T H E DECEMBER 2021 - Philadelphia Episcopal Cathedral Philadelphia, Pennsylvania Cover feature on pages 22-23 - The Diapason
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THE
D I A PA S O N
DECEMBER 2021
Philadelphia Episcopal Cathedral
Philadelphia, Pennsylvania
Cover feature on pages 22–23
PHILLIP TRUCKENBROD
CONCERT ARTISTS
ŚĂƌůĞƐDŝůůĞƌWƌĞƐŝĚĞŶƚ
WŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ&ŽƵŶĚĞƌ
THE DIAPASON Editor’s Notebook
Scranton Gillette Communications
One Hundred Twelfth Year: No. 12, In this issue
Whole No. 1345 Michael McNeil explores the challenges of building a pipe
DECEMBER 2021 organ for high altitude locations, focusing on how C. B. Fisk,
Established in 1909 Inc., crafted its Opus 133 for First Presbyterian Church, Santa Stephen Schnurr
ISSN 0012-2378 Fe, New Mexico. Michael Gailit continues his discussion of the 847/954-7989; sschnurr@sgcmail.com
musical motives of Johann Sebastian Bach’s Toccata and Fugue www.TheDiapason.com
An International Monthly Devoted to the Organ,
in D Minor, BWV 565, the third installment of his series. Ste-
the Harpsichord, Carillon, and Church Music
phen L. Pinel reviews the latest book by Barbara Owen, Pioneers and Raven CDs for new and gift subscriptions through Decem-
in American Music, 1860−1920: The New England Classicists. ber 31. For print subscriptions, receive one free CD for a one-
CONTENTS In “In the Wind . . .,” John Bishop writes about how all organ- year subscription; two CDs for a two-year subscription; and
FEATURES
ists should take care of their instruments, in order to keep from three CDs for a three-year subscription. (Digital and student
Pioneers in American Music, 1860−1920, The experiencing mechanical failure and/or large repair bills. Gavin subscriptions receive one free CD for a one-year subscription.)
New England Classicists: A book by Barbara Black, in “On Teaching,” continues his discussion of rhythm and Visit www.thediapason.com/subscribe.
Owen teaching rhythm. In “Harpsichord Notes,” Curtis Pavey reviews
by Stephen L. Pinel 14
Collin Booth’s recordings of J. S. Bach’s Well-Tempered Clavier. Gruenstein Award
Exploring the unknown of BWV 565, Part 3 The cover feature is Emery Brothers’ relocation, restoration, Nominations for The Diapason’s second Gruenstein
by Michael Gailit 16
and expansion of M. P. Möller Opus 6425 for the Philadelphia Award, recognizing the scholarly work of a young author who
The sound of pipe organs at altitude Episcopal Cathedral. The instrument was designed by Richard has not reached their 35th birthday as of January 31, 2022,
by Michael McNeil 19
O. Whitelegg in 1936 for Schwab Auditorium at Penn State are being accepted through January 31. Submissions must
NEWS & DEPARTMENTS University, State College, Pennsylvania. be original research and essays by the author, must not have
Editor’s Notebook 3 been previously published by any other journal, and may not
Here & There 3 Offer extended for a gift with new subscriptions be under consideration for publication by another journal. The
Appointments 3 and gift subscriptions topic(s) should be related to the organ, church music, harpsi-
Nunc Dimittis 6
As we approach the holidays, a subscription to The Diapa- chord, and/or carillon. It is suggested that essays be between
Harpsichord Notes by Curtis Pavey 8
On Teaching by Gavin Black 11
son makes the perfect gift that recurs monthly for friends who 2,500 and 10,000 words. For further details, see page 3 of the
In the wind . . . by John Bishop 12 share your interest in the organ, church music, harpsichord, and September issue. All materials are to be submitted to Stephen
Carillon Profile by Kimberly Schafer 24 carillon. We have extended our promotional offering of Acis Schnurr at sschnurr@sgcmail.com. Q
REVIEWS
Choral Music 25 Here & There
New Organ Music 25
New Recordings 26
New Handbell Music 26
People recording on his house organ, a seven-
stop Létourneau tracker, as an “audio
CALENDAR 27
holiday card.” This year’s recording, the
20th in the series, is Karl Osterland’s Per-
ORGAN RECITALS 29
sonent hodie, available in MP3 format at
CLASSIFIED ADVERTISING 30 www.umich.edu/~jkibbie.
Beverly Jerold has authored an
THE article published in The Musical Times,
D I A PA S O N
DECEMBER 2021
“The 19th-century piano and finger-
strengthening devices,” in the Autumn
2021 issue, pages 21–39. The essay
Dennis Janzer explores mechanical devices promoted
for strengthening the fingers and acquir-
This past summer, Janzer received ing flexibility in playing the piano, though
the Tennessee Governor’s School for evidence suggests dangers experienced
Philadelphia Episcopal Cathedral
Philadelphia, Pennsylvania
Cover feature on pages 22–23
David Hurd at St. John’s Episcopal the Arts Outstanding Teacher Award. by pianists of the period. For informa-
Church, West Hartford, Connecticut The program provides the opportunity tion: themusicaltimes.blogspot.com.
COVER for students to select teachers who have
Philadelphia Episcopal Cathedral, David Hurd performed a recital had an important educational and artistic
Philadelphia, Pennsylvania; Emery Brothers,
Allentown, Pennsylvania 22
at St. John’s Episcopal Church, West influence in their life. Janzer is active as Appointments
Hartford, Connecticut, on September a performer, composer, and teacher, and
25. The event was presented by the St. is director of music at St. Mary’s Episco-
Editorial Director STEPHEN SCHNURR John’s series, “Music at the Red Door,” pal Cathedral and organ instructor and
and Publisher sschnurr@sgcmail.com and the Greater Hartford Chapter of collaborative pianist at Rhodes College,
847/954-7989 the American Guild of Organists in both in Memphis, Tennessee. For infor-
President RICK SCHWER
celebration of the 25th anniversary of mation: djanzer.com.
rschwer@sgcmail.com the church’s Austin organ. The program
847/391-1048 included works of Bach, Guilmant, and
Hurd, as well as an improvisation.
Editor-at-Large ANDREW SCHAEFFER
diapasoneditoratlarge@gmail.com The recital followed the final perfor-
mances of the Albert Schweitzer Organ
Sales Director JEROME BUTERA Competition and Festival that were held
jbutera@sgcmail.com
608/634-6253 on YouTube for a live audience during the
Circulation/ morning of the same day a short distance
Subscriptions THE DIAPASON away at St. James’s Episcopal Church,
P.O. Box 300
Lincolnshire, IL. 60069-0300 also in West Hartford. For information:
DPP@omeda.com sjparish.net and hartfordago.org. Lorraine Brugh
Toll-Free: 877/501-7540
Local: 847/763-4933
Dennis Janzer announces the pub- Lorraine Brugh is appointed artist
Designer KELLI DIRKS lication of new organ books with the in residence at Pinnacle Presbyterian
kellidirksphoto@gmail.com Leupold Foundation (theleupoldfounda- Church, Scottsdale, Arizona. Alongside
tion.org). His solo organ transcription the acting director of ministries in music
Contributing Editors LARRY PALMER
Harpsichord of Pictures at an Exhibition by Modest and the arts, Ilona Kubiaczyk-Adler, they
Mussorgsky (LE 600369, $30) is based on will share the duties of organists, choir
KIMBERLY SCHAFER the most recent scholarly findings of the directors, accompanists, and worship
BRIAN SWAGER original piano version. Hymn Treatments James Kibbie planners. The organ is a three-manual,
Carillon
for Organ, Volume 4, opus 34 (LE600370, mechanical-action instrument by Rich-
JOHN BISHOP $22), is a collection of Christmas carols James Kibbie continues his annual ards, Fowkes & Co.
In the wind . . . suitable for church and concert. tradition of offering free downloads of a 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
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Joel R. Stoppenhagen Subscriptions: 1 yr. $45; 2 yr. $83; 3 yr. $115 (United States and U.S. Possessions). Copyright ©2021. Printed in the U.S.A.
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WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2021 Q 3
Here & There
Canadian International Organ Competition candidates and jury (photo credit: Joe
Alvoeiro)
The Canadian International Organ Competition (CIOC) announced the
winners of its 2021 competition on October 24. Aaron Tan (Canada/Philippines)
is the winner, with a $25,000 CAD prize along with recording and distribution of a
CD under the ATMA Classique label, a three-year career management for North
America with Karen McFarlane Artists, Inc., and a three-year career development Winners of the 13th Toulouse International Organ Competition: Gabriele Agrimonti,
program by the CIOC. Second prize of $15,000 CAD is awarded to Ben Bloor Quentin Du Verdier, and Adam Tabadji (photo credit: Jean-Marc Aspe)
(United Kingdom). Third prize is awarded equally to Bryan Anderson (United
States) and Tyler Boehmer (Canada), with $7,500 CAD each. The 13th Toulouse International Organ Competition held its final round of
Tan was also awarded the Sir Ernest MacMillan Memorial Foundation Award of performances on October 8 in Toulouse, France. For this competition, contestants
$5,000 CAD as the top Canadian competitor in the recorded quarter-final round of chose the organ on which they wanted to perform. A €4,000 prize with concert
the competition; the RCCO Raymond-Daveluy Prize of $5,000 CAD, an online vote engagements was presented to each winner. Quentin du Verdier is the winner of
by the audience for its favorite organist among the competition quarter finalists; and the Baroque organ category, performing in the church of Saint-Pierre des Chartreux.
the Marcel-Dupré Prize of $5,000 CAD for the best interpretation of the competition The winner of the symphonic organ category and the audience prize in this category
work by Dupré. Anastasia Stahl (Russia) was presented the Quarter-Final Round is Gabriele Agrimonti, performing at the Basilica of Saint-Sernin. The winner of
Audience Prize and the Richard-Bradshaw Audience Prize (for the final round) of the twentieth-century organ category and the audience prize in this category is Adam
$5,000 CAD each. Anderson was also awarded the Louis-Robilliard Prize of $5,000 Tabajdi, performing in the Dominican convent.
CAD for the best interpretation of a transcription by Robilliard. Bloor was presented The jury included Michel Bouvard, Jan Willem Jansen, Bernard Foccroulle,
the Spinelli Prize of $5,000 CAD for the best overall program. For information: Maurizio Croci, Isabelle Demers, and Sarah Kim. For futher information:
ciocm.org/en. toulouse-les-orgues.org.
³ page 3 (Episcopal) in Houston, Texas. Serving and organist in Reeds and Keys, an oboe Cornell University in Ithaca, New York.
Brugh retired in 2020 from Valparaiso alongside Canon for Music Robert L. and organ duo where he performs with Her 2015 album Antique Sound Palette,
University, Valparaiso, Indiana, where Simpson and Cathedral Organist Daryl his partner and oboist, Anne Pinkerton. recorded on the 1719 Hildebrandt organ
she served as professor of music, Fred- Robinson, Dion will serve as the accom- Dion serves as sub-dean for the South- in Pasłe˛k, Poland, as well as recordings
erick J. Kruse Organ Fellow, university panist for the Treble Choir of Houston in eastern Massachusetts Chapter of the made on the 2006 Richards & Fowkes
organist, and director of chapel music. addition to assisting with the parish and American Guild of Organists. For infor- Opus 14 at Pinnacle Presbyterian
She continues as an adjunct professor cathedral choirs. mation: mdionorganist.com. Church were featured on American
in the department of theology. From Dion is a native of Somerset, Massa- Public Radio’s Pipedreams. Adler also
2017–2019 she was director of Valpara- chusetts, and a Master of Music degree serves as the education chair for the
iso University’s study abroad program in candidate in sacred music (organ) at the Central Arizona Chapter of the Ameri-
Cambridge, England. University of Houston’s Moores School can Guild of Organists. For information:
of Music, where he studies with Daryl kubiaczyk.com.
Robinson. Earlier this year, he earned his
Bachelor of Music degree in organ and a
minor in music history at Oberlin Con-
servatory of Music, Oberlin, Ohio, where
he studied organ with Jonathan Moyer,
James David Christie, and Arvid Gast.
Other teachers include Jean-Baptiste
Robin, Steven Young, Madeleine Grace,
and Normand Gingras.
Matthew Dion has performed
throughout the United States as a solo Ilona Kubiaczyk-Adler
artist and has recently been a featured
accompanist and soloist with the West Ilona Kubiaczyk-Adler is appointed Michael Rees
Matthew R. Dion Shore Chorale in Lakewood, Ohio, the acting director in ministries of music and
Oberlin College Choir/Musical Union, arts/organist at Pinnacle Presbyterian Michael Rees is appointed organ
Matthew R. Dion is appointed organ and the Oberlin Arts and Sciences Church in Scottsdale, Arizona. She is a scholar for Fourth Presbyterian Church,
scholar for Christ Church Cathedral orchestra. He is a founding member graduate of three conservatories: Acad- Chicago, Illinois, where he will assist
emy of Music in Łódź, Poland (Master John W. W. Sherer, organist and director
of Arts degree), Conservatorium van of music, in administering and playing
Amsterdam, the Netherlands (Master of for the large and expanding music pro-
Music degree), and the School of Music gram. Rees will accompany the choirs,
at Arizona State University in the United including the professional Morning
States (Doctor of Musical Arts degree). Choir, assist in service playing, and play
She has traveled throughout Europe several recitals in the weekly Friday con-
and the United States as a soloist and cert series on the 2015 Quimby Opus 71
ensemble player, including perfor- of five manuals, 202 stops, 142 ranks.
mances at the Oude Kerk and Orgel- While earning his Bachelor of Sci-
park in Amsterdam, Sint Laurenskerk ence degree in mathematics at Harvey
in Alkmaar, with the United States Air Mudd College, Claremont, California,
Force Strings at St. John’s Episcopal Rees began organ lessons with William
Church in Washington, D.C., at the Peterson at neighboring Pomona Col-
Göteborg International Organ Festival lege. He continued taking private lessons
in Sweden, and Westfield Conference at ³ page 6
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Here & There
³ page 4 his vocation as an organbuilder to be a organ competitions. In 1997, Haselböck Tripodi had a long career as a church
and auditing the new graduate course divine calling. was awarded the Decoration of Honor organist and choir director throughout
“Collaborative Skills for Organists” Gordon Sibley Auchincloss is survived for Services to the Republic of Austria. the New York and greater Fairfield
at the Moores School of Music at the by his wife of 53 years, Joyce Brooks Among his survivors are his sons, County Catholic dioceses, including
University of Houston, both with Daryl Auchincloss, an organist; a brother, Martin Haselböck, organist, conductor, spending nearly thirty years at St. John’s
Robinson. He is currently studying with Stuart Auchincloss, and his wife, Susan and composer; and Lukas Haselböck, Catholic Church, Darien, Connecticut.
Stephen Buzard, director of music at St. Carpenter Auchincloss; a sister, Sibley composer, musicologist, and vocalist. Most recently, he was music director and
James Episcopal Cathedral, Chicago. Anne Hannigan; as well as nieces and organist at Green Farms Congregational
Rees has also held organist positions at nephews. A celebration of life service Church, Westport, Connecticut.
First Presbyterian Church, Sugar Land, was held June 19 at Christ and St. Luke’s In addition to his church positions,
Texas, and Barrington United Methodist Episcopal Church, 560 Olney Road, Tripodi regularly performed concerts in
Church, Barrington, Illinois. Norfolk, Virginia 23507. Memorial many churches throughout the region,
The current organ scholarship at donations may be made to the Friends of including St. Patrick’s Cathedral, the
Fourth Presbyterian is an expanded ver- Music fund at the church. Cathedral Church of St. John the
sion of the previous position, intended to Divine, Trinity Church Wall Street, and
give recent entrants to the field of church St. Thomas Church Fifth Avenue, all in
music experience working in a large urban New York City. He was also an organ
church. The church’s music program fea- consultant to churches in the region.
tures more than 100 concerts each year, Frederick A. “Rick” Tripodi is survived
seven adult choirs, four children’s choirs, by his partner, Matthew Brien; his sisters,
and four instrumental groups. For infor- Anita Walton, her husband Bill Walton,
mation: fourthchurch.org. and their children; and Janet Tripodi
Gray, and her husband Zeb Gray. Memo-
David Lunn Miller rial gifts may be given to Greens Farms
Nunc Dimittis Congregational Church, 71 Hillandale
David Lunn Miller, 70, died October Road, Westport, Connecticut 06880.
14 in Huntsville, Alabama. Born January
3, 1951, he was introduced to the organ
at age three while spending time with his Events
Hans Haselböck (licensed under the Creative father, a pastor, in his church, studying TENET Vocal Artists of New York,
Commons Attribution-Share Alike 4.0 Interna- the instrument in his youth in Kansas New York, announces its 2021–2022
tional license)
City. He received his undergraduate concert season, honoring anniversa-
degree at Southern Nazarene University, ries of composers’ birth and death:
Hans Haselböck, 93, Austrian organ- Bethany, Oklahoma, his master’s degree December 3–5, Handel, Messiah; 12/11,
ist and composer, died October 20. at Westminster Choir College, Princ- Michael Praetorius at 400/450; February
Born July 26, 1928, in Nesselstauden, eton, New Jersey, and his doctorate at 26, 2022, Marc-Antoine Charpentier’s
Austria, he attended school in Krems University of Missouri, Kansas City, in Les Plaisirs de Versailles at 340; March
Gordon Sibley Auchincloss an der Donau. Beginning in 1947, he both choral conducting and organ. Early 26, Heinrich Schütz at 350; April 23,
studied at the University of Music and in his career he was a part-time music Thomas Tomkins at 450. For informa-
Gordon Sibley Auchincloss, 79, the Performing Arts in Vienna as well as director and then professor of music and tion: tenet.nyc.
died June 11 in Norfolk, Virginia. Born at the University of Vienna (classics and organ at Nazarene colleges. He tran-
July 28, 1941, in New York City, he was German), where he earned his doctorate sitioned to full-time director of music
a graduate of the Lenox School, Lenox, in 1953. ministries and church organist positions,
Massachusetts. After serving in the In 1949, Haselböck became organist most recently at Huntsville First United
United States Navy as a medical corps- of the Dominican Church in Vienna, Methodist Church as the director of
man, he earned a bachelor’s degree from serving for more than 65 years. He music ministries and organist from 2005
The State University of New York at New taught Latin and German at the city’s until his retirement in 2018.
Paltz. From an early age Auchincloss was Sigmund Freud Gymnasium. He won David L. Miller is survived by his
fascinated by the sound of pipe organs three consecutive first prizes at the brothers Stephen (Cynthia) and Michael
and, thanks to his grandmother and an Haarlem International Organ Impro- (Shawn), as well as a niece, Erin, and a
aunt, was able to travel widely with them visation Competition, 1958–1960, and nephew, Jordan (Maddyson and their two
in Europe, playing many organs. in 1960 was appointed to the faculty of children). Donations in his memory may
These experiences inspired Auchin- the Vienna University of Music and the be sent to Ocular Melanoma Foundation,
closs to become a pipe organ builder. Performing Arts. There he taught organ 1717 K St. NW, Suite 900, Washington,
He originally sought opportunities to and improvisation, serving as chair of the D.C. 20006, or Huntsville First United
build mechanical-action instruments church music department between 1963 Methodist Church, 120 Greene St SE,
with John Brombaugh, then with Fritz and 1987. He was appointed professor Huntsville, Alabama 35801. Mander organ, Peachtree Road United
Mertel in Salzburg, Austria, returning of organ and improvisation in 1972. Methodist Church, Atlanta, Georgia
to the United States to work with Rich- Between 1985 and 1990 he served as
ard Hamar, before ending his career deputy director of the school. Peachtree Road United Methodist
as assistant vice president at Austin Haselböck performed extensively Church, Atlanta, Georgia, announces
Organs, Inc., Hartford, Connecticut. throughout Europe, the United States, music events for the 2021–2022 season:
He was widely known for his ability to Japan, and Korea. He was a published December 5, Carols by Candlelight;
diagnose and fix problems with actions composer as well as editor of numerous 12/12, The Many Moods of Christmas;
and consoles. A lifelong member of editions. His research into the history of 12/17–18, Georgia Boy Choir; January
various church choirs, Auchincloss also the organ and performance practice led 30, 2022, David Briggs, organist, Chan-
had a strong interest in Bible study, to several book-length publications. He cel Choir, Scott Atchison, conductor,
often serving as a leader. He considered served as juror at various international Beethoven, Symphony No. 9;
February 6, Atlanta Chamber Play-
ers; 2/15, Oliver Brett, organist; 2/19,
Georgia Boy Choir Festival; March 13,
Quality Pipe Organ Duruflé, Requiem;
April 3, Scott Atchison, Patrick Scott,
Schola, Passion of the Christ: Musi-
Building and Service Frederick A. “Rick” Tripodi
cal Stations of the Cross; May 4, Scott
Frederick A. “Rick” Tripodi died Atchison, Oliver Brett, organists; 5/11,
since 1969 July 30. Born in Greenwich, Connecti- Randy Elkins, organist; 5/18, Caroline
cut, on August 2, 1949, he was a 1967 Robinson, organist; 5/25, David Brens-
graduate of St. Mary’s High School in inger, organist;
Greenwich. He earned his bachelor’s June 15, David Briggs, organist; July
degree in 1971 and master’s degree in 17, Pilgrimage to Ireland Preview Con-
1976 in organ performance from The cert. For information: prumc.org.
Juilliard School, New York, New York. ³ page 8
BACH AT NOON A. Thompson-Allen Co., LLC
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6 Q THE DIAPASON Q DECEMBER 2021 WWW.THEDIAPASON.COM
Here & There
³ page 6 Music & Arts at St. Luke in the and March 31, works of Buxtehude and
Fields announces its 2021–2022 con- Scarlatti, with Choir of St. Luke in the
cert season at the Church of St. Luke Fields and Baroque in the Fields. For
in the Fields, New York, New York: information: stlukeinthefields.org.
December 9, In dulci jubilo, music of
Praetorius with the Washington Cornett St. Margaret’s Episcopal Church,
and Sackbut Ensemble; February 17, Palm Desert, California, announces
2022, Chiara Margarita Cozzolani, Mar- 2021–2022 musical events: December
ian Vespers, with Choir of St. Luke in 12, Lessons & Carols; 12/24, Fred
the Fields and Baroque in the Fields; Swann; January 16, 2022, Ken Cowan;
Harpsichord Notes
J. S. Bach: The Well-Tempered
Clavier, by Collin Booth, harp-
sichord. Soundboard, Book
One, SBCD-218, $16.98; Book
Two, SBCD-219, $16.98. Avail-
able from ravencd.com and
collinbooth.co.uk.
Italian Baroque organ, Memorial Art Collin Booth, harpsichordist and
Gallery, Rochester, New York (photo credit: harpsichord maker, performs Bach’s
Len Levasseur)
Austin organ, St. John’s Episcopal complete Well-Tempered Clavier in
Church, West Hartford, Connecticut these two CD sets. Making use of his
Edoardo Bellotti; January 20, 2022, Pub- own harpsichord, a copy of an instru- J. S. Bach: The Well-Tempered Clavier,
St. John’s Episcopal Church, West lick Musick with Naomi Gregory, organ, ment by Nicholas Celini from 1661 Book One
Hartford, Connecticut, announces its and Keri Tollaksen, Baroque trumpet/ built in 2016, Booth here performs a
2021–2022 Music at the Red Door series: cornetto; February 17, Keith Reas with convincing rendition of one of Bach’s
December 12, Candlelight Festival of Sarah Stone, Baroque cello; most important works for keyboard
Nine Lessons & Carols; February 4, March 17, Christa Rakich, organ, with instruments. The discs were recorded
2022 (snow date February 11), Jazz at the Michael Lynn, Baroque flute; April 21, between 2018 and 2019 and dem-
Red Door, with Sarah Hanahan Quartet; William Porter, organ, with Kenneth Slo- onstrate Booth’s vast knowledge of
March 5, Mozart, Requiem; April 22, wick, Baroque cello and viola da gamba; Bach’s compositional style and nota-
Larksgrove Duo, EmmaLee Holmes- and May 19, Keith Reas, organ, with tional language.
Hicks, violin/fiddle, and Peter Zay, cello. Deborah Fox, lute, and Anne Kania, Booth has a special relationship
Choral evensong is offered on contralto. For information: with the harpsichord used in this
selected fourth Sundays of the month mag.rochester.edu. recording. Before building his own
at 5:00 p.m.: January 23, February 27, copy of this double-manual instru-
March 27, April 24. Pipes Alive! organ ment, Booth restored Celini’s original
recitals are presented on the first Sunday 1661 harpsichord in 2013. In replicat-
of the month at 12:30 p.m.: December ing this harpsichord, Booth expanded J. S. Bach: The Well-Tempered Clavier,
5, Natasha Ulyanovsky; January 2, Scott the compass and strung it in brass. Book Two
Lamlein; February 6, Matthew Bickett; The brass stringing sounds beautiful
March 6, Angela Salcedo; April 3, stu- and allows for exquisite clarity of contrapuntal lines. While the instrument has
dents of Scott Lamlein; May 1, Floyd three choirs of strings, Booth only uses the two 8′ sets of strings—individually
Higgins; June 5, Christa Rakich. New and in combination—noting that he wanted to preserve the contrapuntal clarity
World Trio, ensemble-in-residence, as much as possible. Regarding tuning, Booth uses Kirnberger III, preferring
offers concerts, Sundays at 2:00 p.m.: its conservative qualities while preserving unique characteristics for each of the
January 9, May 15. For information: 2008 Martin Ott Opus 110, First Presby- different keys.
www.reddoormusic.org. terian Church, Ypsilanti, Michigan (photo The playing on these discs is of exceptional quality, demonstrating Booth’s
credit: Colin Knapp)
thoughtful approach to musical expression, articulation, and pacing at the harp-
The Memorial Art Gallery of sichord. There are many highlights throughout this recording: the endurance
Rochester, New York, announces its The Ypsilanti Organ Festival con- and structural considerations given to the extensive fugues in A minor and B
“Third Thursdays with Eastman’s Ital- tinues recitals for its 2021–2022 season, minor (Book One), effective ornamentation in the G-minor prelude and the
ian Baroque Organ at the Memorial Art held at First Presbyterian Church, C-sharp-minor fugue (Book Two), and contrapuntal clarity within the mas-
Gallery” series for 2021–2022, featur- Ypsilanti, Michigan: March 13, 2022, sive five-voice fugues from Book One (C-sharp minor, B-flat minor). Booth’s
ing the only full-size antique Italian Thomas Bara; and May 1, Pamela Ruiter attention to detail is audible throughout, sensitively shaping phrases with clear
organ in North America: December 16, Feenstra. For information: fpcy.org. articulation and direction. Of particular interest is Booth’s regular use of rhyth-
mic inequality and unevenness in his playing; sometimes the inequality is quite
subtle, other times, less so. It is often effective, particularly in the D-major
fugue from Book One, in which French overture performance practice and
elements of the notation seem to disagree. Some of Booth’s ideas are uncon-
ventional—for instance his approach to the rhythmic gestures at the beginning
of the D-major prelude from Book Two. In his choice of tempi, Booth diligently
considers meter along with character effectively. The F-minor fugue of Book
One, as an example, comes to life in Booth’s unhurried rendition with sliding
chromatic lines, whereas the grace of the F-minor prelude from Book Two
becomes audible in Booth’s fluent choice of tempo. Listening to the entire col-
lection is rewarding and reveals so many beautiful and thoughtful ideas.
In addition to his performances, Booth has included fantastic liner notes for
“one of this era’s both CD sets. The essays are lengthy, including a variety of information about
most adventurous historical context, model compositions, tuning considerations, and thoughts
interpreters of on his interpretation. The liner notes go far beyond an introduction to this
the classical repertoire, thoroughly breaking down recent scholarly debate on tuning and
organ repertoire” suggesting ideas for future performers to consider in their own interpretations.
NY MUSIC DAILY Altogether, these CD sets feature outstanding playing, musically and techni-
cally, from Booth. His intimate knowledge of the harpsichord, and particularly
this harpsichord, helps him to bring out the best of its beautiful sonic qualities.
This recording absolutely deserves a listen and a place among other important
recordings of Bach’s Well-Tempered Clavier.
—Curtis Pavey
Cincinnati, Ohio
MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com
8 Q THE DIAPASON Q DECEMBER 2021 WWW.THEDIAPASON.COM
Here & There
February 15, Christopher Houlihan; from Germany, France, Romania, the Music Academy), Silvan Meschke (stu- MorningStar Music Publishers
March 13, Nathan Laube; April 7, The Netherlands, and Switzerland, along dent at the Cologne Music Academy), announces new choral works by How-
Queen’s Six. For information: with day guests and concert attendees Dietrich Modersohn (Jena), Laura ard Goodall: Love Divine (56-0011,
stmargarets.org. from within the archdiocese. Schlappa (Munich Music Academy), $3.00 choral score, print or download),
The week-long program included Michael Schopen (Cologne), Stan for SATB with divisi and organ or piano
Overture Center, Madison, Wis- organ courses with Léon Berben, Theodas (Cruseilles, France), and, or optional strings; Loving Kindness, an
consin, continues its 2021–2022 organ Olivier Latry, Tomasz Adam Nowak, from the Cologne Music Academy, Eastern Blessing (56-0113, $2.75, print
season, featuring the hall’s Klais organ and Ben van Oosten. Lessons were Alexander Grün, Johannes Güdel- or download), for SATB and piano; Angel
of three manuals, 72 ranks: February 15, taught in the areas of early music, höfer, Jonathan Roth, and Christo- Song (56-0127, $2.75, print or down-
2022, Reginald Mobley and Greg Zelek; Romantic and modern symphonic pher Skilton. load), for SS and piano; and The Gravity
March 15, Isabelle Demers; May 20, music, and improvisation, alternating at of Kindness (56-0116, $4.45), for SSATB
Greg Zelek and The Diapason Brass and four locations: Erwitte (2016 Aubertin and piano.
Timpani. For information: organ), Hamm (2006 Goll organ), Publishers There are also new choral publica-
madisonsymphony.org. Rheda (1984 Fischer & Krämer organ), Edition Walhall announces publica- tions by Fred Gramann: To Canaan’s
and at the 15th-century organ in Ostön- tion of a new work by Harald Feller for Land I’m on My Way (9116, $2.05),
nen. There were also eight public con- organ and viola or English horn, Prière for SATB unaccompanied with soprano
Continuing education certs and an organ tour in the cathedral (EW1198, €14.90), a three-part medita- solo; and Walk Humbly With Your God
The inaugural International Organ of Paderborn. tive composition. Feller is professor of (8942, $2.80), for SATB and organ. For
Week of the Archdiocese of Pader- The highlight was the final par- organ the Hochschule für Musik und further information:
born, Germany, was held October 10–17. ticipants’ concert in Rheda with Jan Theater of Munich, Germany. For infor- morningstarmusic.com.
More than fifty course participants came Liebermann (student at the Frankfurt mation: edition-walhall.de. ³ page 10
THE LEADER AND MOST TRUSTED BUILDER
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1971-2021
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WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2021 Q 9
Here & There
³ page 9 setting of Orthodox Vespers performed
by Saint Tikhon Choir, conducted by the
composer. The accompanying booklet
provides an essay by the composer, the
full texts used in the composition, and
composer notes. For information:
cappellaromana.org.
2021 Santa Fe Summer Organ Academy participants Camille Saint-Saëns: Complete Organ
Pioneers in American Organ Music Works, Volume 1
The second Santa Fe Summer Organ Academy was held July 30–August 6 at 1860–2910, The New England Classicists
First Presbyterian Church, Santa Fe, New Mexico, with six participants and seven Da Vinci Classics announces a new
auditors. The week began and ended with virtual recitals on the 2008 C. B. Fisk, Inc., The Leupold Foundation CD, Camille Saint-Saëns: Complete
Opus 133, presented by Kimberly Marshall and titled “Celebrating Notre Dame,” announces a new book, Pioneers in Organ Works, Volume 1 (7.46160912189,
with music by Margaret Sandresky, Arnold Schlick, Dieterich Buxtehude, Nicholas American Organ Music 1860–1920, The €12.50), featuring Simone Vebber per-
de Grigny, Francisco Correa de Arauxo, and J. S. Bach. New England Classicists (LE300003, forming on the organ of Sant’ Alessandro
The first class day included a lecture by Marshall, “Creating Sound Meditations $69), by Barbara Owen. The volume Cathedral, Bergamo, Italy, most recently
with the Organ,” which was followed by a “sound bath” demonstration. The lecture is a comprehensive discussion of the rebuilt by Pietro Corna in 2009–2010.
highlighted the history of sound healing and concluded with practical steps on how to beginning of classical organ music in the Works include Cyprès et Lauriers, op.
design a sound bath on the organ. United States with biographies of nine of 156; Trois Préludes et Fugues, op. 99;
The academy continued with four days of morning masterclasses and three after- the first and most prominent American Fantaisie in E-flat Major, R78; and
noons of lectures on topics: “Spanish Organ Music, 1500–1750;” “Stylus Phantasticus composers for the organ: John Knowles Fantaisie No. 3 in C Major, op. 157. For
in the Works of Buxtehude and Bach;” and “The Organ Works of César Franck.” The Paine, Dudley Buck, W. Eugene Thayer, information: davinci-edition.com.
week concluded with a recital of some music examined during the masterclasses by George E. Whiting, Samuel B. Whitney,
the participants. The 2022 Santa Fe Summer Organ Academy will occur August 1–6. W. Arthur Foote, George W. Chadwick,
For information: fpcsantafe.org/sfsoa/. Horatio W. Parker, and Henry M. Dun-
ham. In addition, there are annotated
lists of their organ compositions, con-
temporary editions, a bibliography, a dis-
cography, and list of organs they played.
The Leupold Foundation is also hon-
oring the fiftieth anniversary of the death
of Marcel Dupré on its website through
February. There one can find articles
on Dupré by Rollin Smith and Sarah E.
Thomas, a blog article by Jesse Esch-
bach, twelve Dupré organ publications
by Leupold Editions—including seven
volumes of improvisations transcribed
by David Stech, some with recordings of Saint James in-the-City, Los Angeles,
the original performances—and record- Murray M. Harris Organ
ings of several short, easy improvisations
that have been printed in previous issues Gothic announces a new organ CD:
of The Organist’s Companion. Saint James in-the-City, Los Angeles,
Leupold Music will offer for sale at Murray M. Harris Organ (G-49330-
reduced prices over forty preowned 31, $19.98), featuring Todd Wilson
publications of organ music by Dupré by performing on the 1911 organ, rebuilt
various publishers and some pre-owned and relocated to the church in 1995,
books on Dupré. The Leupold archives the first commercial recording of the
University of Dubuque masterclass participants: Patrick Jekanowski, Peter Binder, will also post memorabilia from its Dupré instrument. The disc includes works by
Monica Steinbrech, Stephen Hamilton, Samuel Root, Charles Barland, Jim Mendral- “designated collection.” For information: Franck, Widor, and Reubke, as well as
la, Eben Soper, and Peter Baum. theleupoldfoundation.org. Bruce Simonds, Gerre Hancock, and
James Buonemani. For information:
October 9 and 10 marked the second weekend of inaugural events for the new gothic-catalog.com.
Dobson Pipe Organ Builders, Ltd., organ in the Heritage Center at the Univer- Recordings
sity of Dubuque, Dubuque, Iowa. Guest organist Stephen Hamilton facilitated
a masterclass on October 9. Seven students of Charles Barland, university organ-
ist, and Jim Mendralla, director of music for the Cathedral of St. Raphael and St.
Patrick Church, prepared and played pieces for Hamilton. For information: dbq.edu.
Sweelinck and Scheidt Organ Music
Benedict Sheehan: Vespers
Raven announces new organ CDs.
Cappella Records announces a Sweelinck and Scheidt Organ Music
new CD, Benedict Sheehan: Vespers (OAR-152, $15.98) features Aude
(CR423 SACD, $19.99), featuring a ³ page 24
10 Q THE DIAPASON Q DECEMBER 2021 WWW.THEDIAPASON.COMOn Teaching By Gavin Black
Further thoughts about rhythm, own work as a player I was exploring hovered around 118, and later on it was
part 2 Sweelinck and beginning to discover over sustained passages as high as about
Continuing from my September col- some ideas about freedom of rhythm. 126 and as low as the mid 90s. That is
umn, I offer here a few additional anec- At one point I played a segment of a very much like what I measured thirty
dotes and ideas relevant to rhythm and Sweelinck toccata for the members of years ago. I am intensely interested in
the teaching of rhythm. In my next col- the group and drew their attention to a the relationship between literal sameness
umn I will explore the question of how to particular passage. This was one where I of beat—or departures from that—and a
teach rhythm or “counting” in a way that felt that the rhetorical force and expres- subjective sense of steadiness, momen-
enables a student to connect those con- siveness of the music could be enhanced tum, and pulse. Is it possible that some-
cepts as directly as possible with rhetoric by playing very freely. I had an approach times a performance that features a dog-
and the student’s interpretive stance. to that passage that involved drawing out gedly steady beat comes across as uneven
I begin by revisiting the anecdote from the development of harmonic tension to listeners? If so, how can this be?
the last column about my colleague who, and, when it was resolved, using timing There are two games that I have
in the eyes of a particular third party, to make it seem difficult to go on. That played while riding in a car that both
“couldn’t count.” Since I wrote that, is a trite and inadequate description, but have to do with the use of time in music.
I have had further relevant thoughts. the point is that it called for freedom, First, if you are riding along a fairly busy
I remember that as I walked into the and the musicians in the room found it two-way street or highway, pay attention state of being of each note, harmony,
rehearsal studio after that exchange, I was very effective. I also played through the to the sound of the cars passing on the sonority, or beat, is also a thing that exists
very sorry to have been told my colleague’s passage as written, and they found that opposite side. On a busy road cars will for as long as it exists, and that has iden-
opinion. I did not want to approach my almost embarrassingly boring and point- space themselves out almost regularly, tity and importance.
work with this fellow musician with any less, which was exactly what I intended to since all else being equal, people pay at (It is probably best to do the above
preconceptions. And while I certainly did convey. So far, so good. But when we had least a little bit of attention to following exercises as a passenger rather than as
not assume that the older colleague was finished this and were ready to get back to distance in front and behind. But there’s the driver, unless you are very sure that
right, I found it hard not to have a ques- rehearsal, one of the musicians said, “Of an emphasis on “almost.” The line of cars none of it will distract you from driving.
tion layered on top of my focus during course, you couldn’t do that with Bach.” is never spaced out exactly evenly. So as I wonder how different any of this will
rehearsal. “Was that rhythm correct? Is So, the question I had, and still have, the “whoosh” of each successive car goes seem if we have nothing but self-driving
this where I learn that she indeed cannot is, “Why not?” Anyone may or may not by, see how far from even those sounds cars on the road!)
count?” That was distracting. appreciate the rhythmic choices per- can be and if you can still accept them Are there other little slices of every-
I wondered why he wanted me to formers exercise. In theory, there could as conceptually even. How far apart can day life that might illuminate aspects of
focus my attention on her rhythmic defi- be a plausible analysis of a Bach piece sounds 2 and 3 be—compared to the rhythm and the role of time in music?
ciencies. Why did it matter in the overall that concludes that free rhythm, or any time between sounds 1 and 2—and can Rain is an interesting one. There are
picture? Why tell me as I headed into the particular approach to rhythm, might you still hear that timing as rubato or pieces of music that are inspired by
rehearsal that “she can’t count” rather not be effective. And the question of agogic accent rather than just disconti- or attempt to depict rain. What is the
than that “she is an amazingly compelling what the composer himself would have nuity? For me there is a wider range of rhythm of rain like? It is more regular
performer?” This seems like a manifesta- thought always looms over our thinking timings that I can assimilate to evenness when it is fairly light. What about walk-
tion of bias in favor of that which can about an issue like this. But none of that than I would have expected. ing? How regular is that, and how does
be quantified—that which seems more is what was meant by that remark that If you can accept a stream of not quite walking respond to outside conditions?
objective or safer to describe. day. We discussed it, and the ensemble even cars as conceptually even, is there Can one walk while hearing in one’s head
Since that day decades ago, I have member specifically meant that since anything interesting about the shape of a passage of music that moves at a pace
become very aware that there is a strong listeners’ expectations about Bach were the unevenness? Does it have any rheto- different from the footsteps?
pull in all sorts of areas of life to focus pretty well formed already, unlike their ric to it, groupings or patterns of weak It occurred to me a few years ago that
on things that can be measured and expectations of Sweelinck, it would be and strong beats, or impulses? One fasci- I often experience trills as containing
described in a way that is objective to imprudent to go too far in violating those nating feature of this exercise is that each some of that simultaneously brief and
some extent. It is a truism that in evaluat- expectations. To some extent, the way instance of it is ephemeral: you can hear infinite quality that I get out of my sec-
ing a competition, for example, or even that music had been played and heard it only once, never again the same way. ond driving exercise. I sometimes sus-
just in reviewing a concert or a record- in then-recent decades had become Another exercise I enjoy while driving pect that that is what trills are essentially
ing, it is relatively easier to note that a part of the actual identity of that music. is this: when going under an overpass, I about, though that is speculative and
performance either does or does not get This seems to be another way in which try to experience the time in the shadow unknowable. The fast and unmeasured
all the right notes, or that the rhythms are something objective can gain a kind of of that overpass as lasting forever. Since quality of (usually) the middle portion of
or are not all in strict accordance with the privilege or priority that it might not it will come to an end, usually in seconds a trill seems to take it out of time, while,
notation, or that the tempo is or is not the have earned in any substantive way. or less than a second, I attempt to experi- like all music, it is in the end bounded
same as what the composer requested. Another question that I will delve into ence it as simultaneously brief and infi- and defined by time.
It is much more difficult to describe more next month is, why rhythm? That nite. This feels even more intense if it is I will pick this up again next month. Q
how expressive or moving a performance is, what is the goal of having music orga- raining. It seems to me this has implica-
is. This is not a bad thing, and competition nized into regular or somewhat regular tions for rhythm in music. The ostensible Gavin Black is director of the Prince-
judges and reviewers certainly do not fail micro units of time? Is it to create a rhythm, flow, motion of any increment ton Early Keyboard Center in Princeton,
to grapple with the elusive side of things. sense of pulse or momentum? Is it some- of music is always about the next thing: New Jersey. He can be reached by email
But this has some bearing on teaching thing about comparability of experience when will the next beat come? But the at gavinblackbaroque@gmail.com.
rhythm and counting. On paper, rhythm throughout the duration of a piece or a
is one of the most objective matters about movement? Is it very specifically about
music—at least with our familiar rhyth- creating the palpable sense of a regular
mic notation. Quarter notes are twice as beat in the listener’s ear?
long as eighth notes, etc. In a way, some I mention it here to introduce an
of what is non-objective can even be
described objectively. Certain dotted-
experiment I once conducted that was
predicated on the observation that many
note patterns, for example, are not meant people are of the opinion that Helmut
Walcha’s recordings are rhythmically con-
"#$
to be what they apparently look like on the
page, and we can often describe the ways servative. I obtained an interesting result.
that they differ from that presentation. I had always reacted to Walcha’s record-
!∀
But how do we teach subtle varia- ing of Sweelinck’s Fantasia Chromatica
tions in rhythms that look the same on as having both extreme steadiness and Open to emerging artists of any nationality who have
paper? Is it an acceptable part of our inexorable forward momentum. At the completed their schooling, between the ages of 26 and 37.
understanding of rhythm for there to be time that I did the experiment, I took it
such variations? If we think not, is that for granted that the way to achieve those The competition is intended to promote further artistic
for musical reasons, or is it because of qualities was to keep the beat very steady. development of players already engaged in professional careers.
this pull toward the objective? If a quar- But I must have suspected something
ter note is really always exactly twice as that led me to investigate. I put on the LP Prizes: first place $17,500; second place $16,500; third place $4,114
long as an eighth note, if all the eighth and measured the beat at the opening. I numerous concert opportunities in the USA and Germany.
notes are really exactly the same as one then picked the needle up and dropped it
Jury: Martin Schmeding (Leipzig, Chair, Stephen Farr (London)
another, what does that mean for a stu- a bit farther in. I measured again. I did it
Erica Johnson (Wellesley), Balint Karosi (New York), Karin Nelson (Göteborg)
dent or for how we teach? And if they are a third time, maybe a fourth. They were Dana Robinson (Urbana-Champaign)
not, what does that mean? Is it possible all quite different. This led to the intrigu- Peter Westerbrink (Groningen)
that rhythmic notation means “these ing notion that maybe inexorable forward
notes should be in any rhythmic rela- momentum, and even the very sense of
tionship that would be expressed more steadiness itself, might sometimes come
closely this way than any other way?” from something other than regimented
Another story from many years ago: I sameness of beat.
was coaching an amateur chamber music I have now repeated this exercise
group—a violinist, a flautist, and a pianist using more modern methods: the piece For inquiries: secretariat@bbioc.org
who was exploring the harpsichord as playing on my computer and an online
part of this project. At that time, in my tempo tool. The beat at the beginning
WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2021 Q 11In the wind...
Mechanical failure
This morning while doing errands
with Wendy, I noticed a lug nut on the
tarmac next to our parked car. The inside
thread was stripped bare, even shiny and
smooth, and while the outside should
have had six corners and six sides, only
three corners and two of the sides were
intact while the rest was rounded. I put
it in my pocket and worried it with my
fingers as we completed our errands and
placed it on my desk when I got home. I
have been glancing at it and handling it,
wondering how it got so badly deformed.
Was it cross-threaded onto the lug so
aggressively that the thread was compro-
mised? Did it fall off a car parked there?
If so, how many other lug nuts were in
such bad shape? How did the outside of
the nut get rounded? Did other lug nuts That lug nut (photo credit: John Bishop)
on the same wheel suffer the same dam-
age? It’s bad when a wheel falls off. Try it again without
making noise.
Take care of your machines. The pipe organ is a musical wonder,
For most of us, our cars are the most and no other musical instrument has
complex and sophisticated machines we such complicated mechanical systems.
own, and there are some simple mainte- Our habits at the keyboard and our atti- Wood sliders with steel guide pins—10,000 bangs and they’re gone. (photo credit: Nick
nance procedures we follow to ensure tudes toward our instruments can have Wallace, David E. Wallace & Co., LLC)
smooth operation. The fact is that failure a significant effect on their reliability. I
to take these steps can lead to serious do not need to mention the organist who the drum that always hung on a lanyard made whiffle-tree motors with eight or
damage and mortal danger. We change habitually placed a sugary cup of coffee around Ms. Howland’s neck. Later in sixteen stages depending on the size and
the oil every few thousand miles. When on top of the console stopjamb. I chided the month, we moved to practice rooms glamour of the organ. They include large
the engine is not running, the oil sits in him about the ugly rings on the lovely, where we played for each other with her power pneumatics inside the machine
a reservoir at the bottom of the engine shellacked surface and warned about coaching and comments. I was working connected to the marionette-like whif-
known as the oil pan. When you start the spills. The spill happened late on a Satur- on Bach’s Toccata in F at the time, and fle-tree that pulls on the shutter action,
engine, the oil pump brings oil to the top day night, and I was able to get the organ I bravely powered through those famil- which are exhausted by a row of primary
where it splashes about the camshaft and working a little before Sunday services, iar pedal solos with my pals huddled valves at the top of the machine. The
valves, and trickles down across myriad but removing the keyboards, replacing around the little organ. (If you think the motors are activated when you “close”
parts to be recirculated. If the oil gets felt bushings, cleaning contacts, and acoustics in a practice room are dry, add the swell shoe, pulling the shutters
dirty, it does not lubricate as well. If the regluing several of the sharp keys cost twelve inquisitive pairs of ears to the closed. There is either a spring or a heavy
oil runs dry, the engine parts heat to the many thousands of dollars. mix.) When I finished, Ms. Howland counterweight with cable and pulleys to
point of welding themselves together. I I do not need to mention the organ- referred to the noise of my feet on the pull the shutters open when the motor
once hit a rock with a lawnmower that ist who played on a nineteenth-century pedalboard, “try it again without making is disengaged. To avoid the possibility of
cracked the oil drain plug inside the mechanical-action organ and caused noise.” That one comment had more the shutters slamming closed, Skinner
mower deck. The oil ran out, and the heavy bangs in the stop action because impact on me than ten years of organ made the primary valve of the last stage
engine seized with a bang. of the force he used on the drawknobs. lessons, and I know my pedal technique smaller than the rest, constricting the
Did you ever notice how your car’s The travel of those sliders is regulated improved from that moment on. exhaust, and slowing the motion of the
engine clatters for a few seconds when and limited by little steel pins drilled shutters at the end of their travel.
you start it on a cold morning? That is and driven into the windchest tables. The most mechanical of While Mr. Skinner’s machine was
because the oil is extra thick and takes a There are slots in the sliders that ensure musical instruments effective at quieting the noise of closing
moment to get to the top of the engine. the correct amount of motion, and the A violin is nothing more than a curi- shutters, I am reminded of a moment
Are you one of those drivers who starts pins also fit into holes in the bottom of ously shaped box with a neck and four when operator error allowed expression
the engine and immediately puts the car the toeboards, assuring that they are in strings. The only things mechanical shutters to make not only extra noise but
in gear? It would be better to wait until the correct position. Slam, bang, thud about it are the tuning pegs that use visual distraction. A friend was accompa-
the oil gets to the top of the engine and hundreds of times every time he played, “friction fit” to maintain the exact ten- nying a chorus on the organ in a music
the clattering stops before you put a load and the stops gradually grew softer and sion to keep each string in tune. A school recital hall and asked me to sit in
on the engine. out of tune. Those guide pins were trumpet has three valves that function on a rehearsal to listen for balance. She
You are backing out of a parking being driven out of their holes, and the like pistons, connecting tubes of various had chosen great registrations, so there
space. You check your mirrors, shift into sliders were travelling too far, going past lengths as their positions are changed. A was little to say there, but she was beat-
reverse, and start the car moving. When the “full open” position, constricting clarinet has eleven holes that are opened ing time with the Swell pedal, and since
you shift into drive you hear a clunk from the holes, and underwinding the pipes. and closed by a system of levers operated the shutters were fully visible as part of
under the floor. Each of those clunks That one was a $45,000 repair, removing by the player, and a piano key action has the organ’s façade, it was a huge distrac-
means a little extra wear on the transmis- all the pipes, lifting the toeboards and about ten moving parts for each note, tion. We broke that habit.
sion with its hundreds of precise interior sliders, repairing the holes, redrilling mounted in neat rows.
fluid channels. I back out of the space, the pins, then putting everything back Open the door of an organ case or Things that go bump
shift into neutral as I stop the car, then together and tuning the pipes. organ chamber, and you face a complex in the night
shift into drive before I start moving And I do not need to mention the heap of contraptions that somehow unify In the 1980s and 1990s, I was curator
again. No clunk. It is an extra step, but organist who complained that the piston into a musical whole. There are bel- of the mammoth Aeolian-Skinner organ
I think it means my transmission will last buttons were unreliable, demonstrating lows or reservoirs to store and regulate at First Church of Christ, Scientist, in
longer. It is as easy to develop that habit them to me with furious jabs from a wind pressure, ducts to direct the wind Boston, also known as “The Mother
as putting only one space after a period. powerful finger. Maybe, just maybe, the throughout the organ, levers, switches, Church.” Dr. Thomas Richner was the
When my sons were young, they were tiny contacts and springs that make those and wires connecting keyboards to organist, a colorful, diminutive man with
delighted to find that they could cause buttons work were prematurely worn by valves, ladders and walkboards to allow a wry sense of humor and marvelous
the plumbing to make banging noises in that vigorous action. technicians to clamber about inside. As control over that organ with its nearly
the walls when they turned a bathroom Just as I try to avoid that extra clunk it is the challenge to the musician to play 240 ranks. My phone rang around eleven
faucet on and off at my parents’ house. when shifting my car from reverse to the instrument with as little extra noise one evening, “Pee-pee” (he called every-
My older son is now an expert fabrica- drive, you might listen to your console as possible, it is the job of the organ- one Pee-pee), “something terrible has
tor with high-end welding skills, and as you play. Does your technique cause builder to make the machine disappear. happened to the organ. I closed the
we laughed together recently over that extra noise at the keyboards? You might The inherent mechanical nature of the Swell box and there was such a crash.”
memory. They could have done serious be causing excessive wear. instrument is minimized to allow the That Swell division has twenty-seven
damage to the house by breaking sol- When I was a student at Oberlin, I most direct communication between the stops and forty ranks including a full-
dered plumbing joints inside the walls. had an important lesson about unneces- musician’s brain and the listener’s ears. length 32′ Bombarde, and there are four
The same son was a wild driver early sary noise. My organ teacher, Haskell Ernest Skinner, one of the most inge- big windchests with four huge banks of
on. He loved going fast, he loved having Thomson, organized a winter term nious mechanical and tonal innovators shutters coupled together. I went to the
smoke coming off his tires, and he pushed project for a group of us to be led by in the history of organbuilding, invented church the next morning to find that the
a series of cars to early ends, adding to the Inda Howland, the legendary teacher the “whiffle-tree” expression engine. cable of the counterweight for the Swell
huge expense of many speeding tickets, of eurhythmics and disciple of Émile The origin of the whiffle-tree is the sys- shutters had broken, and several hun-
cancelled insurance policies, and sus- Jacques-Dalcroze. For three days a week tem of harnesses used to hitch a team of dred pounds of iron had crashed onto
pended licenses. When he finally broke through the month of January, ten or fif- horses to a wagon that allows the force the cement floor. Practicing alone late
those habits, he observed that it is lot less teen of us bounced balls and performed of the pull of each individual animal to at night in a dark church, the poor man
expensive to drive more conservatively. other rhythmic exercises to the beat of be evenly added to the whole. Skinner must have jumped out of his skin.
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