construc-tion, these flutes are voiced to soundtheir first, or octave, harmonic; thisresults in a very pure, slightly breathytone with potential for great power inthe treble range. The large-scaled Flûteharmonique 8 in the Great division,singing and voluptuous in tone, takesfull advantage of this potential as theinstrument’s primary solo flute. In con-trast, the Swell Flûte traversière 8 , ofmoderate scale, is voiced to be imitativeof an orchestral traverse flute. Togetherwith the Swell Flûte octaviante 4 andOctavin 2 it forms a chorus of harmon-ic flutes, all under expression—an indis-pensable combination for 19th-and
20th-century French repertoire, andideal for choral accompaniment.
All told, the Great and Swell divisionscontain seven 8 flue stops of widelyvarying timbres. When drawn togetherthey form what the French refer to asthe fonds d’huit, or 8 foundations, acombination of stops frequently calledfor in 19th- and 20th-century scores.What is unusual about Opus 124’s fondscombination is that every one of thevoices is open and full-length (or har-monic and double-length), resulting in asonority of extreme opulence and depth.
The organ’s five reed stops are alsoworthy of note. The Great Trompette 8is modeled after the Trompette stops of18th-century French organbuilderFrançois-Henri Clicquot and exhibitsthe free-wheeling, bass-heavy brashnessof that builder’s reeds. The SwellTrompette 8 and Hautbois 8 are bothmodeled after Cavaillé-Coll and aretherefore more restrained, refined, andvocal. The Swell also contains a Germanreed, the Dulcian 16 , whose construc-tion and voicing are based on a stopfound in Arp Schnitger’s famous 1670instrument in the St. Cosmaekirche inStade, North Germany. It adds anotherdimension to the otherwise FrenchSwell division and allows for very con-vincing performance of Renaissance andearly Baroque repertoire. The PedalPosaune 16 is a full-blown, large-scaledSchnitger reed and provides a powerful,foundational underpinning to large com-binations on the manuals.
The temperament is the mildlyunequal Fisk II, which, while favoringthe common keys, allows for music of allstyles to be performed. Wind pressuresare 3 water column for the manualdivisions and 4 for the Pedal.
David C. Pike, tonal directorGregory Bover, project manager
Photo credit: Thomas Baugh
GREAT (58 notes)16 Prestant8 Octave8 Violoncelle8 Spillpfeife8 Flûte harmonique4 Octave4 Offenflöte2 Superoctave
Mixture IV–VIGrand Cornet V (c1– f3)
8 Trompette
SWELL (58 notes, enclosed)8 Diapason8 Viole de gambe8 Voix céleste8 Flûte traversière4 Principal4 Flûte octaviante
22⁄3 Nazard2 Octavin
13⁄5 TiercePlein jeu IV
16 Dulcian8 Trompette8 Basson et Hautbois
PEDAL (30 notes)16 Prestant (Great)16 Bourdon8 Octave (Great)8 Violoncelle (Great)8 Spillpfeife (Great)4 Octave (Great)
16 Posaune8 Trompette (Great)
CouplersSwell to GreatGreat to PedalSwell to PedalSwell Super to Pedal
26 voices, 38 ranks, 1,910 pipes Wind: stable, flexible, tremulantKey action: direct mechanical except for cer-
tain large bass pipesStop action: mechanicalKeydesk: built into the case, two manuals and
pedals; manuals 58 keys CC–a3, naturalsof grenadil, sharps of rosewood cappedwith cowbone; pedalboard 30 keys CC–f1
Casework: a single cabinet of Hondurasmahogany, free standing in the front of thesanctuary; front pipes of polished ham-mered spotted metal
FEBRUARY, 2007 33
Calendar
15 FEBRUARYCharles Miller; Church of the Holy Family,
New York, NY 12:45 pmGillian Weir; Austin Auditorium, Wingate Uni-
versity, Wingate, NC 7:30 pmDavid Higgs, masterclass; James R. Cox
Auditorium, University of Tennessee, Knoxville,TN 2:45 pm
16 FEBRUARYRichard Hill; Trinity Church, Boston, MA
12:15 pmStefan Engels; St. Matthew’s Lutheran,
Charleston, SC 7 pmDiane Meredith Belcher; Trinity Lutheran,
Akron, OH 8 pmErik Suter; St. Mark’s Episcopal, Columbus,
OH 8 pm
17 FEBRUARYZachary Hemenway; Battell Chapel, Yale
University, New Haven, CT 5 pmSatomi Akao; Woolsey Hall, Yale University,
New Haven, CT 8 pmJohn Scott; St. Thomas Church Fifth
Avenue, New York, NY 4 pmEric Lebrun, Susan Ferré, Carolyn Shuster
Fournier, Ann Labounsky, Andrew Scanlon,Robert Sutherland Lord, Jean Langlais Cele-bration; First Presbyterian, Pittsburgh, PA 3 pm
David Higgs; James R. Cox Auditorium, Uni-versity of Tennessee, Knoxville, TN 8 pm
Handel Week; Grace Episcopal, Oak Park, IL7:30 pm
18 FEBRUARYRobert Richter; Ascension Memorial Episco-
pal, Ipswich, MA 4:30 pm, following EvensongMDR Kinder Chor; Kent Performance Hall,
Westerly, RI 4 pm, 6 pm•David Westfall, James Gower, Christo-
pher Houlihan, Christopher Jennings, LoisToeppner, Jason Charneski; South Church,New Britain, CT 4 pm
Carol Williams; Avila on the Hudson, Ger-mantown, NY 2 pm
William Trafka, with Excelsior TromboneEnsemble; St. Bartholomew’s, New York, NY 3pm
Bach, Cantata 22; Holy Trinity Lutheran, NewYork, NY 5 pm
Mark Williams; St. Thomas Church FifthAvenue, New York, NY 5:15 pm
Marie-Louise Langlais; Brick Presbyterian,New York, NY 8 pm
Benjamin Nicholas; Christ Church, NewBrunswick, NJ 6:30 pm, following 6 pm ChoralVespers
Nathan Laube; Bryn Mawr Presbyterian,Bryn Mawr, PA 4 pm
Donald Wilkins; Calvary Church, Pittsburgh,PA 4:30 pm, Evensong at 5 pm
The American Boychoir; St. Matthew’s Epis-copal, Richmond, VA 3 pm
Choral Evensong; St. Paul’s Episcopal, Win-ston-Salem, NC 5 pm
Ken Cowan; First Presbyterian, Wilmington,NC 5 pm
Janette Fishell; St. Paul’s Episcopal,Greenville, NC 5 pm
Peter Richard Conte; First Presbyterian,Gastonia, NC 7 pm
Stefan Engels; St. Joseph’s Catholic Church,Orlando, FL 3 pm
Scott Montgomery; Epworth-Euclid UnitedMethodist, Cleveland, OH 2 pm
Mary Preston; St. John United Methodist,Augusta, GA 3 pm
Festival Evensong; Peachtree Road UnitedMethodist, Atlanta, GA 4 pm
Nathan Davy; First United Methodist, Colum-bus, IN 3 pm
Choral Evensong; Christ Church Cathedral,Indianapolis, IN 4:30 pm
Choral Evensong; Christ Church Cathedral,Lexington, KY 5 pm
Organ-fest; First Presbyterian, ArlingtonHeights, IL 4 pm
The Classical Orchestra & Pro Arte Singers;St. James Episcopal Cathedral, Chicago, IL 4 pm
James O’Donnell; Central Christian Church,Decatur, IL 4:30 pm
Hymn Festival; Cathedral of St. Paul, St.Paul, MN 3 pm
•Carolyn Shuster Fournier; St. Olaf Church,St. Paul, MN 7 pm
19 FEBRUARYDonald Wilkins; Calvary Church, Pittsburgh,
PA 4:30 pm, Choral Evensong at 5 pm Marilyn Keiser; Academy Chapel, Mercers-
burg Academy, Mercersburg, PA 7 pmHandel Week; Grace Episcopal, Oak Park, IL
7:30 pm
20 FEBRUARYHarry Huff; King’s Chapel, Boston, MA 12:15 pmVelda Bell; Church of St. Louis, King of
France, St. Paul, MN 12:35 pm
21 FEBRUARYChoir of the Church of The Advent; Church of
the Advent, Boston, MA 6:30 pmJohn Sittard; North Christian Church, Colum-
bus, IN 12 noonWilliam Schnell; First Presbyterian, Arlington
Heights, IL 12:10 pm
23 FEBRUARYBirger Marmvik; Trinity Church, Boston, MA
12:15 pmGerre Hancock; The Cathedral of St.
Joseph, Hartford, CT 8 pmMaxine Thevenot; St. Petersburg College,
St. Petersburg, FL 7:30 pmRodrigo Guitar Trio; United Church of Marco
Island, Marco Island, FL 7:30 pmMary Vessels; St. Mary’s Catholic Church,
New Albany, IN 12 noonKarel Paukert; First Congregational, Crystal
Lake, IL 7:30 pm
24 FEBRUARYGerre Hancock, masterclass; Cathedral of
St. Joseph, Hartford, CT 10 amFauré, Requiem; Woolsey Hall, Yale Universi-
ty, New Haven, CT 8 pmJohn Scott; St. Thomas Church Fifth
Avenue, New York, NY 4 pmRobert Grogan; Franciscan Monastery,
Washington, DC 12 noonBach, St. John Passion; Rockefeller Chapel,
Chicago, IL 8 pm
25 FEBRUARYHeinrich Christensen, with trumpet; King’s
Chapel, Boston, MA 5 pmMaxine Thevenot; Unitarian Universalist
Congregation, Shelter Rock, Manhasset, NY1:30 pm
Rick Erickson; Holy Trinity Lutheran, NewYork, NY 5 pm
Jeremy Bruns; St. Thomas Church FifthAvenue, New York, NY 5:15 pm
Joan Lippincott; Miller Chapel, PrincetonTheological Seminary, Princeton, NJ 3 pm
Jonathan Moyer; Christ Church, NewBrunswick, NJ 6:30 pm, following 6 pm ChoralVespers
The Chenaults; Wilson College, Chambers-burg, PA 2 pm
Singing Boys of Pennsylvania; PresbyterianChurch, Tunkhannock, PA 4 pm
Alan Morrison; Bomberger Auditorium, Ursi-nus College, Collegeville, PA 4 pm
Ulrich Knörr; with trumpet; Greene MemorialUnited Methodist, Roanoke, VA 4 pm
William Peterson; Duke University Chapel,Durham, NC 5 pm
Michael Corzine; Jacoby Hall, Jacksonville,FL 3 pm
Bradley Hunter Welch; First Presbyterian,Pompano Beach, FL 4 pm
Ensemble Corund; Cathedral Church of theAdvent, Birmingham, AL 4 pm
Rodrigo Guitar Trio; Vineville UnitedMethodist, Macon, GA 4 pm
Emanuel Schmelzer-Ziringer; KenilworthUnion Church, Kenilworth, IL 5 pm
Ensemble Amarcord; Church of the Holy Spir-it, Episcopal, Lake Forest, IL 4 pm
Handel, Samson; Grace Episcopal, Oak Park,IL 3 pm
VocalEssence; Ordway Center for the Per-forming Arts, St. Paul, MN 4 pm
26 FEBRUARYEnsemble Amarcord, masterclass; Wabash
College, Crawfordsville, IN 7 pmEmanuel Schmelzer-Ziringer; Elliott Chapel,
The Presbyterian Homes, Evanston, IL 1:30 pm
27 FEBRUARYErik Wm. Suter; Portland City Hall, Portland,
ME 7:30 pmEnsemble Amarcord; Wabash College, Craw-
fordsville, IN 8 pmDaniel Roth; Principia College, Elsah, IL 7:30
pmBob Neinaber; Church of St. Louis, King of
France, St. Paul, MN 12:35 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
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
PATRICK ALLENGRACE CHURCH
NEW YORK
Dean W. BillmeyerUniversity of Minnesota
Minneapolis 55455 • [email protected]
DAVID CHALMERSCONCERT ORGANIST
GLORIÆ DEI CANTORES
ORLEANS, MA
THOMAS BROWNUNIVERSITY
PRESBYTERIAN CHURCHCHAPEL HILL, NORTH CAROLINA
DELBERT DISSELHORST
A. MUS. D.UNIVERSITY OF IOWA
Donald FilkinsWebb Horton Memorial
Presbyterian ChurchMiddletown, NY 10940
Organist / Pianist
Michael [email protected]
http://www.gailit.at
St. Augustine’s ChurchConservatory / University (Vienna)
John M. Gearhart IIIB.A., M.Mus.
St. John the Divine (Episcopal)2450 River Oaks Blvd.
Houston, TX 77019
STEVEN EGLERCentral Michigan UniversityFirst Presbyterian Church
Mt. Pleasant, Michigan 48858
WILLIAM AYLESWORTHD. M.
EVANSTON, ILLINOIS
JOHN FENSTERMAKER
TRINITY-BY-THE-COVE
NAPLES, FLORIDA
ELLEN KURTZ
FUNKM.Mus., A.A.G.O.
Concord, California
ROBERT GLASGOWPROFESSOR EMERITUS
The University of MichiganAnn Arbor
Antone GoddingNichols Hills
United Methodist ChurchOklahoma City
CHRISTOPHERGARVEN
Organist & Music DirectorChurch of the Good Samaritan
Paoli, Pennsylvania
A two-inchProfessional Card
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SOLORECITALS
Shelly-EglerFlute and Organ Duo
Christopher BabcocChristopher BabcockkSt. Andrew’s by the Sea,
Hyannis Port
34 THE DIAPASON
28 FEBRUARYMollie Nichols; St. Bartholomew’s, New
York, NY 12:30 pmRenée Anne Louprette; St. Ignatius Loyola,
New York, NY 7:30 pmCj Sambach; First Presbyterian, Basking
Ridge, NJ 12 noon, Pipe Organ INformance® at4 pm
Thomas DeWitt; Morrison United Methodist,Leesburg, FL 12 noon
John Matthews, Jr.; Grace Lutheran, Colum-bus, IN 12 noon
Chris Urban; First Presbyterian, ArlingtonHeights, IL 12:10 pm
1 MARCHEnsemble Amarcord; St. Paul's Episcopal,
Chattanooga, TN 7 pm
2 MARCHPaul Weber; Trinity Church, Boston, MA
12:15 pmRoland Martin; Slee Hall, University at Buffa-
lo (SUNY), Buffalo, NY 8 pmJohn Buckel; Church of St. Joseph,
Bronxville, NY 8 pmEnsemble Amarcord; Covenant Presbyterian,
Fort Myers, FL 7:30 pmCommunity Sing with Alice Parker; First
Presbyterian, Birmingham, MI 7:30 pmDavid Lamb; Trinity United Methodist, New
Albany, IN 12 noon
3 MARCHPaul Bisaccia, piano; First Church, Glaston-
bury, CT 7 pmChoral Evensong; St. Paul’s Episcopal,
Doylestown, PA 6 pmPaul Jacobs; Knowles Memorial Chapel,
Winter Park, FL 3 pmSpiritus Collective; Harkness Chapel, Case
Western Reserve University, Cleveland, OH7:30 pm
David Higgs, masterclasses; First Presbyter-ian, Birmingham, MI 9:30, 11:30 am, 1:30 pm
4 MARCHPaul Bisaccia, piano; First Church, Sims-
bury, CT 3 pmChoral concert; Woolsey Hall, Yale Universi-
ty, New Haven, CT 3 pmChoral Evensong; Trinity Episcopal, Hartford,
CT 5 pmJan Piet Knijff, with violin and cello; Holy
Trinity Lutheran, New York, NY 5 pmJulie Evans; St. Thomas Church Fifth
Avenue, New York, NY 5:15 pmElizabeth Wong; Christ Church, New
Brunswick, NJ 6:30 pmSinging Boys of Pennsylvania; Jordan United
Church of Christ, Allentown, PA 4 pmDubois, Seven Last Words of Christ; Church
of St. John the Evangelist, Severna Park, MD 7pm
Choral Evensong; St. James’s Episcopal,Richmond, VA 5 pm
Daniel Roth; First Presbyterian, Gainesville,FL 4 pm
The Texas Boys Choir; Park Ave. UnitedMethodist, Valdosta, GA 2 pm
David Higgs; Cathedral Church of St. Paul,Detroit, MI 4 pm
Cj Sambach; First Presbyterian, Columbus,IN 10:30 am INformance, 3 pm performance
Choir of St. Thomas Church, New York City;St. Francis in the Fields, Harrods Creek, KY 5pm
Lenten Evensong; Church of the Holy Com-forter, Kenilworth, IL 5 pm
North Shore Choral Society; Parish Church ofSt. Luke, Evanston, IL 3 pm
Roger Stanley; St. Chrysostom’s, Chicago,IL 2:30 pm
Choral Evensong; St. James EpiscopalCathedral, Chicago, IL 4 pm
University of Minnesota Choirs; Cathedral ofSt. Paul, St. Paul, MN 2:30 pm
6 MARCHMargaret Sandresky; St. Paul’s Episcopal,
Winston-Salem, NC 7 pmEnsemble Amarcord; All Saints Episcopal,
Atlanta, GA 7:30 pmThe Texas Boys Choir; St. Simons Presbyter-
ian, St. Simons Island, GA 8 pmAnne Phillips; Church of St. Louis, King of
France, St. Paul, MN 12:35 pm
7 MARCHAndrew Henderson; St. Bartholomew’s,
New York, NY 12:30 pmLisa Lohmeyer; St. Peter’s Lutheran, Colum-
bus, IN 11:45 amKent Jager; Cathedral of St. John the Evan-
gelist, Milwaukee, WI 12:15 pmWilliam Aylesworth; First Presbyterian,
Arlington Heights, IL 12:10 pmChoir of St. Thomas Church, New York City;
St. Joseph Cathedral, Baton Rouge, LA 7:30 pm
8 MARCHChoir of St. Thomas Church, New York City;
St. Francis Xavier Cathedral, Alexandria, LA 7 pm
9 MARCHHarold Stover; Trinity Church, Boston, MA
12:15 pm
Ensemble Amarcord; Trinity College, Hart-ford, CT 7:30 pm
Joseph Gramley, percussion; Trinity Episco-pal, Hartford, CT 7:30 pm
Gail Archer; Emmanuel Church, Chester-town, MD 8 pm
Paul Jacobs; Capital University, Columbus,OH 7:30 pm
Marci Dickinson & Judy Diekhoff; CentralChristian Church, New Albany, IN 12 noon
10 MARCHEnsemble Amarcord; St. Martin’s Episcopal,
Providence, RI 8 pmJonathan Hellerman; Franciscan Monastery,
Washington, DC 12 noonPaul Jacobs, masterclass; Capital Universi-
ty, Columbus, OH 10 amErik Suter; Spivey Hall, Clayton State Uni-
versity, Morrow, GA 3 pm
11 MARCHPeter Krasinski; St. Anthony of Padua, New
Bedford, MA 3 pmAssabet Valley Mastersingers; Wesley United
Methodist, Worcester, MA 3 pmWaverly Consort; South Church, New Britain,
CT 4 pmRick Erickson, with clarinet and cello; Holy
Trinity Lutheran, New York, NY 5 pmTimothy Spelbring; St. Thomas Church Fifth
Avenue, New York, NY 5:15 pmKaori Hongo; Christ Church, New Brunswick,
NJ 6:30 pmTrue North Brass Ensemble; Shadyside Pres-
byterian, Pittsburgh, PA 4 pmChoral Evensong; St. John’s Episcopal,
Hagerstown, MD 5 pmKen Cowan; First United Methodist, Salem,
VA 5 pmAtlanta Baroque Orchestra; Peachtree Road
United Methodist, Atlanta, GA 3 pmCj Sambach; Presbyterian Church, South
Bend, IN 4 pmChoral concert; Christ Church Cathedral, Indi-
anapolis, IN 4:30 pmChoral Evensong; Cathedral Church of the
Advent, Birmingham, AL 4 pmEnsemble Amarcord; Cathedral of the
Blessed Sacrament, Detroit, MI 4 pmLarry Long; Lutheran School of Theology,
Chicago, IL 4 pm
12 MARCHTrue North Brass, masterclass; Shadyside
Presbyterian, Pittsburgh, PA 10 amMichael O’Neal Singers; Peachtree Road
United Methodist, Atlanta, GA 7:30 pm
13 MARCHRay Cornils, with oboe; Portland City Hall,
Portland, ME 12 noon and 7:30 pmCarole Terry; Central Synagogue, New York,
NY 12:30 pmAnthony & Beard; St. Paul’s Episcopal,
Chattanooga, TN 7 pmPaul Weber; Church of St. Louis, King of
France, St. Paul, MN 12:35 pm
14 MARCHRobert McCormick; St. Bartholomew’s, New
York, NY 12:30 pmMichel Bouvard; St. Ignatius Loyola, New
York, NY 7:30 pmWayne Marshall; Kimmel Center, Philadel-
phia, PA 8 pmEd Brunjes; Asbury United Methodist,
Columbus, IN 12 noonJoyce Robinson; First Presbyterian, Arling-
ton Heights, IL 12:10 pmJohn Weissrock; Cathedral of St. John the
Evangelist, Milwaukee, WI 12:15 pm
15 MARCHScott Matthias; Church of the Holy Family,
New York, NY 12:45 pmTheile, St. Matthew Passion; Church of St.
Luke in the Fields, New York, NY 8 pmChoral concert; Mary, Queen of the Universe
Shrine; Orlando, FL 7:30 pm
16 MARCHAndrea Macinanti; Trinity Church, Boston,
MA 12:15 pmWilma Jensen, masterclass; East Carolina
University, Greenville, NC 11 amWilma Jensen; St. Paul’s Episcopal,
Greenville, NC 7:30 pmJanet Hamilton; St. Mark’s United Church of
Christ, New Albany, IN 12 noon
17 MARCHBruce Neswick, masterclass; Covenant
Presbyterian, Charlotte, NC 9 amAaron David Miller, with Masterworks
Chorale; Monroe Street Methodist, Toledo, OH8 pm
18 MARCHMark Nelson; St. John’s Episcopal, Glouces-
ter, MA 4 pmDavid Kazimir, with choir; Ascension Memo-
rial Episcopal, Ipswich, MA 4:30 pmAndrew Scanlon; Church of the Advent,
Boston, MA 4:30 pm, Choral Evensong 5 pmCONCORA; Immanuel Congregational, Hart-
ford, CT 4 pm
MARILYN MASONCHAIRMAN, DEPARTMENT OF ORGAN
UNIVERSITY OF MICHIGANANN ARBOR
“ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason playedit with awesome technique and a thrilling command of its daring writing.”
The American Organist, 1980
Mary MozelleAssociate Organist
The National Presbyterian Church
Washington, DC
703.898.9609www.PipeOrganPro.com
“The Sights and Soundsof the Pipe Organ”
LARRY PALMERProfessor of
Harpsichord and Organ
Meadows School of the Arts
SOUTHERN METHODIST UNIVERSITY
Dallas, Texas 75275
Musical Heritage Society recordings
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For information on rates and specifications, contactJerome Butera, 847/391-1045
William H. MurrayMus.M., F.A.G.O.
Fort Smith, Arkansas
JAMES KIBBIEThe University of Michigan
Ann Arbor, MI 48109-2085734-764-1591 FAX: 734-763-5097
email: [email protected]
KIM R. KASLINGD.M.A.
St. John’s Univeristy
Collegeville, MN 56321
MICHELE JOHNSA.Mus.D
Organ — Harpsichord
The University of Michigan
School of Music
JAMES HAMMANNDMA-AAGO
University of New Orleans
Chapel of the Holy Comforter
Brian JonesBrian JonesDirector of Music Emeritus
TRINITY CHURCH
BOSTON
Harry H. HuberD. Mus.
Kansas Wesleyan University, EmeritusUniversity Methodist Church
SALINA, KANSAS
David LowryTHE EPISCOPAL CHURCH OF THE GOOD SHEPHERD
1512 BLANDING STREET, COLUMBIA, SC 29201DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY
ROCK HILL, SC 29733
WILL HEADLEE1650 James Street
Syracuse, NY 13203-2816(315) 471-8451
BETTY LOUISE LUMBYDSM • FAGO
UNIVERSITY OF MONTEVALLOMONTEVALLO, AL 35115
JAMES R. METZLERPARK CONGREGATIONAL CHURCH
GRAND RAPIDS, MICHIGAN
A.S.C.A.P.FELLOW, AMERICAN GUILD OF ORGANISTS
345 SADDLE LAKE DRIVE
ROSWELL-ATLANTA, GEORGIA 30076(770) 594-0949
DAVID K. LAMB, D.MUS.Director of Music/Organist
First United Methodist ChurchColumbus, Indiana
812/372-2851
FEBRUARY, 2007 35
Keith Toth, followed by Duruflé, Requiem;Brick Presbyterian, New York, NY 4 pm
James Bobb; Holy Trinity Lutheran, NewYork, NY 5 pm
Geoffrey Ward; St. Thomas Church FifthAvenue, New York, NY 5:15 pm
Choral Evensong; Christ Church, NewBrunswick, NJ 6:30 pm
Choral concert; Bryn Mawr Presbyterian, BrynMawr, PA 4 pm
Singing Boys of Pennsylvania; St. TheresaCatholic Church, Wilkes-Barre, PA 4 pm
Fauré, Requiem; Greene Memorial UnitedMethodist, Roanoke, VA 4 pm
Bruce Neswick; Covenant Presbyterian,Charlotte, NC 3 pm
Peter Richard Conte; St. Gregory’s Episco-pal, Boca Raton, FL 4 pm
Cameron Carpenter; Jacoby Hall, Jack-sonville, FL 3 pm
Douglas Cleveland; First Presbyterian,Naples, FL 7 pm
Rachmaninoff, Vespers; Holy Trinity Luther-an, Akron, OH 7 pm
Choral concert; Peachtree Road UnitedMethodist, Atlanta, GA 5 pm
Erich Balling; Christ Church Cathedral,Lexington, KY 4:30 pm, Choral Evensong at 5pm
Scott Hyslop, organ, Martha Folts, harpsi-chord, with tenor, Buxtehude Bash; St. LorenzLutheran, Frankenmuth, MI 4 pm
Anthony & Beard; Church of the Holy Spirit,Episcopal, Lake Forest, IL 4 pm
Bach, Cantata 48; St. Luke Church, Chicago,IL 4 pm
David Schrader, with Cathedral Choir andorchestra; St. James Episcopal Cathedral,Chicago, IL 4 pm
Erik Suter; Christ Episcopal, Milwaukee, WI3 pm
19 MARCHCharles Tompkins; Furman University,
Greenville, SC 8 pmJamie Garvey, with piano and vocalists; St.
John United Methodist, Augusta, GA 3 pmCraig Cramer; Reyes Organ Hall, University
of Notre Dame, South Bend, IN 8 pm
20 MARCHJoshua Lawton; King’s Chapel, Boston, MA
12:15 pmSarah Koehler; Church of St. Louis, King of
France, St. Paul, MN 12:35 pm
21 MARCHPaul Jacobs, workshop; The Juilliard School,
New York, NY 11:30 amNathan Laube; St. Bartholomew’s, New
York, NY 12:30 pmTodd Wilson; Trinity Episcopal Cathedral,
Cleveland, OH 7:30 pmJohn Simpson; Sandy Hook United
Methodist, Columbus, IN 12 noonDerek Nickels; First Presbyterian, Arlington
Heights, IL 12:10 pm
23 MARCHStuart Forster; Trinity Church, Boston, MA
12:15 pmChoir of St. Thomas Church, New York City,
Bach, St. Matthew Passion; St. ThomasChurch, New York, NY 7:30 pm
The Eton College Choir; Woodberry ForestSchool, Woodberry Forest, VA 8 pm
Gillian Weir; St. Paul’s Episcopal, Greenville,NC 7:30 pm
Birmingham-First Chamber Choir; First Pres-byterian, Birmingham, MI 7:30 pm
Thomas Murray; Madison Street UnitedMethodist, Clarksville, TN 7 pm
Judith Miller; St. John United Presbyterian,New Albany, IN 12 noon
Andrew Kotylo; First Presbyterian, Evans-ville, IN 7:30 pm
24 MARCHGillian Weir, masterclass; St. Paul’s Episco-
pal, Greenville, NC 9 amLeon Griesbach; Franciscan Monastery,
Washington, DC 12 noon
25 MARCHPaul Bisaccia, piano; First Church, Windsor,
CT 3 pmRick Erickson, with soprano and violin; Holy
Trinity Lutheran, New York, NY 5 pmFrederick Teardo; St. Thomas Church Fifth
Avenue, New York, NY 5:15 pmMark Laubach; Christ Church, New
Brunswick, NJ 6:30 pmSinging Boys of Pennsylvania; Calvary United
Church of Christ, Reading, PA 3 pmPaul Jacobs; Abingdon Episcopal, White
Marsh, VA 5 pmRobert Parkins; Duke University Chapel,
Durham, NC 2:30 pm, 5 pmScott Montgomery; Sursa Performance Hall,
Ball State University, Muncie, IN 4 pmRichard Hoskins, with sopranos and viole de
gamba; St. Chrysostom’s, Chicago, IL 2:30 pm•Organ and choral music of Buxtehude; First
Baptist, Macomb, IL 3 pmKammerchor; Concordia University Wiscon-
sin, Mequon, WI 3:30 pm
26 MARCHTimothy Weisman; Woolsey Hall, Yale Uni-
versity, New Haven CT 8 pmPaul Ayres; Elliott Chapel, The Presbyterian
Homes, Evanston, IL 1:30 pmNancy Lancaster; House of Hope Presbyter-
ian, St. Paul, MN 4 pm
27 MARCHHaydn, Lord Nelson Mass; Trinity Church,
New York, NY 6 pmMary Newton; Church of St. Louis, King of
France, St. Paul, MN 12:35 pm
28 MARCHJeremy Bruns; St. Bartholomew’s, New
York, NY 12:30 pmRenée Anne Louprette; St. Ignatius Loyola,
New York, NY 7 pmChoral concert; St. Ignatius Loyola, New
York, NY 8 pm David Lamb; First United Methodist, Colum-
bus, IN 12 noonMark Johnson; Cathedral of St. John the
Evangelist, Milwaukee, WI 12:15 pmDonald Mead; First Presbyterian, Arlington
Heights, IL 12:10 pm
30 MARCHFrederick Teardo; Trinity Church, Boston,
MA 12:15 pmJeffrey Wood; Houghton Chapel, Wellesley
College, Wellesley, MA 8 pmJason Roberts; Trinity College Chapel, Hart-
ford, CT 7:30 pm
Once Upon a Theatre - #0706 . . . at Ann Arbor's Michigan Theatre, an aging pipe organ served as keystone to the preservation of the downtown's heritage.
Concert Capers - #0707 . . . unedited and without a net, four superb soloists know how to put three pipe organs through their paces.
Joe's Amazing Venture - #0708 . . . a 10th anniversary salute to Joseph A. Vitacco, a young business major from Notre Dame University who set out to document some of the world's finest pipe organs via JAV Recordings (www.pipeorgancds.com)
Beyond Sunday Morning - #0709 . . . an exploration of some organ repertoire that takes on a life of its own apart from worship.
FE BRUA R Y
2 0 0 7
ROBERT L.SIMPSON
Christ Church Cathedral1117 Texas Avenue
Houston, Texas 77002
STEPHEN G. SCHAEFFERD.M.A.
The Cathedral Churchof the Advent
Birmingham, Alabama 35203
David Wagner DMAMadonna UniversityLivonia, Michigan
KMZT-FMLos Angeles, [email protected]
SYLVIE POIRIERPHILIP CROZIER
ORGAN DUO
3355 Queen Mary Road, Apt 424Montreal, H3V 1A5, P. Quebec
Canada(514) 739-8696
Fax: (514) [email protected]
SALLY SLADE WARNER, AAGO, ChMCarillonneur
St. Stephen’s Church, Cohasset, MAPhillips Academy, Andover, MA
Recitals
Cherie WescottConcerts • Masterclasses • Coaching
405/942-3958e-mail: [email protected]
DOUGLAS REEDUNIVERSITY OF EVANSVILLE
EVANSVILLE, INDIANA
RONALD WYATTTrinity Church
Galveston
CHARLES DODSLEY WALKER, FAGOTRINITY EPISCOPAL CHURCH
BOX 400SOUTHPORT, CT 06890
KARL WATSONST. RAYMOND’S CHURCH
PARKCHESTER
Davis WortmanST. JAMES’ CHURCH
NEW YORK
Marciaa vann Oyenn mvanoyen.com
Plymouthh Firstt Unitedd Methodistt Church,, Plymouth,, Michigann
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
DAVID SPICERFirst Church of Christ
Wethersfield, Connecticut
House OrganistThe Bushnell Memorial
Hartford
Carol Williams
San Diego Civic Organist
Website: www.melcot.com
E-mail: [email protected]
LEON NELSONFIRST PRESBYTERIAN CHURCHARLINGTON HEIGHTS, IL 60004
NORTH PARK UNIVERSITYCHICAGO, IL 60625
A Professional Card in THE DIAPASON
For rates and digital specifications,contact Jerome Butera
36 THE DIAPASON
Russell Patterson; Slee Hall, University atBuffalo (SUNY), Buffalo, NY 8 pm
Theresa Bauer; St. Paul’s Episcopal, NewAlbany, IN 12 noon
31 MARCHParker Kitterman; Battell Chapel, Yale Uni-
versity, New Haven CT 5 pmBuxtehude, Passion music; Grace Episcopal,
Hartford, CT 7:30 pmChristian Lane; Dwight Chapel, Yale Univer-
sity, New Haven CT 8 pmJohn Scott; St. Thomas Church Fifth
Avenue, New York, NY 4 pmFauré, Requiem; St. Paul’s Episcopal,
Greenville, NC 4 pmBrahms, Requiem; First Presbyterian,
Gainesville, FL 7:30 pm
UNITED STATESWest of the Mississippi
16 FEBRUARYDouglas Cleveland; Clapp Recital Hall, The
University of Iowa, Iowa City, IA 8 pmPaul Bisaccia, piano; Trinity Cathedral (Epis-
copal), Little Rock, AR 7:30 pmClive Driskill-Smith; All Saints Episcopal,
Fort Worth, TX 7:30 pm
18 FEBRUARYMichael Burkhardt; First Presbyterian, Hast-
ings, NE 5 pmPaul Jacobs; Cathedral Basilica of St. Louis,
St. Louis, MO 2:30 pmCalmus Ensemble; Christ the King Lutheran,
Houston, TX 5 pmMaxine Thevenot; Hamilton Recital Hall, Uni-
versity of Denver, Denver, CO 3 pmGraham Barber; Grace Cathedral, San Fran-
cisco, CA 4 pmFrederick Swann, with choirs and instrumen-
talists; Cathedral of Our Lady of the Angels, LosAngeles, CA 7 pm
Carol Williams; Balboa Park, San Diego, CA2 pm
19 FEBRUARYPaul Jacobs, masterclass; Cathedral Basili-
ca of St. Louis, St. Louis, MO 7:30 pm
24 FEBRUARY+Hymn festival; St. Olaf College, Northfield,
MN 7:30 pm
James David Christie; Arizona State Univer-sity, Mesa, AZ masterclass 10:30 am, recital7:30 pm
25 FEBRUARYAaron David Miller, hymn festival; St. John
Lutheran, Minneapolis, MN 3 pm+Catherine Rodland; St. Olaf College,
Northfield, MN 3:30 pmDiane Norton-Jackson; Christ Church
Cathedral, Houston TX 4:15 pmChoral Evensong; Christ Church Cathedral,
Houston TX 5 pmThe Buxtehude Trio; Christ the King Luther-
an, Houston, TX 7:30 pmJeffrey Lee, with soprano; Thomsen Chapel,
St. Mark’s Cathedral, Seattle, WA 3 pmCarol Williams; Balboa Park, San Diego, CA
2 pm
26 FEBRUARYChristopher Anderson; Caruth Auditori-
um, Southern Methodist University, Dallas,TX 8 pm
27 FEBRUARYGoshen College Men’s Choir; Grace Cathe-
dral, San Francisco, CA 1 pm
2 MARCHJohn Friesen; St. Paul United Methodist, Lin-
coln, NE 12:10 pmChoir of St. Thomas Church, New York
City; St. Andrew’s Episcopal, Fort Worth, TX7:30 pm
Pacific Boychoir; Grace Cathedral, San Fran-cisco, CA 7:30 pm
Tavener, Lamentations & Praises; All Saints’Episcopal, Beverly Hills, CA 8 pm
4 MARCHMurray Forbes Somerville; First Presbyter-
ian, Lincoln, NE 4 pmEnsemble Amarcord; St. Mark’s Episcopal,
San Antonio, TX 4 pmChoral Evensong; Cathedral Church of St.
John, Albuquerque, NM 4 pmMatthew Dirst; Lagerquist Hall, Pacific
Lutheran University, Tacoma WA 3 pmCarole Terry; Grace Cathedral, Episcopal,
San Francisco, CA 4 pm
5 MARCHChoir of St. Thomas Church, New York City;
Cathedral Basilica of St. Louis, St. Louis, MO 8pm
27 MARCHPatrick Hawkins; Arizona State University
Organ Hall, Tempe, AZ 7:30 pmThe Eton College Choir; Wichita State Uni-
versity, Wichita, KS 7:30 pm
28 MARCHThe Eton College Choir; St. Michael’s Cathe-
dral, Episcopal, Boise, ID 7:30 pm
30 MARCHJoseph Adam; University of Puget Sound,
Tacoma, WA 12:05 pmDavid Higgs; St. Mark’s Lutheran, San Fran-
cisco, CA 8 pm
INTERNATIONAL
15 FEBRUARYPascal Vigneron, organ, Christine Auger,
harpsichord, Dimitri Vassilakis, piano; EgliseSt-Louis en l’Ile, Paris, France 9 pm
Thomas Wilson; St. Matthew’s Westminster,London, UK 1:05 pm
Gavin Roberts, with trumpet; St. Maryle-bone, London, UK 7 pm
16 FEBRUARYJohn Tuttle; Holy Rosary Cathedral, Vancou-
ver, BC, Canada 8 pm
17 FEBRUARYBen Saul; St. George’s Cathedral, South-
wark, London, UK 1:05 pm
19 FEBRUARYFelix Hell; Church of St. Andrew’s and St.
Paul’s, Montreal, QC, Canada 7 pm
21 FEBRUARYNaoko Imai; Minato Mirai Hall, Yokohama,
Japan, 12:15 pm
23 FEBRUARYDaniel Roth; Symphony Hall, Birmingham,
UK 7:30 pmEnsemble Amarcord; Shallaway, St. John’s,
NF and Labrador, Canada 7:30 pmPaul Jacobs; Lawrence Park Community
Church, Toronto, ON Canada 8 pm
24 FEBRUARYCarolyn Shuster Fournier; Georg Philipp
Telemann Concert Hall, Magdeburg, Germany7:30 pm
Paul Jacobs, masterclass; Lawrence ParkCommunity Church, Toronto, ON 10 am
25 FEBRUARYErik van Bruggen; Kirche “Zur frohen
Botschaft,” Berlin Karlshorst, Germany 5 pm Carolyn Shuster Fournier, with piano and
voice; The American Church, Paris, France 5 pm
2 MARCHJohn Belcher; SS. Peter and Paul, Godalm-
ing, UK 1 pm
3 MARCHMargaret Phillips; St. Albans Cathedral, St.
Albans, UK 5:30 pm
4 MARCHDavid Scott; Our Lady of Grace, Chiswick,
UK 4 pm
5 MARCHCarol Williams; Birmingham Symphony Hall,
Birmingham, UK 1 pm
10 MARCHGillian Weir; Cheltenham Ladies’ College,
Cheltenham, UK 7:30 pm
13 MARCHMami Sakato; Saint-Etienne du Mont, Paris,
France 8:30 pm
14 MARCHKeith Hearnshaw; Reading Town Hall,
Reading, UK 1 pmMami Yoneyama; Minato Mirai Hall, Yoko-
hama, Japan 2 pm
9 MARCHJoseph Adam; University of Puget Sound,
Tacoma, WA 12:05 pmSt. John’s Lutheran Choir (Hamburg); Cathe-
dral of Our Lady of the Angels, Los Angeles, CA7 pm
11 MARCHChristopher Marks; Zion Lutheran, Imperial,
NE 2:30 pmFred Swann; First-Plymouth Congregational,
Lincoln, NE 7:30 pmMaxine Thevenot, followed by Fauré,
Requiem; St. Michael’s Episcopal Cathedral,Boise, ID 4 pm
Lola Wolf; St. Mark’s Cathedral, Seattle, WA3 pm
James Warren; Grace Cathedral, San Fran-cisco, CA 4 pm
12 MARCHAnn Elise Smoot; Zion Lutheran, Dallas, TX
8 pm
16 MARCHTrue North Brass; First United Methodist,
Boise, ID 7:30 pmJoseph Galema, with brass quintet; All
Saints’ Episcopal, Beverly Hills, CA 8 pm
17 MARCHAlan Morrison, with orchestra; Augustana
Lutheran, Denver, CO 7 pm
18 MARCHCatherine Rodland & John Ferguson, with
orchestra; St. Olaf College, Northfield, MN3:30 pm
Ken Cowan; St. Martin’s Episcopal, Houston,TX 3 pm
Christoph Keggenhoff; Christ the KingLutheran, Houston, TX 5 pm
Founders Day Choral Concert; Cathedral ofthe Madeleine, Salt Lake City, UT 8 pm
Martin Jean; Cathedral Church of St. John,Albuquerque, NM 4 pm
Christiaan Teeuwsen; Trinity Lutheran, Lyn-nwood, WA 7 pm
Bach, St. Matthew Passion; Episcopal Churchof the Resurrection, Eugene, OR 7 pm
Thomas Joyce; Grace Cathedral, San Fran-cisco, CA 4 pm
Bach Birthday Bash; Trinity Episcopal, SantaBarbara, CA 3:30 pm
Handbell concert; Knox Presbyterian, SantaRosa, CA 5 pm
Paul Jacobs; Walt Disney Concert Hall, LosAngeles, CA 7:30 pm
19 MARCHCarlene Neihart & David Diebold, with choir;
Country Club Christian Church, Kansas City,MO 8 pm
20 MARCHThomas Murray; Broadway Baptist, Fort
Worth, TX 7:30 pm
21 MARCHMaxine Thevenot & Iain Quinn; University of
New Mexico, Albuquerque, NM 7:30 pm
24 MARCHVocalEssence; Basilica of St. Mary, Min-
neapolis, MN 8 pmMartin Jean; Bridges Hall of Music, Pomona
College, Claremont, CA 8 pm
25 MARCHPaul Oakley; First Presbyterian, Hastings,
NE 5 pmThe Tallis Scholars; Cathedral Basilica of St.
Louis, St. Louis, MO 7:30 pmThe Eton College Choir; St. John’s Cathedral
(Episcopal), Denver, CO 4 pmMel Butler, with saxophone; St. Mark’s
Cathedral, Seattle, WA 2 pmSusan Jane Matthews; St. Bede’s Episco-
pal, Menlo Park, CAKen Cowan; First Congregational, Los Ange-
les, CA 4 pmCarol Williams; Balboa Park, San Diego, CA
2 pm
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FEBRUARY, 2007 37
FRANCESCO CERA, Holy Name Cathe-dral, Chicago, IL, October 22, and IllinoisCollege, Jacksonville, IL, October 28: Tocca-ta sesta, Rossi; Capriccio sopra la Girolmeta,Toccata per l’elevazione, Toccata quintasopra i pedali, Frescobaldi; Passagagli,Sonata, Pasquini; Offertoire sur les grandsjeux, Benedictus chromorne en taille,Couperin; Praeludium in C, BuxWV 137,Buxtehude; Nun komm’ der Heiden Heiland,BWV 659, Prelude and Fugue in E flat, BWV552, Bach.
CRAIG CRAMER, Holy Trinity Evangel-ical Lutheran Church, Hickory, NC, Sep-tember 17: Fantasia and Fugue in g, BWV542, Bach; Noël a minuit fut un Reveil, NoëlPour l’Amour de Marie, Noël de Saintonge,Dandrieu; Wondrous Love, op. 34, Barber;Introduction, Scherzo und Fuge on B-E-A-T-E, Zahnbrecher; Incarnation Suite on Puernatus est nobis, Martinson; Prelude andFugue on O Traurigkeit, O Herzeleid, Smyth;Sonata No. 1 in f, Mendelssohn.
ANDREW DEWAR, Bethany LutheranCollege, Mankato, MN, October 5: Präludi-um in e, Bruhns; Trio Sonata No. 4 in e, BWV528, Bach; Double Voluntary in d, Purcell;Flute Concerto in F, Rinck; Andante andVariations, Mendelssohn; Fantasia in f, K.608, Mozart.
JAMES DORROH, St. Thomas EpiscopalChurch, New York, NY, October 29: Prae-ludium und Fuge, e-moll, Bruhns; Proces-sional, Mathias; Fantaisie in A, Franck; VierStücke für die Flötenuhr, Haydn; Herzlichtut mich verlangen, Brahms; Prelude on aChristmas Carol, Gibbs; Prelude on CwmRhondda, Manz; Irish Air from CountyDerry, Lemare; Hornpipe Humoresque,Rawsthorne.
Organ Recitals15 MARCH
John Belcher; St. Martin’s, Dorking, UK 1 pmAshley Grote; St. Matthew’s Westminster,
London, UK 1:05 pm
16 MARCHJean-François Vauche; Eglise Saint-
François, Lausanne, Switzerland 8 pm
17 MARCHMark Swinton; St. George’s Cathedral
Southwark, London, UK 1:05 pmChoir of St. Thomas Church, New York City,
with Musica Angelica Los Angeles and Orch-ester Wiener Akademie; Centro Historico andUNAM Salle Nezahualcoyotl, Mexico City, MX,also 3/18
21 MARCHWolfgang Baumgratz; Catholic Cathedral,
Moscow, Russia 7:30 pm
22 MARCHAndrew McCrea, lecture/recital; Organ Hall,
Gnessins’ Academy of Music, Moscow, Russia7 pm
24 MARCHEdgar Krapp; Catholic Cathedral, Moscow,
Russia 8 pm
25 MARCHRonald Ebrecht; State M. Glinka Museum of
Music Culture, Moscow, Russia 4 pmAlexander Fiseisky; Tchaikovsky Hall,
Moscow, Russia 7 pmBeate Kruppke, with chorus; Kirche “Zur
frohen Botschaft,” Berlin Karlshorst, Germany5 pm
Marie-Ange Leurent & Eric Lebrun; Notre-Dame de Lorette, Paris, France 4 pm
29 MARCHDavid Pipe; St. Martin’s, Dorking, UK 1 pm
31 MARCHGerben Mourik; St. Saviour’s, St. Albans, UK
5:30 pm
TRACY FIGARD, Pullman GreenstoneUnited Methodist Church, Chicago, IL, Sep-tember 24: Prelude and Fugue in E-flat,BWV 552, Bach; Nocturne for Organ,Cohen; Toccata and Fugue in d, BWV 538,Bach; Jesu, meine Freude, Karg-Elert.
DAVID A. GELL, St. Joseph the Work-er Catholic Church, Winnetka, CA, Sep-tember 2: Concert Variations on The Star-Spangled Banner, Buck; Introduction andFugue in e, Parker; America the Beautiful,Whitford; Variations on America,Lovelace; Yankee Doodle Battle Hymn,Balderston; Variations on The Navy Hymn,Joseph; God of Our Fathers, Diemer; Pre-lude on Balm in Gilead, En Seguido Litúr-gico, Gell.
THOMAS GOUWENS, Cathedral of theHoly Angels, Gary, IN, October 15: Sonatade 1° tono, Lidon; Twee Danswijsjes, Sweel-inck; Ach, bleib bei mir, BWV 649, MeineSeele erhebt den Herren, BWV 648, Kommstdu nun, Jesu, vom Himmel herunter, BWV650, Praeludium und Fuge in G, BWV 541,Bach; Sonata III in A, op. 65, no. 3,Mendelssohn; Deux Danses à Agni Yavishta,Alain; Prélude et Fugue sur le nom d’Alain,Duruflé.
CHARLES HUDDLESTON HEATON,Second Presbyterian Church, St. Louis, MO,September 18: Unter der Linden gruene,Sweelinck; Trio Sonata V in C, BWV 529,Bach; Concert Variations on The Star-Span-gled Banner, Buck; Swanee River, Foster,transcr. Lemare; Three Rhapsodies, op. 7,Saint-Saëns.
KAREL PAUKERT, Valparaiso Universi-ty, Valparaiso, IN, September 25: A Flourishfor Valpo, improvisation; Prelude and Fuguein D, BWV 532, Bach; Adagio, Postludium(Glagolitic Mass), Janácek; Tre pezzi perorgano, Teml; With (Etude No. 1), Baker;Albion II, D’Alessio; Prelude and Fugue in B,op. 7, no. 1, Dupré; Postlude pour l’Office des
Complies, Deuxième Fantaisie, Alain; Final(Six Pièces d’Orgue, op. 21), Franck.
SYLVIE POIRIER & PHILIP CROZI-ER, Parish Church, Breitenfeld, Germany,July 28: Praeludium und Fuge in C-Dur,Albrechtsberger; Le tombeau de GeorgesCziffra (Suite à 4 mains pour l’orgue dans lestyle français), Perrot; Fantasie in f-Moll, K.608, Mozart; A Fancy for Two to Play,Tomkins; A Verse, Carleton; Variations surun thème original pour orgue quatre mains,Bédard; Mutationes, Eben.
JOYCE JOHNSON ROBINSON, Sinsi-nawa Mound, Sinsinawa, Wisconsin, August30: Prelude, Fugue & Chaconne, BuxWV137, Buxtehude; Pastorale (Sonata I in d),Guilmant; Magnificat du Premier Ton, Cor-rette; Come Thou Fount of Every Blessing,Manz; Jerusalem, My Happy Home, Shear-ing; Pastorale (Symphonie I), Vierne; Adagioand Rondo, K. 617, Mozart, arr. Biggs; Pre-lude and Fugue in D, BWV 532, Bach.
KENT TRITLE, Church of St. IgnatiusLoyola, New York, NY, September 24: Pre-lude and Fugue in a, BWV 543, Bach;Shimah B’Koli (Psalm 130), op. 89, Per-sichetti; Sonata in A, op. 65, no. 3,Mendelssohn; Pièce héroïque, Cantabile,Franck; Méditation V (Méditations sur lemystère de la Sainte Trinité), Messiaen;Prélude et fugue sur le nom d’Alain, Duruflé.
JOHANNES UNGER, First Congrega-tional Church, Los Angeles, CA, October 22:Toccata und Fuge d-Moll, BWV 565, Ach wassoll ich Sünder machen, BWV 770, Bach;Andante in F, K. 616, Mozart; O Gott dufrommer Gott, BWV 767, Bach; Fuga VI(Sechs Fugen über B-A-C-H, op. 60), Schu-mann; Christ der du bist der helle Tag, BWV769, Bach; Fugue sur le thème du Carillondes Heures de la cathédrale de Soissons,Duruflé; Sei gegrüßet, Jesu gütig, BWV 768,Bach.
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Rapidly growing service organization hasimmediate openings for experienced servicetechnicians. Excellent compensation packageincludes paid vacation, comprehensive healthinsurance and company-matched IRA. Sendrésumé or contact Allison Gateley at Berghaus Organ Company; 2151 MadisonSt., Bellwood, IL 60104 (708/544-4052).Respond by e-mail to Brian Berghaus: [email protected].
MISCELLANEOUS
Visiting London? Bed and Breakfast accom-modation available in large parish house min-utes away from Westminster Abbey, theThames, St. James’s Park and the Under-ground. Modern kitchen and laundry available.For information write: St. Matthew’s House, 20Great Peter Street, Westminster, London, SWIP2BU. Tel. 0171 222 3704, FAX 0171 233 0255,e-mail [email protected].
The Organist Entertained! Organists visitingEngland may stay at Sarum College, situatedinside the walled Cathedral Close, Salisbury,and use two new organs with mechanicalactions for private study. Options for lessons,time on the Cathedral Father Willis organ, vis-its to local sights. Excellent food, welcomingstaff. Website: www.sarum.ac.uk. e-mail:[email protected]. Tel: +44 1722 424805.
PUBLICATIONS/RECORDINGS
Organ music reprints and organ CDs.“Decadent” a specialty! American, Romantic,transcriptions, Ketèlbey, Buck, Thayer,Mendelssohn. Original size, highest quality.Biographical and performance notes.www.michaelsmusicservice.com; 704/567-1066.
The OHS Catalog is online at www.ohscatalog.org. More than 4,000 organand theatre organ CDs, books, sheet music,DVDs and VHS videos are listed for browsingand easy ordering. Use a link for adding youraddress to the OHS Catalog mailing list. OrganHistorical Society, Box 26811, Richmond, VA23261 E-mail: [email protected].
Reflections: 1947-1997, The Organ Depart-ment, School of Music, The University of Michi-gan, edited by Marilyn Mason & MargareteThomsen; dedicated to the memory of AlbertStanley, Earl V. Moore, and Palmer Christian.Includes an informal history-memoir of theorgan department with papers by 12 currentand former faculty and students; 11 scholarlyarticles; reminiscences and testimonials bygraduates of the department; 12 appendices,and a CD recording, “Marilyn Mason inRecital,” recorded at the National Shrine of theImmaculate Conception in Washington, DC.$50 from The University of Michigan, Prof.Marilyn Mason, School of Music, Ann Arbor, MI48109-2085.
CD Recording, “In memoriam Mark Buxton(1961-1996).” Recorded at Église Notre-Damede France in Leicester Square, London,between 1987 and 1996. Works of Callahan,Widor, Grunewald, Salome, Ropartz, and Boëll-mann, along with Buxton’s improvisations. $15 postpaid: Sandy Buxton, 10 Beachview Crescent, Toronto ON M4E 2L3 Canada.416/699-5387, FAX 416/964-2492; e-mail [email protected].
Aging of Organ Leather by Harley Piltingsrudtells how to test and select organ leathers forlongevity of 60 years or more. Treats otheraspects of leather production and the history oftesting for longevity. New 48-page edition in1994, $9.95 + $4 shipping for entire order (with-in USA). Order online at www.ohscatalog.org.
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.
PIANOFORTE FOR SALE
Brown and Allen/Boston square grandpianoforte. 73 keys. Very good condition. Bestoffer. Nelson, 847/367-5102 or 312/304-5287.
PUBLICATIONS/RECORDINGS
HARPSICHORDS/CLAVICHORDS
POSITIONS AVAILABLE
POSITIONS AVAILABLE
Goulding & Wood, Inc. is seeking a servicetechnician for immediate employment. A min-imum of three years prior experience isrequired. Starting salary well above industrystandards. The successful applicant will havegeneral knowledge of various action designs,extensive tuning background, and stronginterpersonal skills. Voicing skills a plus.Please submit résumés or requests for moreinformation to: Brandon Woods, Goulding &Wood, Inc., 823 Massachusetts Avenue, Indianapolis, IN 46204. Fax: 317/637-5236.B r a n d o n @ g o u l d i n g a n d w o o d . c o m ,www.gouldingandwood.com.
Experienced voicers needed for expandedvoicing department. Excellent compensationpackage includes paid vacation, comprehensivehealth insurance and company-matched IRA.Send résumé or contact Allison Gateley atBerghaus Organ Company; 2151 Madison St.,Bellwood, IL 60104 (708/544-4052). Respond by e-mail to Brian Berghaus:[email protected].
Berghaus Organ Company has an immediateopening for an experienced Technical Designer.The successful applicant will have an architec-tural degree and be proficient in AutoCAD useand application. Experience withconsole/façade design a plus. This is a key posi-tion that provides a significant opportunity foradvancement. Berghaus offers an excellentcompensation package that includes paid vaca-tion, comprehensive health insurance and com-pany-matched IRA. Send résumé or contact Alli-son Gateley at Berghaus Organ Company;2151Madison St., Bellwood, IL 60104 (708/544-4052). Respond by e-mail to Brian Berghaus:[email protected].
Request a free sample issue of The Diapasonfor a student, friend, or colleague. Write to theEditor, The Diapason, 3030 Salt Creek Lane,Suite 201, Arlington Heights, IL 60005; or e-mail: [email protected].
For Pipe Organ Parts:
arndtorgansupply.comOr send for our CD-ROM catalog
Arndt Organ Supply Company1018 SE Lorenz Dr., Ankeny, IA 50021-3945Phone (515) 964-1274 Fax (515) 963-1215
Send a copy of THE DIAPASON to a friend: Editor, The Diapason, 847/391-1045; e-mail: <[email protected]>
Attention OrganbuildersFor information on sponsoring a
color cover for THE DIAPASON, contact editor Jerome Butera,
ExperienceATOS
Preserving a unique art form.Concerts, education, silent film,preservation,fellowshipandmore.www.atos.org
JimMerry,ExecutiveSecretary,[email protected],Fullerton,CA92838
American Theatre Organ Society
g l ü c k n e w yor ko r g a N b u i l d e r s
170 Park Row, Suite 20ANew York, NY 10038
212.608.5651www.glucknewyork.com
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9310 Dodd Road • Kilkenny, Minnesota 56052(507) 334-2277
M u l l e rPipe Organ CompanyP.O. Box 353 • Croton, Ohio 43013
800-543-0167www.MullerPipeOrgan.com
New Organ Sales • Rebuilding and AdditionsMaintenance and Tuning
Box 838, Lithonia, Georgia 30058 • (770) 482-4845
ATTENTION ORGANISTS! With so manyexpensive stops on organs these days,here’s a new way to help defray thecost—the PAY2PLAY. This novel deviceis a credit card reader that you install atthe console, and use to control access toparticular stops. Just swipe your card,pull the stops you need, and thePAY2PLAY uses ultra-high-tech, blackbox technology to permit stop usage. Forexample, you could select the 32 Trom-bone for 20 minutes of use for $10. Thisnot only helps fund organ purchase ormaintenance, but offers the means tocontrol the use of such stops, although itmight be best if the clergy and churchelders were not privy to such informa-tion. Other available system optionsinclude a retina scanner for security pur-poses that discreetly extends from themusic rack, and the “energy credits” bywhich the extended use of strings,celestes and other quiet stops can buildcredit towards the use of a loud stop fora short period of time. Installs easily inan afternoon with ordinary sacristy tools,and causes little or no permanent dam-age to the switching system or action.Order yours today! Box PLAY-Con, THE DIAPASON; [email protected].
FEBRUARY, 2007 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.
Aeolian-Skinner organ, 28 ranks, 3 manu-als, 1953. Opus 1216, originally built for FirstMethodist Church, Tacoma, WA. The organis removed from the church (demolished) andstored in our shop. A fine, unaltered exampleof G. Donald Harrison. We will rebuild,including full releathering, and install any-where in the U.S. Bond Organ Builders, Inc.,Portland, OR. 503/238-3987. Details atwww.bondorgans.com.
1954 Moller 2/8, $6,400—still in place, buyer toremove; 1962 Schantz 3/33, $26,400—still inplace, buyer to remove; 1925 Moller 2/10,$8,000—still in place, buyer to remove; 1976Berghaus 2/11, $8,800—still in place, buyer toremove. Parted out: 1966 Moller 2/10—somepipework still available, contact for details; 195?Reuter 2/9—some pipework still available, con-tact for details. Sold! 1949 Moller 3/30; Sold!1962 Wicks 2/4; Sold! 1969 Moller 2/3; Justreduced! 1964 Wicks 2/6, All new Petersonrelay, new DC wiring, ready to ship now! Sellerwants to liquidate! $18,000 or best offer! 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].
1952 Wicks organ. Three manuals, 18 ranks,36 stops. Playing in Cleveland area. $10,000minus blower. Greg Sparks, 216/252-8264.
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].
REED ORGANSFOR SALE
Mason and Hamlin reed organ, 10 stops plusforte stop and octave coupler, with bench.Excellent condition. Best offer. Nelson, 847/367-5102 or 312/304-5287.
10 electric metal shear originally from theAeolian-Skinner pipe shop. $5,000 or best offer.Contact: Sandee at A. R. Schopp’s Sons, Inc.330/821-8406.
Atlantic City Pipe Organ—1940 E.M. Skinner &Son: 3-manual drawknob console, 4 HarmonicFlute, 8 45sc Swell Principal and 4 Violin; Moller3-rank Sputnik 1962 with direct electric chests; 3-manual drawknob Moller shell, Harp—1952. 8Harmonic Flute, Moller Clarinet & Vox. More:Visit http://mywebpages.comcast.net/acorgan. E-mail: [email protected]. Phone 609/641-9422.
Two Moller shade actions (six engineseach), $150 each, also pipes, consoles,relays, and miscellaneous parts. Let us knowwhat you are looking for. [email protected] (not comcast), phone215/353-0286 or 215/788-3423.
Laptops and Software for programmable tem-peraments—tune harpsichords and pianos—from Herb Huestis, 1502–1574 Gulf Road, PointRoberts, WA 98281. Phone 604/946-3952, Fax604/946-5739, e-mail [email protected]. Laptopscreen-based tuning program that is sensitive to1/10 cent, much greater than dial tuners. Over100 programmable temperaments for harpsi-chord, clavichord and pianos. Check it out onthe web: www.tunelab-world.com. 8x10x2 smallToshiba laptop used for shop tuning: $285 withshipping. Send your old laptop for recondition-ing and installation of tuning software to make itone of the best musical tools in your kit! I willload Tunelab97 software, road test it, and returnyour laptop for $135 including shipping, plus anyparts. Any repairs or replacements, hard drive,etc are extra. Options: Register your software,$35; spreadsheets of historical tunings, nocharge; manual, no charge. Send your old lap-top for evaluation only: $85 (with return ship-ping). Install registered software: $50; Nyloncase: $20; Mouse: $1; 56k Modem: $35; Net-work Card: $35; Sensitive stem mike: $45.
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].
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].
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. 800/792-8180.
New classified advertising rates went intoeffect January 1, 2006. See page 37 for information.
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.
Antonlaan 8NL - 3701 VE Zeist
Tel. +31 30 - 691 38 27Fax +31 30 - 692 06 20
Jacques StinkensOrganpipes - since 1914
Your personal wishes are in good hands
W. Zimmer & Sonspipe organ builders
P.O. Box 520Pineville, NC 28134(803) 547-2073
300 Old Reading Pike • Suite 1D • Stowe, PA 19464610-970-9817 • 610-970-9297 fax
[email protected] • www.pjmorgans.com
Norman A. Greenwood
“Three Generations at Organ Building”
CHARLOTTE, NORTH CAROLINA 28218
P.O. Box 18254 • 704/334-3819 • fax 704/544-0856
GUZOWSKI & STEPPEO R G A N B U I L D E R S I N C
NEW INSTRUMENTSREBUILDS - ADDITIONS
TUNING & SERVICE1070 N.E. 48th CourtFT. LAUDERDALE, FL 33334(954) 491-6852
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In MemoriamMarch 17, 1913–December 3, 2004
7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Buiders of America
Builders of high quality Pipe Organ Components
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Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890E-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* Janette Fishell 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*
Todd Wilson Christopher Young
Erik Wm. Suter Donald Sutherland
Thomas Trotter*
CHOIRS ACHOIRS AVVAILABLEAILABLE CHOIRS ACHOIRS AVVAILABLEAILABLE
WEB SITE:WEB SITE:wwwwww.concertorganists.com.concertorganists.com
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The Choir of WinchesterCathedral, UK
Andrew Lumsden, DirectorOctober 17-29, 2007
The Choir of Saint ThomasChurch, NYC
John Scott, DirectorAvailable 2008
The Choir of St. John’s CollegeCambridge, UK
West Coast USA TourSpring 2009
*=European artists available2007-2008
Scott MontgomeryAGO National
Competition WinnerAvailable 2006-2008