T H E AUGUST 2021 - Setauket Presbyterian Church Setauket, New York Cover feature on pages 22-24
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THE
D I A PA S O N
AUGUST 2021
Setauket Presbyterian Church
Setauket, New York
Cover feature on pages 22–24
PHILLIP TRUCKENBROD
CONCERT ARTISTS
ŚĂƌůĞƐDŝůůĞƌWƌĞƐŝĚĞŶƚ
WŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ&ŽƵŶĚĞƌ
THE DIAPASON Editor’s Notebook
Scranton Gillette Communications
One Hundred Twelfth Year: No. 8, A “renewed” season of recitals, concerts, master-
Whole No. 1341 classes, Evensongs, etc.
AUGUST 2021 As summer draws to a close, we are receiving notices of vari-
Established in 1909 ous events for the 2021–2022 season from churches, universi- Stephen Schnurr
ISSN 0012-2378 ties, and other institutions. This is a very exciting development, 847/954-7989; sschnurr@sgcmail.com
indeed! If you are coordinating a series of events of interest to www.TheDiapason.com
An International Monthly Devoted to the Organ,
our readers (organ, choral, harpsichord, carillon recitals, etc.),
the Harpsichord, Carillon, and Church Music
please be sure to send me the particulars, so that they can be January 31, 2022. The award recognizes the scholarly work of
included here and at our website. Be sure to take note of these a young author who has not reached their 35th birthday. The
CONTENTS events in your area, and show your support for what you love topic(s) should be related to the organ, church music, harpsi-
FEATURES
by attending! chord, and/or carillon. For more information, see the July 2021
Carillon Profile: the Netherlands Carillon, issue of The Diapason, page 3.
Arlington, Virginia With a new academic and choir year, remember
by Kimberly Schafer 16 your colleagues and students! In this issue
East meets West: Synthesis of style in Remember that a subscription to The Diapason makes a Shannon Murphy provides an introduction to nineteenth-
nineteenth-century Russian organ music great gift, especially for young students enrolled in high school, century Russian organ music. Kimberly Schafer, who regularly
by Shannon Murphy 18
college, or graduate school programs. Our student subscription contributes an introduction to various American carillons,
NEWS & DEPARTMENTS remains an incredible bargain at $20 per year. Gift options for covers a particularly noteworthy and historic instrument and
Editor’s Notebook 3 those not in an academic program include our digital subscrip- its recent renovation at the Netherland Carillon in Alexan-
Here & There 3 tion (no mailed copy), also a bargain at only $35. dria, Virginia.
Carillon News 4 Beginning August 15, new and gift subscriptions qualify for Gavin Black returns to his column, “On Teaching,” with a
Appointments 6
one or more free CDs from Raven and Acis. To begin a new or remembrance of a important teacher in his career, Eugene
Nunc Dimittis 8
On Teaching by Gavin Black 12
gift subscription for a friend or student on or after that date, call Roan. John Bishop, in “In the Wind . . .,” continues and updates
In the wind . . . by John Bishop 14 the subscription service at 877/501-7540. If a friend would like his discussion of π, including Archimedes’ mental model, and
a complimentary sample copy (print or digital), please notify gives remembrances of the late organbuilder Fritz Noack.
REVIEWS me of their mailing information at sschnurr@sgcmail.com. This month’s cover feature spotlights Sebastian M. Glück’s
Book Reviews 11 Opus 24, a two-manual instrument recently completed for the
New Organ Music 11, 25 The second Gruenstein Award Setaucket Presbyterian Church, Setaucket, New York. The
New Handbell Music 25
A brief reminder that entries for the second Gruenstein organ was designed in consultation with David Enlow of New
Award will be accepted from September 1, 2021, through York City. Q
CALENDAR 26
SUMMER CARILLON CALENDAR 28
RECITAL PROGRAMS 29
Here & There
CLASSIFIED ADVERTISING 30
Events studying organ, the Kent Nelson Schol- to register for the online seminar is Janu-
The East Texas Pipe Organ Festi- arship for Organ. ary 7, 2022. The deadline to submit a
val will hold its 2021 festival November Nelson earned his Bachelor of Arts composition is April 24, 2022. First prize
THE 7–11, headquartered in New Orleans, degree in music from Wheaton College, is $500; second prize is $250. Both prizes
D I A PA S O N
AUGUST 2021 Louisiana. The event is customarily Wheaton, Illinois, his Master of Music will come with public premieres of the
centered in Kilgore, Texas; however, degree from University of Wichita (not works. For information:
repairs to First Presbyterian Church, yet Wichita State University), and his americancenterofchurchmusic.org.
Kilgore, and its Aeolian-Skinner organ Doctor of Musical Arts degree from the
have necessitated the move to New University of Southern California, all
Orleans. Featured performers include with an emphasis in organ. He served on Concert management
Ken Cowan and Lisa Shihoten, David the faculty of San Jacinto College near Seven Eight Artists announces the
Baskeyfield, Jan Kraybill, Stefan Engels, Houston, Texas, for 29 years, teaching addition of new artists to its roster.
Setauket Presbyterian Church
Setauket, New York
and others performing on organs built piano, organ, and various music courses.
by Aeolian, Aeolian-Skinner, Holtkamp, This fund was established out of an
Cover feature on pages 22–24
Goulding & Wood, Simmons & Willcox, appreciation held by Nelson for his expe-
COVER and Skinner. For information: riences at WSU and his interest in sup-
Sebastian M. Glück, New York, New York; easttexaspipeorganfestival.com. porting future students studying organ at
Setauket Presbyterian Church, the university. Lynne Davis is Robert L.
Setauket, New York 22
Town Distinguished Professor of Organ
Education at WSU. For information: wichita.edu.
Editorial Director STEPHEN SCHNURR
and Publisher sschnurr@sgcmail.com
847/954-7989 Competitions
President RICK SCHWER
The American Center of Church
rschwer@sgcmail.com Music announces its first annual com-
847/391-1048 position contest and seminar, open to Emma Whitten
composers of any age. Participants will
Editor-at-Large ANDREW SCHAEFFER
diapasoneditoratlarge@gmail.com register for an online seminar on com- Emma Whitten is an organist spe-
posing for the organ, since each of the cializing in early Baroque and contem-
Sales Director JEROME BUTERA contest categories will focus on new porary repertoire. She performs across
jbutera@sgcmail.com
608/634-6253 organ music. Pieces of any length will the United States and internationally,
Circulation/ be considered, with preference given to including appearances at venues and
Subscriptions THE DIAPASON Marcussen organ, Wichita State Univer- submissions that are ten minutes or less festivals such as the Los Angeles Presi-
P.O. Box 300 sity, Wichita, Kansas
Lincolnshire, IL. 60069-0300 in length. Submissions must be unpub- dent’s Day Organ Festival, St. Paul’s
DPP@omeda.com lished and fit one of three categories: Cathedral, San Diego, Catalina Organ
Toll-Free: 877/501-7540 The Wichita State University hymn or spiritual song, chorale prelude, Festival, Tucson, St. Mary’s Basilica,
Local: 847/763-4933
Foundation, Wichita, Kansas, has or general service music. Preference will Phoenix, and the University of Tennes-
Designer KELLI DIRKS announced a new organ scholarship/ be given to pieces that could be used in see, Knoxville. Whitten holds degrees in
kellidirksphoto@gmail.com fellowship established by Dr. Robert a church service and that use the organ, organ performance from the University
“Kent” Nelson to be included as a gift such as preludes, postludes, offertories, of Notre Dame, the University of Kan-
Contributing Editors LARRY PALMER
Harpsichord to benefit Wichita State University in his or solos. sas, and Arizona State University, where
estate plans. Nelson’s legacy gift to the The online seminar will be geared she received her Doctor of Musical Arts
KIMBERLY SCHAFER organ program will be a combination of toward those familiar and unfamiliar with degree studying with Kimberly Marshall.
BRIAN SWAGER his nine-foot Steinway grand piano, his organ composition and will take place She is currently organist and associate
Carillon
three-manual Allen organ, and a cash January 8, 2022, with panelists David director of music at Mission San Luis
JOHN BISHOP gift to create a student support fund for Cherwien, Timothy Tikker, Graeme Rey Parish, Oceanside, California.
In the wind . . . undergraduate and graduate students Shields, and Tyler Pimm. The deadline ³ page 4
GAVIN BLACK
On Teaching THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of
Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles
Reviewers Steven Betancourt 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: sschnurr@sgcmail.com. should request a style sheet. Unsolicited reviews cannot be accepted.
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WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2021 Q 3
Here & There
Top row: Renée Anne Louprette, Nicole Keller, Andrew Henderson; bottom row: Ra- Student performers with Paul Jacobs for June 9 Juilliard concert at Lincoln Center
chel Schulz, Jennifer Shin, Collin Miller (photo credit: Ben Merchant)
On June 9, The Juilliard School’s organ department, under the direction of Paul
The 2021 Arthur Poister Scholarship Competition in Organ Playing took Jacobs, performed a live-streamed concert from Paul Hall at Lincoln Center, New
place on June 4 at St. Paul’s Episcopal Church, Syracuse, New York. This year’s com- York City. The program included collaborations with flute, harp, and voice, with
petition returned to an in-person event in which three contestants were invited to music by Alberto Ginastera, Rachel Laurin, Dan Locklair, John Weaver, and Charles-
perform thirty-minute programs on the basis of their preliminary round recordings. Marie Widor, and transcriptions of Fauré, Mahler, and Wagner.
First Prize of $3,000, funded by the Arthur Poister Endowment Fund of Syracuse Performing on the program were organists Elena Baquerizo, Eddie Zheng, Cecily
University, and a recital engagement on the Holtkamp organ at Syracuse University’s DeMarco, Edward Hewes, Aletheia Teague, Jeremy Jelinek, Jeremiah Mead, Yuejian
Setnor School of Music went to Collin Miller of Lafayette, Louisiana. Miller is pur- Chen, with Audrey Emata (flute), Tiffany Wong (harp), and Joseph Parrish (bari-
suing a Master of Music degree in organ performance in the studio of Janette Fishell tone). For information: juilliard.edu.
at Indiana University, Jacobs School of Music, Bloomington. His winner’s recital will
take place in autumn at Syracuse University. Second Prize of $1,000, also funded by
the Poister Endowment Fund, was awarded to Jennifer Shin, a doctoral student ³ page 3 by Karl Wolfrum (MER 2021.50, €9.50)
of David Higgs at the Eastman School of Music. She also received the most votes and Interludium (Wandlungsmusic) by
for the Will O. Headlee Audience Prize of $500, funded by Don Ingram in memory Frederich Klose (MER 2021.60, €3.90).
of Headlee, Syracuse University Professor Emeritus of organ and long-time Poister Weinberger taught at the Hochschule
competition coordinator. Shin is a member of The Diapason’s 20 Under 30 Class of für Musik und Theater München
2021. Third Prize of $500, funded by the Syracuse Chapter of the American Guild and the Hochschule für Musik Würz-
of Organists, was awarded to Rachel Schulz, a Master of Music candidate at the burg. For information: sonat-verlag.
University of Kansas studying with Michael Bauer. de; recit.de; de.wikipedia.org/wiki/
The judges for the final round were Andrew Henderson, Nicole Keller, and Renée Gerhard_Weinberger.
Anne Louprette. For information: syracuseago.org.
Carillon News
The Guild of Carillonneurs in
North America (GCNA) has announced
its new carillonneur members for 2021:
Deborah Hennig (Koninklijke Beiaard-
school “Jef Denyn,” Mechelen, Belgium),
Claire Janezic (University of Rochester),
AEMeyer Duo Maria Krunic (University of Chicago),
Joseph Min (University of Chicago),
The AEMeyer Duo (Anna Meyer, and Joshua Villanueva (University of
flute, and Erik Meyer, organ) has per- Denver). These carillonneurs performed
formed for almost twenty years through- in a debut recital on June 27 during the
out North America and Europe. In 2020, guild’s virtual congress, hosted by Trinity
AEMeyer released their debut album, College, Hartford, Connecticut.
Fantasmagoria, which features five The GCNA has released 24 new publi-
new compositions written for the duo cations this summer, including five origi-
by Carson Cooman, Parker Kitterman, nal compositions and five arrangements,
Till Meyn, Erik Meyer, and Kile Smith. four new Franco Commissions, eight
Anna Meyer holds degrees in flute per- Franco Composition Contest Winners,
formance from University of Cincinnati- and two winning arrangements from the
College Conservatory of Music, Peabody Sally Slade Warner Competition. For
Conservatory, and a doctoral degree information: gcna.org.
from Temple University, where she
teaches. Erik Meyer received his degrees The Leuven (Belgium) Bell and
from Peabody Conservatory of Music. Carillon Society Campanae Lovani-
His compositions have won awards from enses organized an international contest
the American Guild of Organists, Asso- for carillon composition and arrange-
ciation of Lutheran Church Musicians, ment marking the 300th anniversary
and Presbyterian Association of Musi- of the birth of organist, carillonneur,
cians. In addition to serving as organist and composer Matthias Vanden Gheyn
at Abington Presbyterian Church, Erik (Tienen, 1721–Leuven, 1785). There
teaches music at Temple University. For were two categories: carillon composi-
information: seveneightartists.com. tions inspired by the concept of cosmol-
ogy and carillon arrangements of a work
of the Baroque period. (See the January
People 2021 issue of The Diapason, pages
Gerhard Weinberger announces 6–7.)
new publications and editions. For In the first category, 32 submissions
organ, from Edition Sonat-Verlag: Toc- were received from twelve countries; in
cata pasquale (on the chorale Christ the second category, thirty submissions
ist erstanden) (SOV 5.409.00, €9.80) were received from eight countries. The
and In paradisum deducant te angeli submissions in category 1 were judged
(SOV 5.408.00, €9.50). For organ, from by an international jury of four compos-
Edition Récit: La Vent de l’Esprit (MER ers/pianists and four carillonneurs. The
2021.40, €3.00), as well as editions edited submissions in category 2 were evaluated
by Weinberger—Sonata No. 3 in F Minor ³ page 6
4 Q THE DIAPASON Q AUGUST 2021 WWW.THEDIAPASON.COM
Allegro Elisa Jackson Robert Jeremy S. Tyler Vincent
con fuoco Bickers Borges Brewer Bruns Canonico Carr
Joseph Carson Shin-Ae Angela Theo. S. Laura Faythe Joy-Leilani
Causby Cooman Chun Kraft Cross Davis Ellis Freese Garbutt
Simone Margaret Justin Sarah
Gheller Harper Hartz Hawbecker
Jacob Christopher Jason Peter
Hofeling Jacobson Klein-Mendoza Krasinski
David Mark Colin Katherine Scott Shelly Brenda Joseph
Lamb Laubach Lynch Meloan Montgomery Moorman-Stahlman Portman Ripka
Vicki Patrick A. Thomas David Richard Beth Rodland Duo
Schaeffer Scott Sheehan Von Behren Webb Zucchino Organ & Viola
www.ConcertArtistCooperative.com
Faythe Freese, Director
512.470.7782
Colin Lynch, Assistant Director
ConcertArtistCooperative@Gmail.com
Beth Zucchino, Founder & Director Emerita
Here & There
Appointments
Nicole Aldrich is appointed
director of chapel music and of the
Princeton University Chapel Choir,
Princeton University, Princeton, New
Jersey. She succeeds Penna Rose,
who served in that capacity for 29
years. Aldrich leaves a position she
has held since 2011 as senior lecturer
and director of choral activities at
Washington University, St. Louis,
Missouri, and director of music for
University United Methodist Church,
St. Louis. Prior to that, she served at
the University of Delaware, Newark.
Aldrich received her Master of
Music degree in choral conduct-
ing from Northwestern University,
Organ Historical Society Chicago-Midwest Chapter members: Stephen Schnurr, Evanston, Illinois, and her Doctor of
Carole Prendergast, Derek Nickels, and Robert Woodworth Musical Arts degree from the Univer-
sity of Maryland, College Park. She is
Members of the Chicago-Midwest Chapter of the Organ Historical Soci- a professional soprano and pianist as
ety presented a farewell recital for the four-manual Geo. Kilgen & Son organ in St. well as a conductor. For information: Nicole Aldrich
Ignatius Catholic Church, Chicago, Illinois, on June 6. The parish, founded in 1906, chapel.princeton.edu.
built a permanent church to the designs of Chicago’s Henry Schlacks in the Rogers
Park neighborhood in 1916 and 1917. The present organ was installed in 1924. The Samantha Koch is appointed
Archdiocese of Chicago suppressed the parish on July 1. to the position of head flue voicer
For the program, recitalists Carole Prendergast, Robert Woodworth, Ste- for Létourneau Pipe Organs, St.-
phen Schnurr, and Derek Nickels presented works by Bach, Buxtehude, Langlais, Hyacinthe, Québec, Canada. Koch
Widor, Saint-Saëns, Thalben-Ball, Clarence Eddy, and others. The future disposition is a graduate of the American Organ
of the church campus and the organ are not known at this time. Institute at the University of Okla-
homa, Norman, where she earned
a master’s degree in organ perfor-
³ page 4 musician in Antwerp, for his work The mance and organ technology. She
Vermilion Bird of the South; third prize has experience in tonal design, flue
(€500) to Thomas Laue, carillonneur and reed voicing, woodworking, pipe
in Canberra, Australia, for his work Boo- making, various kinds of windchest
merang Nebula. These compositions will actions, electric and electronic sys-
be performed on October 2 on several tems, installation, and tonal finishing.
carillons in Leuven during the cultural Prior to coming to Létourneau, she Samantha Koch
city festival “Knal!,” the Leuven Big Bang practiced general organbuilding with
Festival. This festival honors the Leuven Quimby Pipe Organs, Inc., of Warrensburg, Missouri, for four years, but espe-
priest and professor Georges Lemaître cially enjoyed furthering her education as a voicer under Quimby’s head voicer
(1894–1966), who first developed the Eric Johnson.
theories of the expansion of the universe Koch is a performer, having concertized and held church positions across the
(1927) and of the big bang (1931). United States and Europe. She is an active member of the American Institute
For carillon arrangements, first prize of Organbuilders and maintains an interest in the advancement of women and
(€1,500) was awarded to Thomas Laue younger generations in the organbuilding profession. For further information:
for an arrangement of Sonate for Violin, letourneauorgans.com.
op. 16, no. 12, by Isabella Leonarda
(1620–1704); second prize (€750) to Colin MacKnight is appointed
Geert D’hollander for an arrangement director of music for Trinity Episcopal
of Suite No. 1 for Harpsichord by Joseph- Cathedral, Little Rock, Arkansas. At
Hector Fiocco (1703–1741); third prize Trinity, he oversees a music program
(€ 500) to Roy Kroezen (carillonneur in that includes among its offerings a
The campanile of Tienen Centralia, Illinois), for an arrangement of chorister program, a concert series,
French Suite No. 2 by Johann Sebastian and weekly choral evensongs. In
by the four carillonneurs in the jury. Bach. The three winning arrangements June, he received his Doctor of Musi-
The results were announced on June 12 will be performed in autumn 2021 and cal Arts degree from The Juilliard
during the online congress of the World in summer 2022 on the Peace Carillon in School, New York City, marking the Colin MacKnight
Carillon Federation. Park Abbey (replica after 1730) and the end of ten years and three degrees at
For carillon compositions, first city carillon of Tienen (1723). the school. Over the last eight years, MacKnight has served three Episcopal
prize (€2,000) was awarded to Geert Campanae Lovanienses will make the churches: Church of the Resurrection and Saint Thomas Fifth Avenue, both in
D’hollander, carillonneur at Bok Tower, scores of the five highest-ranked entries New York City, and, most recently, Cathedral of the Incarnation, Garden City,
Lake Wales, Florida, for his work Halos; in both categories available free of Long Island. A member of The Diapason’s 20 Under 30 Class of 2019, he
second prize (€1,000) to Jeroen Malaise, ³ page 8 has completed his Associate, Fellow, and Choirmaster certification exams with
the American Guild of Organists. As a recitalist, he is represented in North
America by Karen McFarlane Artists, Inc. For information: concertorganists.
com and colinmacknight.com.
James Reed is appointed organ-
ist and director of music (Kantor) at
Fosen Cathedral, Trøndelag, Norway,
where he will lead the music program
of this congregation of the Diocese
of Nidaros, Trondheim, in the Evan-
gelical Lutheran Church of Norway
(Den Norske Kyrkja). He will assume
responsibility for the Kantoriet as well
as for monthly organ Vespers and reg-
ular Sunday services. In addition to
responsibilities for Roan Parish, and
the parish churches of Stoksund and James Reed
Åfjord, he remains artistic director of
the Norwegian Early Church Music Festival (Nynorsk kyrkjemusikkfestivalen)
AUSTINORGANS.COM based in Hove (Vestlandet), and music director of St. Mary’s Singers, West-
t8PPEMBOE4U)BSUGPSE$5 minster, UK, and St. Alphage Chorus, Edgware, UK. He leaves his position of
interim director of music for Steinkjer Parish Church, Trøndelag. Q
6 Q THE DIAPASON Q AUGUST 2021 WWW.THEDIAPASON.COM
Here & There
³ page 6 penned two books—How to Build a
charge to the international carillon com- Church Choir (1958) and A Guidebook
munity. The jury consisted of Michael to Worship Services of Sacred Music
Finnissy (UK), Anthony Romaniuk (Aus- (1961)—published several anthems, and
tralia), Leo Samama (the Netherlands), was editor of the Hymnbook for Chris-
Annelies Van Parys (Belgium), Stefano tian Worship, published by Judson Press
Colletti (France), Koen Cosaert (Bel- in 1970. He was a staff reviewer of new
gium), Monika Kazmierczak (Poland), recordings for The Diapason magazine
and Tiffany Ng (United States). and was pleased to have a complete run
of the journal, which he had bound and
donated to DePauw University. He also
Nunc Dimittis contributed to journals such as Clavier
and The American Organist. A 90th
birthday celebration concert in Heaton’s
honor was held at St. Andrew’s Episcopal
Church in the Highland Park neighbor-
hood of Pittsburgh on November 3, 2018,
with several local organists performing.
On April 17, 1954, Heaton married
Jane Pugh, who predeceased him in Sep- 1915 Casavant Opus 615, gallery organ, Église Saint-Jean-Bapiste, Montréal,
tember 1999. They had three children, Canada
who survive: Rebecca Lynn Turner (Pat-
rick) of Herndon, Virginia; Charles Hud- The Canadian International Organ Competition (CIOC) and La Fabrique
dleston Heaton, Jr. (Miki), of Brierfield, de l’Église Saint-Jean-Bapiste have announced a new partnership whereby the
Alabama; and Matthew Aaron Heaton CIOC will gradually assume responsibility for the cultural activities taking place at
(Shannon) of Medford, Massachusetts, the historic church as well as the adjoining Saint-Louis Chapel. Such activities include
along with four grandchildren and two concerts of all styles and genres, ranging from organ music to classical ensembles,
great-grandchildren. orchestras, and pop artists.
A memorial service for Charles Hud- In conjunction with this new partnership, Saint-Jean-Baptiste Church has named
Charles Huddleston Heaton, Sr. dleston Heaton, Sr., will take place in Jean-Willy Kunz as its titular organist. Kunz is artistic director of the CIOC, organ-
September at St. Andrew’s Episcopal ist-in-residence of the Orchestre symphonique de Montréal, and professor of organ
Charles Huddleston Heaton, Church, Pittsburgh. Burial will be in at the Conservatoire de musique de Montréal. He succeeds Jacques Boucher who
Sr., 92, died June 11, in Huntsville, Crystal Lake, Michigan, where the will become titular organist emeritus after 35 years of service to the church. Boucher
Alabama. He was born November 1, Heatons spent their summers. Memorial was a member of the 2014 CIOC jury.
1928, in Centralia, Illinois. Heaton contributions may be made to a scholar- Saint-Jean-Baptiste Church is home to two historic pipe organs. The principal
earned his Bachelor of Music degree ship in Heaton’s memory to the Ameri- organ in the gallery, Casavant Frères’ Opus 615 of four manuals, built in 1915 and
from DePauw University, Greencastle, can Guild of Organists, 475 Riverside restored in 1996, features 65 stops. The second instrument is an antiphonal choir
Indiana, in 1950, studying with Van Drive, Suite 1260, New York, New York organ of fifteen stops, also part of Casavant’s Opus 615. In addition to the main church
Denman Thompson. He then went to 10115, attention: F. Anthony Thurman. organs, the Saint-Louis Chapel contains 1916 Casavant Opus 656 of nine stops. Since
New York City for his Master of Sacred the CIOC’s founding, Saint-Jean-Baptiste Church has always been featured as part of
Music degree at the School of Sacred the competition as well as the CIOC Organ Festival. With this new partnership, the
Music of Union Theological Seminary, CIOC is looking forward to increasing the profile of these organs. For information:
completed in 1952. After service in ciocm.org and eglisesjb.com.
the United States Army, he returned
to Union Seminary in September 1954
for his Doctor of Sacred Music degree. Noack was active in various profes- for Girls, and assistant organist at the
Among his teachers at Union were sional organizations, including service as Cathedral of St. John the Divine, all of
Hugh Porter and Harold Friedell. the president of the International Soci- New York City. A memorial service for
In 1954, while a student, Heaton was ety of Organbuilders from 2000 to 2006; Randolph was held at the Cathedral of
appointed chapel organist for Kirkpat- he also served two terms as president of St. John the Divine on June 10.
rick Chapel, Rutgers University, in New the Associated Pipe Organ Builders of
Brunswick, New Jersey, playing a three- America. He taught organ construction
manual Skinner organ. The following and building at New England Conserva-
year, while still a student, he became tory, Boston.
organist and choir director for the Pres- In early 2015, Noack retired from his
byterian Church of Bound Brook, New company, turning its leadership over
Jersey. He was awarded his doctoral to Didier Grassin. At that point, the
degree in 1957. Fritz Noack firm had built nearly 160 instruments,
In 1956 Heaton was named organist installed throughout the United States
and director of music for Second Pres- Fritz Noack, 86, died June 2. Born and abroad in locations such as Iceland
byterian Church, St. Louis, Missouri. in Germany in 1935, he apprenticed and Japan.
He would become organist for Temple in organbuilding with Rudolf von
Israel of the same city in 1959. From Beckerath in Hamburg between 1954
1962 to 1964, he taught organ at South- and 1958. He would work with Klaus
ern Illinois University at Carbondale. Becker and Ahrend & Brunzema, also
Heaton then served as organist and in Germany, before coming to the
director of music for East Liberty Pres- United States, working briefly for the
byterian Church, Pittsburgh, Pennsyl- Estey Organ Company in Brattleboro,
vania, from 1972 until 1993. During his Vermont, and later with Charles Fisk,
tenure at the church, he recorded the then with the Andover Organ Company
disc, Music Till Midnight, named for a in Methuen, Massachusetts. Carl Flentge Schalk (Photo courtesy of Con-
series of concerts he formulated at East In 1960, he founded the Noack Organ cordia University Chicago and the Schalk Family)
Liberty beginning in 1976. He was a lec- Company, then located in Lawrence, William E. Randolph, Jr.
turer in music at Pittsburgh Theological Massachusetts. The workshop would Carl Flentge Schalk, 91, died Janu-
Seminary between 1973 and 1976. move to Andover, Massachusetts, in William E. Randolph, Jr., died May ary 24 in Melrose Park, Illinois. He was
Following retirement Heaton was 1965 for larger space. In 1970, the 15. In 1979, he earned his Bachelor born September 26, 1929, and attended
organist-in-residence at Trinity Episcopal company moved to its present location, of Music degree from the Manhattan high school and college at Concordia
Cathedral (1993–1996 and 1997–2002) a former schoolhouse in Georgetown, School of Music, New York City, study- Teachers College, River Forest, Illinois
and served as interim organist for a year Massachusetts, where an erecting room ing with Frederick Swann. He would (now Concordia University Chicago),
each at Calvary Episcopal (1996–1997) was added to the building. More than a further study with Jean Langlais in Paris graduating in 1952 with a Bachelor of
and Oakmont Presbyterian Churches, dozen organbuilders, including the prin- and Christopher Dearnley in London. Science degree in education. He pro-
all in Pittsburgh. Heaton was a Fellow of cipal personnel of various other firms, Randolph worked at the Episcopal ceeded to earn a Master of Music degree
the American Guild of Organists (1957), have received their training there. Church of the Intercession in New York from the Eastman School of Music and a
City from 1983 until 1993. He then Master of Arts in Religion degree from
served at St. Philip’s Episcopal Church Concordia Seminary in Saint Louis, Mis-
BACH AT NOON and at St. George’s Episcopal Church,
New York City. He returned to Church
souri. His first call was to Zion Lutheran
Church and School, Wausau, Wisconsin,
Grace Church in New York of the Intercession in 2002 where he as fifth and sixth grade teacher and
remained until his death. He also was church musician. From 1958 to 1965,
www.gracechurchnyc.org adjunct organist at Columbia Univer- Schalk was music director for radio
sity, organist at the Marymount School broadcasts of The Lutheran Hour.
8 Q THE DIAPASON Q AUGUST 2021 WWW.THEDIAPASON.COM
Here & There
From 1965 until his retirement in Lutheran Church Musicians, was named Christian hymnals of various denomina- Prelude on an American Folk Hymn:
1993, Schalk was professor of church a fellow of the Hymn Society of the tions. In 2013, Nancy Raabe’s critical LONESOME VALLEY (14109, £3.50, down-
music at Concordia University, River United States and Canada, and received biography, Carl F. Schalk: A Life in load £2.99), by Francis Jackson; Suite for
Forest. During this time, he guided the numerous other awards and several hon- Song, was published, and in 2015, Sing- Jasper (Five Pieces) (14114, £7.95), by
development of the university’s Master orary doctorates. In 2002, Schalk was ing the Church’s Song, a collection of Malcolm Riley. For information: banks-
of Church Music degree, which has named the American Guild of Organist’s articles and essays about church music musicpublications.co.uk.
since graduated more than 200 students, Composer of the Year. by Carl Schalk was released. As recently
edited the journal Church Music, and At Grace Lutheran Church, River as 2020, his book, Singing the Faith: A CanticaNOVA Publications announ-
coordinated the annual Lectures in Forest, Illinois, adjacent to the Con- Short Introduction to Christian Hym- ces new choral and organ items: Three
Church Music, which brings church cordia campus, Schalk assisted Paul nody, was also printed (see the March Simple Carols (5148, $1.90), by Colin
musicians, performers, conductors, Bouman in church music; together 2021 issue of The Diapason, p. 21). Brumby, for SATB and organ; Beata vis-
and educators together for a three-day they founded the Bach Cantata Vesper He was preceded in death by his wife cera (3028, $1.75), by Gary Penkala, for
conference. Schalk was a member of Series that continues to this day. Schalk Noël Roeder, and is survived by three two-part mixed choir and organ; Nova!
the Inter-Lutheran Commission on is well known for his numerous choral children and four grandchildren. Nova! (5041, $1.75), by Chad Cagle, for
Worship, which produced the Lutheran compositions as well as his hymntunes SATB a cappella; Christmas Tuba Tune
Book of Worship in 1978, and the board and carols, which number over one on ANTIOCH (6046, $3.25), by Grimoaldo
of directors of Lutheran Music Program, hundred. He had ongoing collabora- Publishers Macchia, for organ; and Prelude on
the parent organization of the Lutheran tions with poets Jaroslav Vajda and Banks Music Publications THAXTED (6032, $3.25), by Paul Randall
Summer Music Academy and Festi- Herbert Brokering, producing tunes announces new organ publications: Fan- Keith, for organ. For information:
val. He was honored with the Faithful for several of their hymn texts. Schalk’s fare in B-flat & The Goss-Radley Fan- canticanova.com.
Servant award from the Association of hymntunes may be found in modern fare (14110, £6.50), by Francis Jackson; ³ page 10
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WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2021 Q 9
Here & There
³ page 9 Recordings Variations and Fugue in F-sharp Minor, with the city commenced, and the future
op. 73; Fantasy and Fugue in C Minor, op. planned. The Laukhuff family bore addi-
29; Fantasy and Fugue in D Minor, op. tional costs in order to secure jobs and
135b; Funf leicht ausführbare Präludien the future of the company.
und Fugen, op. 56, numbers 1–3, and 5; However, the Covid-19 pandemic
Choralvorspiele, op. 79b, numbers 1, 3, 8, worsened the situation, with organbuild-
9, and 11. For information: jpc.de. ers and their clients shuttered for a year.
Due to the combination of restructuring
in recent years and the slump in sales
in 2020 and 2021, all financial buffers
were exhausted.
On March 23, 2021, the company
entered protective shield proceedings
and, in addition to restructuring plans, a
search for investors was started, seeking
French Romantic Church Music: Alexan- a future as a medium-sized craft business
dre Guilmant and His Circle with a restructuring plan and a suitable
investor. The protective shield proceed-
Ars Organi announces a new organ ings ended on June 30.
CD: French Romantic Church Music: Laukhuff supplied the organbuilding
Alexandre Guilmant and His Circle The Chenault Duo (photo credit: Dustin industry with custom designed and mass
(AOR003). Recorded in the Basilica of Chambers) produced parts. Numerous organbuild-
Our Lady of Victories, Camberwell, Aus- ers worldwide are expected to be in a
tralia, the disc includes choral and organ Gothic announces a new CD: Organ scramble to figure out how to obtain
Tempo and Tactus in the German Ba- motets by Guilmant, Saint-Saëns, Widor, Music for Two, Volume Five (G-49336, parts without the firm.
roque: Treatises, Scores, and the Perfor- Bonnet, Boëllmann, Déodat de Séverac, $18.98), featuring the Chenault Duo,
mance of Organ Music and Louis-Lazare Perruchot. Robert performing on the Aeolian-Skinner In the late afternoon of June 15, a fire
James Stove is organist; the singers are organ at the Cathedral of St. Philip, broke out in the workshop of Dobson
Boydell & Brewer, Inc., and Uni- Elizabeth Barrow, Emily Tam, Paulina Atlanta, Georgia. Works include William Pipe Organ Builders, Ltd., of Lake
versity of Rochester Press announce a Vayenas, Leighton Triplow, and James Tell Overture, Londonderry Air, Two City, Iowa, rendering the facility a total
new book: Tempo and Tactus in the Ger- Emerson. For information: to Tango, Softly and Tenderly, and two loss. According to the state fire marshal’s
man Baroque: Treatises, Scores, and the arsorgani.com. world premieres: A Spiritual Romp by department, it appears a malfunctioning
Performance of Organ Music, by Julia Nicholas White, based on three spiritu- fan caused sawdust to ignite, sparking the
Dokter (hardcover, 9781648250187, als, and Cantabile à Deux and Fantaisie fire. One person was injured in the blaze.
$135; e-book, 9781800102279, $24.99). à Deux by Rachel Laurin. Dobson has acquired the tools and
The book guides the reader through the Raymond and Elizabeth Chenault equipment of the Nelson Barden &
intricacies of German Baroque metric commissioned their first organ duet in Associates workshop in Waltham, Mas-
theory via analyses of treatises and organ 1979 and since then have commissioned sachusetts, as the firm begins to rebuild.
music by Bach, Buxtehude, Bruhns, nearly eighty organ duet works. Based For information: dobsonorgan.com.
Weckman, and others. in Atlanta, Georgia, and Richmond,
For orders placed through December Virginia, they are Organists and Choir- Tower chimes
31, the publisher is offering a 35% dis- masters Emeriti of All Saints’ Episcopal
count on the book by using the promo Church and taught choral music at the
code BB135 at the checkout section of Lovett School, both in Atlanta. They
the website. For information: are represented by Phillip Truckenbrod
boydellandbrewer.com. Concert Artists: concertartists.com. The
CD is available from gothic-catalog.com
Breitkopf & Härtel announces new and chenaultduo.com.
publications. The Swan of Tuonela (EB Max Reger: Organ Works, Volume 7
9376, €17.90), op. 22/2, by Jean Sibelius,
arranged for English horn and organ by CPO announces a new 2-CD set: Max
Matthias Arter, is one of four tone poems Reger: Organ Works, Volume 7 (8977550,
that comprise Lemminkäinen-Suite. €15.99), featuring Gerhard Weinberger
Orlando di Lasso: Complete Works, performing on the Steinmeyer organ in
Volume 19, Motets X (SON 349, €209), the Christuskirche of Mannheim and the
is edited by Bernhold Schmid. For infor- Jahn organ in the Versöhnungskirche,
mation: breitkopf.com. Dresden, Germany. Works include
William Picher Plays the Great Schoen- William Pugh and Caleb Rheal of Top
stein Organ at Mary, Queen of the Uni- Rung Tower Chime & Organ Service at
verse Shrine the city hall of Asheville, North Carolina
(photo credit: Eric Johnson)
Sternik announces release of a new
CD: William Picher Plays the Great Top Rung Tower Chime & Organ
Schoenstein Organ at Mary, Queen of Service recently completed repairs to
the Universe Shrine. This is the premiere the 1932 Deagan Tower Chime of ten
“one of this era’s recording of the 86-rank, 5,283-pipe notes on the eleventh floor of the city hall
most adventurous Schoenstein organ and includes works in Asheville, North Carolina. While the
interpreters of by Buxtehude, Debussy, Sousa, Wagner, 7,000-pound chime system was hoisted
the classical and others. William Picher is director so that the deck could be reroofed, Wil-
organ repertoire” of music at the Basilica of the National liam Pugh and Caleb Rheal replaced
NY MUSIC DAILY Shrine of Mary, Queen of the Universe, the deteriorated six-inch by six-inch base
Orlando, Florida. For information: timbers and rusted bolts prior to paint-
williampicher.hearnow.com. ers’ arrival. They also rewound onsite the
large coils that retract the striker heads.
The chimes are played from a paper-loop
Organbuilders player on the ninth floor and a keyboard
Aug. Laukhuff GmbH & Co. on the fifth floor.
KG, Weikersheim, Germany, ceased After fourteen years in Lawrence, Kan-
operations on June 30. The company was sas, ten years in Manhattan, Kansas, and
founded in 1823 and has been located on ten years in Athens, Tennessee, the firm
AugustLaukhuff-Strasse in Weikersheim has moved to Etowah, Tennessee. Rheal
since 1878. Laukhuff began insolvency is in charge of the shop, which is located
proceedings as early as 2014. Since in the historic former J. C. Penney build-
then, the company was in the process of ing. Pugh is handling paperwork and
restructuring and optimization. Plans for consulting from La Crosse, Wisconsin.
MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com a new building were drawn, discussions For information: deagan.com. Q
10 Q THE DIAPASON Q AUGUST 2021 WWW.THEDIAPASON.COMReviews
Book Reviews copyright and of suitable editions? What resources that are shared at the end of birthday. (See “A Celebration of Francis
if a resource engaged the beginning or each chapter at www.oup.com/noon. Jackson’s 100th Birthday: A Living Cen-
intermediate student with information One may have students that are simply tenary at York Minster, October 4, 2017,”
on our beloved pipe organ, its compos- learning at an accelerated pace, and by Lorraine Brugh, The Diapason,
ers, provided scales and exercises, tips the companion resources are a great December 2017, page 20.) Written in a
on various practice techniques, and additional resource, such as “Keyboard Baroque style, the work recalls the music
suggestions for registration? How about Musicianship.” I often find myself sug- of Mouret, Handel, and Telemann,
a method book that includes repertoire gesting additional repertoire for most with an accompanied solo immediately
from all periods with suggested finger of my students, so the section labeled repeated on the tutti. The opening and
and pedal markings suitable for the “Recommend next pieces” on the web- closing sections are very tonal and tra-
organist that is studying with you and site is coordinated with each chapter. ditional. The B section features a more
consequently playing for church services Your student may wish to purchase some adventurous harmonic scheme.
at the same time? of these collections to keep pace with The second piece, A Trumpet Minuet,
The New Oxford Organ Method is their studies. The aspect I found the pays respect to Alfred Hollins, a blind
the complete resource for students of most enlightening on this web resource organist born in York. Like Réjouissance,
all levels. As this reviewer digested this is the section on “Suggested Listening,” A Trumpet Minuet employs a similar
book from beginning to end, I imagined which serves to broaden the experience style and structure. Both pieces rely on
the various lessons and students that and mind of the student of the organ. a solid solo reed stop for the basic regis-
would benefit immensely from its design Once your students finish this method tration. The compositions are extremely
and organization. I reflected on how this you can be certain of their ability to play accessible and will be welcome additions
resource could be used with the students the organ, and you will hear their growth to the processional and recessional rep-
that are studying virtually with me as as consummate musicians. ertoire for festive celebrations.
The New Oxford Organ Method well, since the thorough descriptive texts —Steven Betancourt —Steven Young
that accompany each chapter serve as Loyola University Bridgewater, Massachusetts
The New Oxford Organ Method, by a bridge between sessions with an in- Chicago, Illinois
Anne Marsden Thomas and Fred- person instructor. Rather than skipping Expressions for Organ, by Carson
erick Stocken. Oxford University from section to section, as one does in Cooman. Carus 18.042, $33.95.
Press, ISBN 978-0-19-351832-2, $43. some methods, those using this method New Organ Music Available from carus-verlag.com.
Available from ohscatalog.org and simply study systematically from begin- Réjouissance: A Tuba Tune, by This publication features fourteen
other resources. ning to end. Keeping in mind that no Vernon Hoyle. Banks Music Publi- independent pieces. Although several of
The New Oxford Organ Method is student is like another, multiple sugges- cations, #14094, £3.50, download the pieces would work in concert, most
systematic, accomplished on one’s own tions for practice techniques are demon- £2.99. A Trumpet Minuet, by Vernon are suitable for church services as well.
or with a teacher, and highly adaptable strated throughout. My only suggestion Hoyle. Banks Music Publications, This is a very interesting set of pieces
in our recent pandemic environment. is a practical one: if you are an instructor, #14101, £3.95, download £2.99. in the forms of free-standing preludes,
Many of us that provide instruction sit down with your student or students Available from chorale preludes, festive works, and
in organ playing often juggle method and review the first sixteen pages of this banksmusicpublications.co.uk. quiet meditative pieces. As I do with
books, scales and exercises, repertoire book, answering questions about the Two of the newest publications from all the music I review, I play each piece
and ornamentation resources, and techniques, images, and strategies that British composer Vernon Hoyle pay through several times and, if at all pos-
more. Some might even provide various are described. The authors recommend homage to two renowned British church sible, use them in public performances
aspects of the lesson to our students in this, and I endorse this recommendation, musicians who have a connection to as well. I have used the great majority of
“leaflet” form thinking that it is being as so often these foreword and introduc- York, from whence Hoyle himself hails. this music in church services, and much
done for “educational” purposes. But tory sections are overlooked. The first, Réjouissance, is dedicated to of it is of short enough duration to fit well
what if there was a resource that com- While it is mentioned frequently, Francis Jackson, former music director at as preludes, offertories, or interludes.
bined it all in one book, respective of be sure to find yourself perusing the York Minster, to commemorate his 100th ³ page 25
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WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2021 Q 11On Teaching
Thinking about Gene Roan would agree to start working with a stu-
This month I share thoughts about dent without experiencing their playing.
my teacher Gene Roan, as the nineti- I had assumed that this event was in part
eth anniversary of his birth took place going to be an audition. But none of this
recently. He was born June 8, 1931, and was true, and we made an appointment
died in 2006 at the age of 75. This recent for our first actual lesson shortly thereaf-
birthday, significant yet also sad, has led ter. I was left a bit nervous that perhaps
me to think about him quite a lot. On when he heard me play some doubt
June 8, I posted a lengthy commemora- would creep in.
tion of Gene on Facebook, recounting In fact, Gene had taught me his first
some of my interactions with him and lesson: how a prospective student already
reflections on what he meant to me. plays is the least important matter about
This was met with a gratifyingly large that student. What matters is that they
amount of favorable comment, with have decided that they want to study.
many colleagues and friends chipping in By the time I started teaching regularly
with some of their own memories. It was around 1985, I had really absorbed that
this experience that led me to feel that I idea. As far as I can remember I have
should not miss the opportunity to com- never specifically asked anyone who
memorate Gene here. I studied with him inquired about lessons to play for me
formally off and on from the fall of 1974 before agreeing to take them on as a
through 1986. Gene and I remained student. I am pretty sure I have never
colleagues in and around Westminster declined to take someone on for any
Choir College and close friends until reason. If I did it would be because I
his death on September 21, 2006, after suspected that they did not really want
a long illness. to be there, but normally it is up to the
I wrote a column about my other student to make that judgment.
principal organ teacher, Paul Jordan, on Sometime soon into our work together,
the occasion of his death in early 2015. probably at that first real lesson, Gene
I had been studying with Paul, formally explained to me that he never expected a
and informally, in New Haven, where I student to play a piece the same way that
grew up and he worked, for several years he did. That fit in nicely with my own
when in the summer of 1974 I faced temperamental approach. I was very
the prospect of going off to college at stubborn about doing things the way that
Princeton. That was all very well, but I wanted to, and my mind was pretty
working with Paul was so compelling closed to ideas about interpretation that
that I was distraught about having to I had not somehow already absorbed by
make any sort of change. As I recall, I then. (In the aforementioned Facebook
initially assumed that I would continue post I wrote: “I am at this point the
to study with him, taking lessons when I most open-minded person I know of as
was home, and maybe keeping in touch to artistic matters—maybe to a fault, in
by phone. However, he made plans to some people’s eyes—but when I was sev-
leave New Haven that summer, taking a enteen and had only been playing organ
faculty job at the State University of New for a couple of years I was pretty sure
York at Binghamton, so I asked him to that I knew how things should be done.”)
recommend a teacher in Princeton. Paul Everything that I “knew” about “how
phoned his friend, the renowned choral things should be done” I had gotten Eugene Roan at a clavichord (photo credit: Nathan A. Randall)
conductor and teacher Helen Kemp, from somewhere, largely from Paul
who was on the Westminster faculty at Jordan and the approach that he taught, influenced my own teaching and think- I had absorbed from almost the cradle,
the time. He described what I was like and also from various non-organ musi- ing about teaching. we had many talks in which I thanked
as a student and what I might be look- cal influences. There is an interesting I have wondered whether one of his him for his flexibility and non-dogmatic
ing for, and she remarked, “Well, I think paradox involved in wanting to do reasons for not expecting his students to approach. And while he certainly did not
Gene Roan is interested in Baroque things my way as a kind of declaration play the way he did was that he needed remotely disavow that approach, he also
music.” And thus, very casually, the of independence when “my” way has for his own way of doing things to be flex- took pains to remind me that there are all
whole rest of the course of my profes- been absorbed entirely from others. ible and subject to change. If you lock sorts of different approaches that might
sional life was set. These kinds of conflicts are probably in an interpretive stance by convincing be needed for different students. In my
I was pretty shy as a seventeen-year- universal and inevitable, especially early your students that it is right and neces- case he never directly criticized ideas
old, so it took me a few weeks to call in life. Maybe they are not really con- sary, then what happens when you evolve that I brought to lessons, even ones that I
Professor Roan, even though I was very flicts: just the stuff of which our various away from that stance? Nothing happens later figured out he thought were flawed,
eager to resume organ lessons. (I also approaches are made. At first I greeted exactly, as a practical matter, but it seems limited, or with which he disagreed. Con-
arrived at Princeton with a very nice letter Gene’s disavowal of any intention of like kind of an awkward state of affairs. I stantly over many years he pointed me
of introduction to William Scheide from directing me to play a certain way with know that Gene was always a bit worried, toward all sorts of other manners of hear-
a mutual friend. I was too shy to follow relief, because I did not want my exist- in “one off” teaching situations like work- ing things and thinking about music—not
up on that, which I have always regret- ing notions to be challenged or changed. shops, that the ideas presented might so much to get me to adopt any of them as
ted.) Roan and I arranged to meet at the What he taught me over many years, come across to the students as too cut to get me to be open to various interpre-
console of the organ in the Princeton starting with that declaration at our first and dried, too clearly “true” when they tations. There are students who perhaps
University Chapel. When we had both lesson, was open-mindedness itself. And were really just part of a long thought need to be guided a bit more directly.
arrived we talked for a few minutes and in doing so he opened me up to radical process. When he taught workshops, as There are also students who think that
then repaired to a small diner a few changes in my own playing, all of which he did a lot over many years, he was care- they need to be guided more directly
blocks away to continue chatting over came about organically. I was never at a ful to present his teaching in a way that but who really do not. There are stu-
tea. I felt comfortable with him right stage where I was doing something just avoided this as much as possible. dents who learn most from the teacher,
away. But I also had a concern; he had because someone else was requiring me I know that Gene’s overriding concern and there are students who learn most
not asked to hear me play. Did this mean to do it when I found it unconvincing. If in teaching was to give each student from other students. There are students
that he had already decided against tak- you who are reading this today have read what that student specifically needed. As who learn by listening, others who learn
ing me as a student? I could not imagine this column over the years, you know I evolved towards being more open to through analysis, and still others through
that an experienced, august teacher how much this approach of Gene’s has interpretive approaches other than those just trying things. Gene probably thought
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12 Q THE DIAPASON Q AUGUST 2021 WWW.THEDIAPASON.COMBy Gavin Black
more consciously and conscientiously and that it should be played exactly that and repertoire. (This interaction was so
about respecting these different needs way every time that it came in. I didn’t want fruitful and real that I sometimes cannot
than anyone else I have known. the instrument to try to force me to depart remember for sure whether a student
Gene Roan was a very fine and accom- from my plan. However, that moment was whom I knew then actually took lessons
the beginning of my considering the idea
plished player. During the years that we from me or not.) I was given a lot of
that interpretation could be, in effect, a
were both in Princeton he did not give collaboration between analytically derived freedom to do whatever I thought was
many full-length organ recitals there. I ideas and acoustic- or instrument-derived right with my students, guided by the
believe that I heard him in such a recital sonic realities, and that neither side of that notion that this is never the same from
only twice. The first of those was on picture should be ignored. one student to another. I had students
the Casavant organ at Westminster in who didn’t play Bach over a whole year,
the same fall when he and I first met: When Professor Roan became head of or nothing but Bach, or who worked on
a recital that included the Bach Fugue the organ department at Westminster in only one piece for a whole semester or
in G Minor, BWV 578. I had only ever 1995 he invited me to join the faculty as even a whole year, or who, for a while at
heard that piece as light, clear, and an adjunct, initially to teach harpsichord, least, just dabbled in many pieces in a row
relaxed—though with building intensity. but soon after also to teach organ and without really learning any; students who
(This was, to be honest, because I had segments of various classes. He retired in played in class every week, and students
only listened to the Walcha recording, 2000, and I left at the same time. These who did so very rarely: whatever was countless people there and spread out
and maybe tried to play it myself.) Gene years were extraordinary. He was an going to work psychologically and peda- through the world who remember him
played it fast and loud—magnificent, but extremely supportive “boss”—quotation gogically to help that student get the most vividly and miss him as I do.
also shocking to me. I remember that I marks meant to convey, of course, that he out of the experience. I would tend to run Leonard Eugene Roan, Jr., was born
asked him about it afterwards. I took it did not really feel or behave like a boss, unconventional things by Gene expressly, June 8, 1931, in Albany, Georgia, and
for granted that he knew that his way of but rather a very supportive colleague and he would make sure that I could died September 21, 2006, in Princeton,
playing it was kind of “out there” (though with lots of resources to make good things articulate what I was going for. There was New Jersey. Q
as far as I have any reason to believe now, happen. I brought a lot of harpsichords never any top-down decision making.
it wasn’t!). He said that this was what he to the campus, and there were a lot of As I mentioned above, we were good Gavin Black is director of the Princeton
did with the piece when he wanted to organs there in those days. We had non- friends for about thirty-two years. He was Early Keyboard Center, Inc., Princeton,
shock people. I think that he was partly stop informal interaction among students a presence around Princeton and West- New Jersey (pekc.org). He can be reach by
indulging my limited perspective on the and faculty over all sorts of instruments minster for over fifty years, and there are email at gavinblackbaroque@gmail.com.
piece by putting it that way, though it
was likely also true.
Gene was a great admirer of Mendels-
sohn’s organ repertoire. We had several
fascinating lessons on a couple of the
sonatas and maybe a prelude and fugue
or two, though I never did much with
those pieces in performance myself. In
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as he was easily the finest Mendelssohn
AND SERVICE FIRMS
performer that I have ever heard. I heard
1,500+
more suppleness, expressivity, singing
quality, and general sense that something
consequential was going on with his play-
ing of Mendelssohn than I have heard OUR MEMBERS
YEARS
before or since. He was also especially
interested in Reincken, and his analysis
of the massive fantasia on An Wasser-
flüssen Babylon over the course of a BUILDER MEMBERS:
couple of lessons was my introduction to Andover Organ Company
the rhetoric of pre-Bach form. Bedient Pipe Organ Company
Like many organists, Gene was inter- Berghaus Pipe Organ Builders, Inc.
ested in and focused on sonority. He Bond Organ Builders, Inc.
knew a lot about organ design, both its 7ɱɮɮɫɮɻɯɲɻɼɸɯAPOBAɻɮɹɻɮɼɮɷɽ Buzard Pipe Organ Builders, LLC
history and how it works or can work in ɬɸɫɲɷɮɭɽɸɽɵɸɯɸɿɮɻʂɮɻɼɲɷɽɱɮ Casavant Frères
practice. He had an extraordinary ability Dobson Pipe Organ Builders
ɫɾɼɲɷɮɼɼɸɯɭɮɼɲɰɷɲɷɰɹɻɸɭɾɬɲɷɰ C.B. Fisk, Inc.
to remember specific organ stops. He
once told me that if he heard a particular ɼɮɻɿɲɬɲɷɰɷɭɻɮɫɾɲɵɭɲɷɰ Foley-Baker, Inc.
Paul Fritts & Co. Organ
Doppelflöte stop (just an example, but a ɹɲɹɮɸɻɰɷɼɲɷ$ɮɻɲɬ Garland Pipe Organs, Inc.
favorite of his), he would recognize that Goulding & Wood, Inc.
specific stop forever, should he hear it
again. I think that this in part led him 7ɱɮɻɮɻɮɯɲɿɮɮɫɮɻɯɲɻɼɽɱɽɱɿɮɫɮɮɷ Kegg Pipe Organ Builders
Létourneau Pipe Organs
to focus more on actual sound than on ɼɮɻɿɲɷɰɽɱɮɹɲɹɮɸɻɰɷɲɷɭɾɼɽɻʂɯɸɻɸɿɮɻ Muller Pipe Organ Company
stop names. He used to delight in tell- ʂɮɻɼ(ɿɮɻʂɼɲɷɰɵɮɫɾɲɵɭɮɻɱɼɽɵɮɼɽ Patrick J. Murphy & Associates
ing students that on one old electronic Parsons Pipe Organ Builders
organ, the best-sounding diapason was ʂɮɻɼɮʁɹɮɻɲɮɷɬɮ ɲɽɱɷɿɮɻɰɮɮɫɮɻ Pasi Organbuilders, Inc.
the stop labeled French Horn. Not that ɫɮɲɷɰɲɷɫɾɼɲɷɮɼɼɯɸɻʂɮɻɼ Quimby Pipe Organs, Inc.
this approach was unique to him or is Schoenstein & Co.
unique to those who were his students, Taylor & Boody Organbuilders
but it was eye-opening and influential to /ɻɰɮɼɵɵɽɻɭɲɽɲɸɷɵɸɭɮɻɷ ɮ A. Thompson-Allen
me and I believe to many others. ɼɹɮɬɲɵɲʃɮɲɷɼɼɾɻɲɷɰʂɸɾɺɾɵɲɽʂ
He also taught me a lot about the ɲɷɼɽɻɾɮɷɽ&ɱɸɸɼɮɫɾɲɵɭɮɻɽɱɽɲɼ SUPPLIER MEMBERS:
relationship between sonority and inter- Integrated Organ Technologies, Inc.
pretation. In a column from 2008 I wrote ɻɲɰɱɽɯɸɻʂɸɾ apoba.com OSI - Total Pipe Organ Resources
in these terms about one salient example Peterson Electro-Musical Products
of that:
APOBA = E X P E R I E N C E
Solid State Organ Systems
Syndyne Corporation
In the spring of 1979 I was studying . . .
with Prof. Eugene Roan. . . . I played one
of the Well-Tempered Clavier fugues for
him on my new harpsichord, and he com-
mented that he couldn’t hear a certain
CONTACT US
motif when it came in in the top voice. I
think that I said something about harp-
sichord voicing, or acoustics, but he sug- APOBA.com
gested that I simply make the theme a bit
more detached, and he demonstrated that 800.473.5270
it could indeed be heard better that way.
He floated the idea that the sound of the 11804 Martin Road
instrument was telling me something about Waterford, PA 16441
how to play the piece. At the time I was
very committed to the notion that this
theme should be articulated a certain way,
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