IN THIS ISSUE DEAN’S NOTES · 2018. 5. 9. · Pipelines May 2018 Volume 98 Issue 9 by Douglas...

Pipelines May 2018

Volume 98 Issue 9

by Douglas Starr, Dean ([email protected])

Dear Colleagues:

The“The winter’s past, the rain(and snow) is o’er, we feel thechilling winds no more.” This, aline from Margaret Sandresky’s“Turtle Dove,” one of my choir’sfavorite choral anthems. It’shard to believe that ourprogram year in nearly complete so I want to thank you all for helping to make it an effective one. We finish in May with a field trip to Ford City and I hope you all can come. Details are found in this Pipelines issue. I hope you have a wonderful summer planned that includes rest, making music and having fun, the latter two especially being synonyms! Thank you for your support, advice andideas. Together, with Pipe Organ Academy and Organ Artist Series, we make this an effective and enjoyable professional association.

Peace, Doug Starr

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IN THIS ISSUE

Dean’s Notes…....………..…… 1

May Meeting………...……….. 2

Prince of Peace Organ …… 3

Organ Specifications ………. 4-8

AGO Pedagogy Conference 9-10

OAS Competition Update... 11

Directory Update…………….. 11

Events………………………………. 12

Job Openings…………………... 13-14

Substitutes………………………. 15

Dinner RSVP……………………. INSERT

Contact the Editor: Regina

Kettering

[email protected]

Find us on Facebook:

https://www.facebook.com/pittsburghago/

https://www.facebook.com/OASPittsburgh/

For more information, see:

www.pitago.org

DEAN’S NOTES

Pipelines May 2018

By Chaz Bowers Sub-Dean ([email protected])

MAY MEETING DETAILS

THE ORGAN AT CHRIST, PRINCE OF PEACE

MONDAY, MAY 21, 2018

BUS DEPARTS CALVARY EPISCOPAL CHURCH AT 4:30 P.M.

Join us for the final meeting of the 2017/18 year as we journey to

Christ, Prince of Peace Church (formerly St. Mary’s Church) in Ford

City, PA. The stunning cathedral-esque building is complete with

marble altars, priceless stained glass windows, and two twin spires stretching into the heavens. The

organ, fittingly matching the grandeur of the space itself, was built by Joe Zamberlan and Co.

(see his article and specifications later in the newsletter).

We will meet at 4:30 P.M. at Calvary Episcopal Church and travel by bus to Ford City. We will be

joined at 6:00 P.M. at Garda’s restaurant by members of Indiana, Seton Hill, and Youngstown AGO

Chapters. Dinner will be served at 6:30 P.M. After dinner, we will travel to church and hear a

presentation by Joe Zamberlan on the organ and a brief recital by Dr. Ann Labounsky, Dr. Regina

Kettering, and Nicholas Will. We anticipate leaving Ford City around 9:00 P.M. and returning to Calvary

around 10:00 P.M.

Please do join us!

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MAY MEETING: CHRIST, PRINCE OF PEACE

Pipelines May 2018

by Joe Zamberlan

Christ, Prince of Peace Parish in Ford City, Pennsylvania, is home to Opus 3 of J. Zamberlan & Co., and is our largest organ to date in terms of pipe count (Opus 6 for Denver easily dominates it physically!). Originally installed around 1929, the Tellers organ was rebuilt by that firm in 1965. I first visited the church in 2002, and found an organ in failing mechanical condition, with difficult access and possessinga thick, tubby and opaque sound.

The new organ retains the old pipe fence and casework (actually rather nice quartersawn white oak) in the gallery, although a new façade is prepared for. Several worthy ranks were reused from the old organ, plus one stop was integrated from the small organ at another church as well. Other than those pipes and the blower, all parts of the organ itself are new.

The vast majority of the pipes now stand on slider chests. Splitting the chests into C and Cs halves, with the slider solenoids in the middle, automatically provides a convenient perch during tuning, while also making the chests much easier to handle during manufacture and installation and eliminating the need for additional connections for the stop action. Selected ranks are located on chests with direct valve action, i.e. an electro-pneumatic pouch or a magnetic valve directly below eachpipe; this simplifies the duplexing or unification of these ranks, which we always approach cautiously! It’s interesting to note that the old organ had about 1,200 pipes while the new one has 1,988 (1,790 in the same footprint), yet access for maintenance and tuning is much improved, and the pipes all have sufficient room. As one faces the gallery, the Great and Pedal are on the left, and the Swell is on the right. Each division is housed in a “case” behind the façade, with a thick poplar frame and panels of doubled MDF. The only real difference between each case is that the right side has shutters! The Pedal Subbass / Gedackt is split on the roof of each case, and is arranged carefully so that it’s all but invisible from the floor of the church; this elevated position also helps its sound get to every corner of the room.

All of these tonal resources are controlled from a new two-manual console, with curved, terraced stop jambs. The console shell is constructed of flatsawn red oak, finished to harmonize with the pews, while the interior is made of Honduras mahogany, oiled and waxed as is usual for us.

Organ specifications are on the next two pages.

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CHRIST, PRINCE OF PEACE ORGAN

Pipelines May 2018

J. Zamberlan & Co.Opus 3, 2007

Christ, Prince of Peace ParishFord City, Pennsylvania

GREAT C1-a58 = 58 notes Manual I

1. Diapason 8’ 58 pipes new, 52%

2. Rohrflute 8’ * 58 pipes existing

3. Octave 4’ 58 pipes new, 52%

4. Open Flute 4’ * 58 pipes existing

5. Fifteenth 2’ 58 pipes new, 70%

6. Cornet IV 4’ 148 pipes new, 28%, c13-c49

7. Mixture IV 11/3’ 232 pipes new, 70%

8. Trompette 8’ 58 pipes new, zinc & 52% resonators

9. Cromorne 8’ 58 pipes new, 52% resonators

10.Choir Gemshorn 8’ 58 pipes new, 52%

11.Choir Bourdon 8’ 58 pipes new, 28%

12.Choir Italian Principal 4’ 58 pipes new, 70%

13.Choir Bourdon 4’ 12 pipes new, 28%; C1-a46 = #11

14.Choir Bourdon 2’ 12 pipes new, 28%; C1-a46 = #13

Tremulant Swell to Great 16’ Swell to Great 8’ Cymbelstern MIDI

SWELL C1-a58 = 58 notes Manual II, enclosed except for Choir stops

15.Quintaten 16’ 58 pipes new, C1-f18 wood, fs19-a58 70%16.Violin Diapason 8’ * 46 pipes existing; C1-B12 = #17

17.Gedackt 8’ † 58 pipes existing

18.Viole de Gambe 8’ * 58 pipes existing

19.Voix Céleste 8’ † 46 pipes existing

20.Principal 4’ 58 pipes new, 52%

21.Flute 4’ * 58 pipes existing

22.Nazard 22/3’ 58 pipes new, 28%

23.Spitzflute 2’ 58 pipes new, 52%

24.Tierce 13/5’ 58 pipes new, 28%; e53-a58 = 31/5’

25.Plein Jeu III 2’ 174 pipes new, 52%

26.Cymbale II 2/3’ 116 pipes new, 52%

27.Basson 16’ 12 pipes new, 70% resonators; c13-a58 = #28 C1-a46

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SPECIFICATIONS FOR OPUS 3, 2007

Pipelines May 2018

28.Hautbois 8’ 58 pipes new, 70% resonators

29.Choir Gemshorn 8’ = #10

30.Choir Bourdon 8’ = #11

31.Choir Italian Principal 4’ = #12



Tremulant

MIDI

PEDAL C1-g32 = 32 notes, AGO pedalboard34.Bourdon 32’ 12 pipes new, wood; C1-B12 = 102/3’ + #36, c13

= #36 C1

35.Principal 16’ 32 pipes prepared for (flamed copper and polished aluminum)

36.Subbass 16’ 32 pipes new, wood

37.Quintaten 16’ = #15

38.Octave 8’ 32 pipes prepared for (polished aluminum)

39.Gedackt 8’ 12 pipes new, wood; C1-g20 = #36

40.Choral Bass 4’ 12 pipes prepared for (52%; C1-g20 = #38)

41.Trombone 16’ 32 pipes new, wood resonators

42.Basson 16’ = #27

43.Trompette 8’ = #8

44.Cromorne 8’ = #9

45.Clairon 4’ = #8

Great to Pedal 8’

Swell to Pedal 8’

MIDI

1,988 pipes plus 76 pipes from the prepared-for stops

Great Unison Off as toestudSwell Unison Off as toestud

* 1965 Tellers

† 1965 M.P. Moller

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Pipelines May 2018

General Specifications

128 levels of 8 general and 4 divisional adjustable combinations, visibly affecting stops. Industrial-quality surge suppressors installed to protect the electronic equipment.

General Cancel

Balanced Swell and Crescendo Shoes

Manual keyboards with wooden bodies; naturals of bone, sharps of ebony

Magnetic tracker touch

Pedalboard with hard maple naturals, ebony-capped maple sharps

Syndyne drawknob units

Harris toestuds with Pau Ferro heads

Drawknobs of bocote, with engraved legal ivory disks inserted into the face

Engraved pistons of legal ivory-capped bocote

Tutti as reversible on a toestud

Bourdon 32’ as reversible on a toestud

Indicator lights for power and tutti

Built-in transposer (+5/-6 half-tones)

Music rack and pedalboard lights built into console

Cymbelstern as reversible on a toestud

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Pipelines May 2018

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Pipelines May 2018

An Impression of the AGO Pedagogy Conference at the University of Kansas by Benjamin Cornelius-Bates

(continued from April 2018, Volume 98, Issue 8)

The first two days focused on French repertoire, but the third full day, Friday, was Improvisation Day. For this author, this was one of the reasons for attending this conference as improvisation has taken a big part of my professional career. Much of the day was shepherded by Philippe Lefebvre, leading a panel, a master class, and a concert. Before that part of the conference will be discussed, a moment about the lectures that were given.

Aurélie Ducourt, historian and daughter of Marie Claire Alain, was also present for the conference for several lectures. The first, on Wednesday afternoon discussed the history of organ teaching in the Paris Conservatory. Ms. Ducourt was very thorough, but stopped with the teaching of Dupré. The second lecture, given by Norma Stelvington, was a reflection on her time as a student of Marie Claire Alain. It was an intimate portrait of Alain that was both profound and moving.

Ms. Ducourt and Vincent Dubois gave the third lecture. It featured the current Regional Conservatory System that is in place today. Mr. Dubois is director of the Regional Conservatory in Reims, giving him great insight into how the current system operates. One of the more interesting parts of the lecture focused on the reforms to the conservatory system in the mid 2000s. At some point in the history of studying organ, it would have been impossible to switch teachers. The current system encourages a broader musical experience, including having multiple private instructors.

The fourth and final lecture was about Jehan Alain’s Trois Danses, though Ms. Ducourt spent much time discussing all of Jehan Alain’s oeuvre. With Jehan Alain’s tragic death, much of his works and self-cataloguing remained unfinished. Ducourt admitted that family members tried to finish works or add elements they (sometimes erroneously) remembered. This work can be difficult and the original manuscripts should always be consulted. James Higdon, Professor of Organ at KU, then performed the Trois Danses with absolute precision.

Philippe Lefebvre began his Improvisation Pedagogy lecture by emphasizing the importance of learning classical theory: harmony and cadences, counterpoint, and transposing hymns to every key. From classical harmony, then move to modern because of the connection between modality of early music and the chant in both ancient French music and early 20th century French repertoire. Mr. Lefebvre suggested using harmonies that only include dissonant and perfect intervals, 2nds, 4ths, 5ths,and 7ths, to emulate music of the early 20th century. Finally, Romantic Chromaticism in the style of Louis Vierne and Pierre Cochereau is finally introduced, moving single notes of a chord, chromatically. Mr. Lefebvre said of this style, “I love it. It is the sound of Notre Dame Cathedral.”

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AN IMPRESSION OF THE AGO PEDAGOGY CONFERENCE - 2

Pipelines May 2018

Before Mr. Lefebvre gave his recital, Michel Bouvard gave a concert. In a continuation of the previous days recitals by Shin-Young Lee and Olivier Latry, Mr, Bouvard presented a recital that included Franz Liszt’s Weinen, Klagen, Sorgen, Zagen and César Franck’s Grande Piéce Symphonique. While both of those works represent high Romanticism, the work that stood out was a transcription by André Isoir of Cinq Fantiaseies sur Une jeune Fillette by Eustache du Caurroy. Mr. Bouvard’s ability to perform early and romantic repertoire is very impressive, reminiscent of his performance at the 2016 AGO National Conference in Houston.

The longest of all the recitals was Philippe Lefebvre improvisation recital. Clocking in at nearly two hours, there was never a dull moment. He demonstrated every element he lectured on but it did not feel didactic. The French Suite in a classical style was based on Victimae Paschali Laudes, the Vespers Suite included chants Lucis Creator and Te Deum, the Triptyque Symphonique themes were written by Vincent Dubois, one of which was nearly a 12 tone series, and the final themes were on the names of HIGDON and BAUER. His encore was on the National Anthem. The experience of improvisation is one where the audience is along for a journey with the performer in a way that both performer and audience evolve with the music together. Mr. Lefebvre, one of the best improvisers in the world, brought the audience along for quite the ride.

Saturday, the final half day, had two panels and a recital by Vincent Dubios. The panels were a bit freer and allowed all the performers to discuss their views on teaching openly. The most striking parts were how the panel dealt with injuries and the importance of paying attention to the physicality of performing. They were all emphatic in not being dogmatic about technique. Mr. Latry said to learn many works from a single composer to learn their individual compositional technique.

The final concert was given by Mr. Dubios and was simply two works: Vierne’s Symphnie No. 2 and Dupré’s Symphonie-Passion. It was a perfect ending. In this author’s estimation, Vierne’s 2nd Symphony is the composer’s best and most concise work. The Symphonie-Passion is beautifully programmatic even without having chants or biblical verses for those pictorial elements. Mr. Dubois executed the concert perfectly, the perfect end-cap to the conference.

It has been a wonderful challenge to summarize a conference that was incredibly dense with knowledge, beauty, and inspiration. I would be happy to share my notes with anyone who is interested.Please feel free to email me at [email protected] and I will pass along the notes I took. It will include a copy of the program and other materials relevant to the conference in a PDF format.

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Pipelines May 2018

April 1 was the deadline for submissions for our 40th Anniversary Season composition competition. We received 104 submissions! The selection committee is now hard at work reviewing each compositionand the winner will be announced by June 15. Selah Publishing Co., Inc. will publish the winning composition, which will be premiered by Nathan Laube on October 7 in the opening concert of the 40th season at East Liberty Presbyterian Church.

Edward Alan Moore, Director

[email protected]. Keith Wannamaker, CAGO Changed chapter affiliation to Greenville, S.C.

NEW MEMBERMr. S. C. Toe Changed chapter affiliation to Pittsburgh from Memphis [email protected]

ADDRESS CHANGESMichael Heilman Mr Nicholas S. SharerAddress: 938R 5th Avenue 7709 Jeremias StreetFord City, PA 16226 Pittsburgh, PA 15218 [email protected] [email protected]

Michael Kearney Adam Fehrenbach1427 Penn Ave 618 Evergreen RdWilkinsburg, PA 15221 Pittsburgh, PA [email protected] [email protected] 631-504-1274

Richard Noss Judith Brown3710 Brighton Rd. Apt.#406 240-522-5070Pittsburgh, Pa 15212

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OAS COMPOSITION UPDATE

DIRECTORY UPDATES

Pipelines May 2018

Date Event

4 May 7:30PM

Organist Henk de Vries of the Netherlands - Henk de Vries in concert at St. Paul Cathedral, 108 N Dithridge St, Pittsburgh, PA 15213 Admission is free - an offering will be received. St. Paul Cathedral is located at the corner of Fifth Avenue and Craig Street. 412-621-6082 [email protected]

5 May 7:30PM

Hooray for Hollywood! - PCC goes to the movies in this concert of hits from the Golden Era to the present. Dress like your favorite movie star and walk the red carpet. You just might be “discovered!” Tickets: Adults $20 ($23 door) Students 12+ $8.00 Children under 12 FREE Fox Chapel Presbyterian Church, 384 Fox Chapel Rd, Pittsburgh, PA 15238 412-635-7654 www.pccsing.org [email protected]

6 May 4:00PM

Diane Bish Organ Dedication Concert - Pellegrino Music Center will be sponsoring a concert by world-renowned organist Diane Bish at St. Dominic Catholic Church in Youngstown, Ohio. This concert is a dedication of their newly installed 80 stop Q390DK Allen organ. This concert is free and open to the public. St. Dominic Catholic Church, 77 E. Lucius Ave, Youngstown, OH 44507 330-498-8400 [email protected]

6 May 4:00PM

Hooray for Hollywood! - PCC goes to the movies in this concert of hits from the Golden Era to the present. Dress like your favorite movie star and walk the red carpet. You just might be “discovered!” Tickets: Adults $20 ($23 door) Students 12+ $8.00 Children under 12 FREE Ingomar United Methodist Church, 1501 Ingomar Rd, Pittsburgh, PA 15237 412-635-7654 www.pccsing.org [email protected]

6 May 5:00PM

Choral Evensong and Organ Recital - The Choir of Calvary Episcopal Church sings choral evensong with music by Dyson, Clucas, Byrd, and others, followed by a 30-minute organ recital by Assistant Organist Jon Tyillian, featuring music by Bach, Karg-Elert, and Elgar. A freewill offering will be received. A reception will follow the recital. Calvary Episcopal Church 315 Shady Ave, Pittsburgh, PA 15206 412-661-0120 ext 120 www.calvarypgh.org [email protected]

13 May 3:00PM

Mother's Day Concert - performed by the University of Pittsburgh Women's Choral Ensemble. Heinz Memorial Chapel, 326 S. Bellefield Ave, Pittsburgh, PA 412-624-4157

15 May 6:00PM

American Osler Society Organ Recital - Michael Hammer, organist at Third Presbyterian Church in Pittsburgh, will perform. Heinz Memorial Chapel (address and info above)

18 May 8:00PM

Organist Jeremy Jelinek in recital at Calvary Episcopal Church - Pittsburgh native and Pittsburgh Organ Academy alumnus Jeremy Jelinek, newly graduated from the Eastman School of Music, presents a solo recital on the IV/137 Casavant organ. The program includes music by de Grigny, Bach, Franck, Guilmant, Faure, Schmidt, Reger, and Messiaen. Admission is free. A reception follows the recital. Calvary Episcopal Church, (address and info above)

21 May 6:30PM

Meeting - Zamberlan Organ (joint with Indiana and Seton Hill/Westmoreland Chapters) Christ, Prince of Peace Parish, Ford City

22 May 7:30PM

Music Plus Presents "All Mendelssohn" - pianist Donna Amato, with PSO musicians Christopher Wu, violin, and David Premo, cello, will combine talents in a 50-minute concert of trio chamber music written by Felix Mendelssohn. At 7:00pm, the preconcert will feature the cello students of the Younga Reitz Studio. Freewill offering. Dessert reception afterwards. St. James Catholic Church, 200 Walnut Street, Sewickley, PA 15143 412-741-6650 [email protected]

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EVENTS

Pipelines May 2018

Substitute Organists Available for Sunday MorningsBROWN, JUDITH 240.522.5070 WFES

CAFARO, ROSS 412.885.1625 WFES

JANKO, RAY 724.325.7449 WFES

JUSTHAM, MARY ANN 724.335.7792 WFES

HENRI, LAURA 412.418.7392 WFESL

HILL, THOMAS 512.421.1484 WFES

KOHL, GEORGE 412.523.7765 WFES

KRANTZ, DOUGLAS 317.532.7523 WFS

LA RUE, ELIZABETH SPC 412.999.4812 WFES

LINDSEY, III, C. DENNIS 918.409.6467 WFES

MISLIN, DAVID W. 617.223.1270 WFES

RASLEY, DON 724.487.7303(D)724.283.4829(E)

WFES

RIZZO, ELMIRA, CAGO 724.612.2029 WFES

ROEDERER, CHARLOTTE 412.780.7445 EFS

RUBRIGHT, SANDY S. 724.994.8872 WFE

SCHALL, STEPHEN 412.215.2971 WFE

STIPCAK, VALERIE 724.388.1038 WFES

SZEREMANY, RICHARD, AAGO 412.327.6254 WFES

VANDERLAAN, BRET A. 301.919.1835 WFES

Substitute Organists NOT Available for SundayMornings

AIKINS, CANDICE 724.568.2640 WF

BRUHN, LYNN 724.733.8111 WFE

DANIELS, J.R. 412.389.6658 WF

EARNEST, Dr. WAYNE N. 724.206.8854 WFS

HAMMER, MICHAEL 217.766.4230 WFES

KETTERING, REGINA 412.477.5547 WFES

MASTERS, SARA 412.266.5821 WFES

MCGRATH, ROSE 937.719.2391 WF

MILLER, JANE 412.526.6618 WF

PINKERTON, RICHARD 412.561.2015 WFE

REILAND, MICHAEL 412.882.5521 WFE

SPENCER, GEORGE 412.731.3324 WFE

STROBEL, JOYCE MOON 412.366.0074 WFES

WALLACE, JUSTIN 412.531.0525 WFES

WANG, CLOUD SSU-YUN 857.318.1896 WFES

WILL, NICHOLAS 814.460.1446 WFES

Only current members of the AGO may be on the substitute list. AGO assumes no responsibility for the musicianship, reliability, or conduct of substitute organists. Background checks are the responsibility of the employer. Churches may contact organists directly or ask the coordinator for assistance.

W = WeddingsF = FuneralsE = EveningsS = SaturdaysL = Liturgical OnlyN = Non-Liturgical

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IN THIS ISSUE DEAN’S NOTES · 2018. 5. 9. · Pipelines May 2018 Volume 98 Issue 9 by Douglas...

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