Stephen Buzard featured on new Delos recording

Appointments

St. Thomas Church and Choir School, New York City, has announced the appointment of Stephen Buzard and Benjamin Sheen as assistant organists. 

Stephen Buzard is a Master of Music candidate at the Yale Institute of Sacred Music, where he studies organ with Thomas Murray and improvisation with Jeffrey Brillhart. He currently serves as organ scholar at Trinity on the Green, New Haven, Connecticut; as principal organist of Berkeley Divinity School at Yale University; and as organist for Marquand Chapel, Yale Divinity School. 

Buzard earned his Bachelor of Music from Westminster Choir College in 2010, where he studied organ with Ken Cowan; he was organ scholar at Trinity Episcopal Church, Princeton, New Jersey, and director of music for the Episcopal Church at Princeton University. 

Buzard spent a year in England as senior organ scholar of Wells Cathedral. He was the winner of the 2010 Arthur Poister Competition and the 2009 Joan Lippincott Competition for Excellence in Organ Performance.

Recent recitals have included the 2012 Organ Historical Society Convention, the 2013 Midwinter Organ Conference at Baylor University, and the 2009 and 2013 conventions of the American Institute of Organbuilders. His premiere recording “In Light or Darkness,” available through Delos Records, has received wide critical acclaim. 

Benjamin Sheen is currently studying organ performance at the Juilliard School in New York. He was a chorister at St. Paul’s Cathedral, where he took up the organ at age 10. In 2003, he became the youngest person ever to give a recital in the cathedral’s Sunday evening series, at the age of just 13. At Eton College he studied organ with Alastair Sampson and David Goode, and presented recitals at venues including Liverpool Cathedral, Westminster Abbey, and York Minster, toured the USA with the Eton College Choir, and gave solo concerts in New York, Denver, Washington, and Princeton University.

For three years, Sheen was organ scholar at Christ Church Cathedral. While studying at Oxford, he played numerous recitals in the U.K., Australia, and Germany. Sheen has appeared on BBC Radio Oxford and BBC Radio 3 with Christ Church Cathedral Choir, and has performed with the Royal Philharmonic Orchestra under Nicholas Cleobury, and Duisburg Philharmonie with Jonathan Darlington.

Sheen is a Fellow of the Royal College of Organists, winning the Limpus, Durrant, and Frederick Shinn prizes, and was awarded the Worshipful Company of Musicians Silver Medal for 2011. For further information: 

www.SaintThomasChurch.org.

The Diapason’s second annual “20 under 30” selections came from a field that included over 130 nominations, a response that exceeded the previous year’s. The nominees were evaluated based upon information provided in the nominations; we selected only from those who had been nominated. We looked for evidence of such things as career advancement, technical skills, and creativity and innovation; we considered a nominee’s awards and competition prizes, publications and compositions, and significant positions in the mix. Our selections were not limited merely to organists but reflect the breadth of our editorial scope, which includes the organ, harpsichord, carillon, and church music. Here we present the winners’ backgrounds and accomplishments, and then have them tell us something interesting about themselves and about their achievements, goals, and aspirations.

Since we had to decline multiple nominees for each one we chose, selecting only 20 from a field of very worthy nominees was quite a challenge. We encourage you to participate in the “20 under 30” awards next year—a person must be nominated in order to be selected.

John-Paul Buzard Pipe Organ Builders, Champaign, Illinois
Second Presbyterian Church,
Bloomington, Illinois, Opus 37
This instrument of 43 stops and 56 ranks is the 37th new organ built by Buzard Pipe Organ Builders of Champaign, Illinois. The Buzard firm had originally been selected as the church’s builder of choice in 1991, when plans were first developed to build a new sanctuary. In more recent years, when the original Victorian-era building was found to be structurally unsound, the desire to design and construct a new church building acquired a new sense of urgency. The decision to include a pipe organ in a very modern building in the context of a very modern ministry was not made lightly, nor easily. The wisdom of the church leadership held that worship styles both timeless and modern needed to be embraced wholeheartedly. The organbuilder and architect enjoyed an unusually collaborative and collegial relationship in the design of the entire building as well as the new instrument. The new sanctuary was completed in 2005, and the new organ arrived in June 2008, giving the construction dust plenty of time to settle. Although the room’s acoustics are more absorptive than we would have preferred, sound is heard evenly and in balance throughout the room.
The organ’s dramatic visual design is intended to be a stylized rendering in organ pipes of a Celtic cross. The background fields of Great and Pedal Diapason and Principal pipes are made of polished tin. The pipework elements of the cross itself are polished copper Pedal Principals and the horizontally mounted Festival Trumpets. The giant blocks of white oak that hold the Festival Trumpet pipes are clad in polished copper to emphasize the cross’s horizontal arms. The circle that binds the four arms of the cross together is a 16-foot diameter ring of Baltic birch, leafed in 24-karat red gold.
The instrument is housed in a solid white oak case standing three stories tall, 24 feet wide, 12 feet deep, flanked by walls that act as projection screens. The pipe shades are of basswood. Some of the small panels are enameled in indigo, which accent is also found in the stained glass windows. It is located on the axis of the church, above and behind the choral singers, to provide optimal projection of sound to the congregation and choir, and to be a living and integral participant in the worship service and the church’s interior design. A closed-circuit remotely operated television camera is mounted between and just behind two pedal façade pipes so that worshipers can see themselves projected on the screens(!).
The traditional portion of the church’s music program includes everything from children’s choirs through a large adult choir, small instrumental ensembles through full symphony orchestra performances. And of course the organ must support congregational singing and excel in its solo role. Therefore, this instrument had to exhibit an unusually wide dynamic range to accommodate musical needs of every size and type, but also the classic disposition that allows an organ to play the literature. The organ possesses a singularly noble and majestic tone quality. Each division is based upon sub-octave pitches, and the voicing is full and warm. The Great and Pedal feature First and Second Diapasons, and all the divisions include a wealth of warmly voiced 8′ stops to provide a rich variety of accompanimental colors at several volume levels. The design includes full couplers at 16′, 8′, Unison Off, and 4′ pitches for increased flexibility. Although the instrument sounds very big when everything is coupled, or when the high pressure Tubas or Festival Trumpets are used (excelling in its occasional role with a full symphony orchestra), the organ itself is not inherently loud—it can be as delicate as a child’s voice. Its sound fills the worship space gracefully, without having to yell to make its point.
Buzard organs have become known as exceptional accompanying organs, which is the primary use to which pipe organs are put in modern worship services. But, by virtue of an historically and nationalistically informed point of view, Buzard organs also musically render the entire solo repertory from early contrapuntal styles through the most modern symphonic transcriptions. Our principals have something to tell you. Their choruses are clear, but meaty. Flutes are singing and liquid, strings are warm and harmonically interesting. Chorus reeds add varying degrees of “clang” to their divisions: for example, the Swell 16′, 8′, and 4′ reed battery is of authentic French construction, the typically bright and bold sound tailored to this division’s classic musical character, whereas the Trompete on the Great is darker. Trombas appear on most of our Great organs as extensions of the Pedal Trombones (a Willis trick), which offers the organist two degrees of reed color and volume, depending upon the musical context. Our solo and pedal reeds take more of an orchestral approach: smooth, round, warm, and always interesting, whether soft or loud.
Our metal pipes are all made of high-tin-content pipe metal, planed and polished. The reeds use either this rich pipe metal or wood for their resonators. In this organ, the 32′ Contra Trombone resonators are white pine and full length down to low FFFF#. The wood flue pipes are made from poplar or mahogany with cherry mouths.
All Buzard organs employ slider and pallet windchests to eliminate long-term maintenance, and provide superior tonal blend and tuning stability. All Buzard organs employ wooden winding systems to reduce turbulence and noise, and schwimmer regulators at each slider chest to provide a steady wind supply.
The instrument was dedicated in public recitals by organist emerita Doris Hill, concert organist Ken Cowan, and Mr. Cowan’s student and the builder’s son, Stephen Buzard. A new CD featuring Stephen Buzard playing this organ will be released later this year on the Delos label.
—John-Paul Buzard

Buzard Opus 37
Second Presbyterian Church,
Bloomington, Illinois
43 straight speaking stops, 56 ranks,
3 stops prepared for future addition

GREAT (4-inch wind)
16′ Double Open Diapason (tin in façade)
8′ First Open Diapason (tin in façade)
8′ Second Open Diapason (1–8 from 16′)
8′ Viola da Gamba
8′ Claribel Flute (Melodia)
8′ Principal
4′ Spire Flute
22⁄3′ Twelfth
2′ Fifteenth
13⁄5′ Seventeenth (prepared)
2′ Fourniture V
2⁄3′ Sharp Mixture III
8′ Trompete
Cornet V (prepared)
Tremulant
8′ Trombas (Ped Trombone)
4′ Tromba Clarion (ext Trombas)
8′ Major Tuba (Ch)
8′ Tuba Solo melody coupler
8′ Festival Trumpets (horizontal
polished copper)

SWELL (4-inch wind)
8′ Open Diapason
8′ Stopped Diapason
8′ Salicional
8′ Voix Celeste
4′ Principal
4′ Harmonic Flute
2′ Octavin (harmonic)
22⁄3′ Full Mixture V
16′ Bassoon (full length)
8′ Trompette
8′ Oboe
4′ Clarion
Tremulant
Chimes (21 notes)
8′ Major Tuba (Ch)
8′ Festival Trumpets (Gt)

CHOIR (4-inch wind)
16′ Lieblich Gedeckt
8′ English Diapason
8′ Flûte à Bibéron
8′ Flûte Cœlestis II (Ludwigtone)
4′ Principal
4′ Suabe Flute (open wood)
22⁄3′ Nazard
2′ Recorder
13⁄5′ Tierce
11⁄3′ Mixture IV
16′ English Horn
8′ Clarinet
Tremulant
Cymbalstern
8′ Major Tuba (25 inches wind)
8′ Festival Trumpets (Gt)

PEDAL (various pressures)
32′ Double Open Diapason (digital)
32′ Subbass (digital)
32′ Lieblich Gedeckt (digital) (Ch)
16′ First Open Diapason (wood & metal)
16′ Second Open Diapason (Gt)
16′ Bourdon
16′ Lieblich Gedeckt (Ch)
8′ Principal (tin in façade)
8′ Open Bass (ext 16′ First Open)
8′ Bourdon (ext 16′ Bourdon)
8′ Violoncello (tapered)
4′ Choral Bass (ext 8′ Open Bass)
4′ Open Flute (ext 16′ Bourdon)
22⁄3′ Mixture IV (prepared)
32′ Contra Trombone (wood)
16′ Trombone (ext 32′, wood)
16′ Bassoon (Sw)
8′ Trumpet (ext Trombone)
4′ Clarion (ext Trombone)
8′ Major Tuba (Ch)
8′ Festival Trumpets (Gt)

Richard Hillert died February 18. He was Distinguished Professor of Music Emeritus at Concordia University Chicago, River Forest, Illinois, and was best known for his work as a composer and composition teacher. One of his most noted works is Worthy Is Christ, of which “This is the Feast of Victory” has been widely published in various worship books.
Hillert received his bachelor’s degree in education from Concordia, and master’s and doctoral degrees in composition from Northwestern University. He also studied composition with Italian composer Goffredo Petrassi. Hillert taught at Concordia from 1959 to 2003. He edited eleven volumes of the Concordia Hymn Prelude Series and was associate editor of the journal Church Music (1966–80).
Hillert’s compositions and publications include liturgical music for congregation, choral motets, hymns and hymn anthems, psalm settings and organ works, concertatos, and cantatas, including settings of The Christmas Story According to Saint Luke and The Passion According to Saint John. Richard Hillert is survived by his wife Gloria Bonnin Hillert, and children Kathryn Brewer, Virginia Hillert, and Jonathan Hillert.

Rev. Richard D. Howell died January 26 in Dallas, Texas. Born June 24, 1932 in Great Bend, Kansas, he earned a master of sacred music degree from Southern Methodist University, and was ordained a deacon in the United Methodist Church. He started playing for church services at age 13, and went on to serve numerous United Methodist congregations in Texas and taught elementary music for the Richardson and Dallas school districts. He played for children’s, youth, and adult choirs and directed handbell choirs, serving as the chairman of the Dallas Handbell Festival. He was active in many organizations, including the American Guild of Organists, Choristers Guild, and the Fellowship of United Methodist Musicians. Richard D. Howell is survived by his wife of 52 years, Bradley Sue Howell, children Mark and Teri Howell, Celeste and Martin Hlavenka, and Jane Walker, along with grandchildren, sisters-in-law, and numerous nieces and nephews.

Richard Proulx died February 18 at age 72. From 1980 to 1994, he was organist–music director at the Cathedral of the Holy Name in Chicago, where he was also responsible for the planning and installation of two new mechanical-action organs for the cathedral: Casavant II/19 (Quebec, 1981) and Flentrop IV/71 (Holland, 1989). Before coming to Chicago, he served at St. Thomas Church, Medina/Seattle (1970–1980), and was organist at Temple de Hirsch Sinai. Previous positions included St. Charles Parish, Tacoma; St. Stephen’s Church, Seattle; and 15 years (1953–1968) at the Church of the Holy Childhood in St. Paul.
A native of St. Paul, Minnesota, he attended MacPhail College and the University of Minnesota, with further studies undertaken at the American Boychoir School at Princeton, St. John’s Abbey, Collegeville, and the Royal School of Church Music in England. He studied organ with Ruth Dindorf, Arthur Jennings, Rupert Sircom, Gerald Bales, and Peter Hallock; choral conducting with Bruce Larsen, Donald Brost, and Peter Hallock; composition with Leopold Bruenner, Theodore Ganshaw, Bruce Larsen, and Gerald Bales.
Proulx was a widely published composer of more than 300 works, including congregational music, sacred and secular choral works, song cycles, two operas, and instrumental and organ music. He served as consultant for The Hymnal 1982, the New Yale Hymnal, the Methodist Hymnal, Worship II and III, and contributed to the Mennonite Hymnal and the Presbyterian Hymnal.

Phyllis J. Stringham, of Waukesha, Wisconsin, died February 12 at the age of 79. Born January 30, 1931 in Grand Rapids, Michigan, she earned her Bachelor of Arts degree from Calvin College and a Master of Music degree in organ performance at the University of Michigan. Her organ teachers included John Hamersma, Robert Noehren, and Marilyn Mason. She pursued additional study at the American Conservatory in Fontainebleau, France, studying with Nadia Boulanger and André Marchal. In 1966 she studied with Marie-Claire Alain and Anton Heiller at the Summer Academy for Organists in Haarlem, Holland. While on sabbatical leave in 1972, she spent five months studying at the Hochschule für Musik in Vienna, Austria. Further study was done at the Eastman School of Music with Russell Saunders, and with Delbert Disselhorst at the University of Iowa.
For 43 years, Stringham was Professor of Music and College Organist at Carroll University, Waukesha, Wisconsin (1959–2002). After retirement from teaching, she retained her position as College Organist and Curator of the Organ. In 2007 she was named Organist Emeritus. Her earlier teaching career began at Chatham Hall, an Episcopal school in Virginia. She is listed in Who’s Who in the World of Music. From the late 1960s to 2007 she operated the Phyllis Stringham Concert Management agency. She served the AGO as dean of the Milwaukee chapter and as Wisconsin State Chair.
Phyllis Stringham is survived by her brother James A. (Gladys), nephews, many grandnephews, nieces, other relatives and friends. A memorial service was held February 18 at St. Luke’s Lutheran Church, Waukesha.

Gail Walton, director of music at the University of Notre Dame’s Basilica of the Sacred Heart, died February 24 in Indianapolis after a long illness. She was 55 years old. Dr. Walton had served as director of music in the Basilica since 1988, directing the Notre Dame Liturgical Choir as well as the Basilica Schola, which she founded in 1989. She held degrees from Westminster Choir College and the Eastman School of Music, where she earned the doctor of musical arts degree in organ performance, and was awarded the performer’s certificate. Before joining the basilica staff, she taught organ at Goshen College.
Gail Walton performed throughout the midwestern United States and played concerts in the German cities of Bonn, Heidenheim, Mainz, and Rottenburg/Neckar in the summer of 1991. In the summer of 1995, she took the Notre Dame Liturgical Choir on a tour of Italy, giving performances in Florence, Milan, Assisi, and Rome. She frequently played duo recitals with her husband, organist and Notre Dame music professor Craig Cramer.

Allan Wicks, a leading cathedral organist of his generation, died February 4 at age 86. He played a crucial role during the 1950s and 60s in bringing modern works by Messiaen, Maxwell Davies, Stravinsky, and Britten into the regular cathedral repertory. Born in Harden, Yorkshire, on June 6, 1923, the son of a clergyman, Wicks became organ scholar at Christ Church, Oxford in 1942, where he studied under Thomas Armstrong. He became sub-organist at York Minster in 1947, then in 1954 organist and master of the choristers of Manchester Cathedral. During his time there, he oversaw the rebuilding of the war-damaged organ, and championed the music of Peter Maxwell Davies and Malcolm Williamson. He also regularly conducted Stravinsky’s Canticum Sacrum.
In 1961 he was appointed organist and master of the choristers of Canterbury Cathedral, a post he held until 1988.There he regularly performed music by such composers as Messiaen, Ligeti, Tippett, Lennox Berkeley, and Alan Ridout. Wicks made several recordings, released on LP but yet to be issued on CD, of works by Alan Ridout, Messiaen (notably La nativité du Seigneur), Bach, Mendelssohn, Liszt, Franck, Widor, Alain and Reger. Wicks retired from Canterbury in 1988, having served under three archbishops and taught several generations of choristers.