Christmas Live - St. John`s Episcopal Church

The St. John’s Choirs Fall 2013
A free downloadable booklet, giving the complete texts of the carols,
notes on the music and more about the performances and performers,
Christmas Live
The music begins at St. John’s Church on Christmas Eve 2012, with a choir and
harp prelude. Favorite hymn arrangements and Rutter’s annual Candlelight Carol
capture the mood of this late-night service, including the joy of a large singing
congregation. Following the organ postlude—Widor’s “other” Toccata, played by
the composer at his own church each Christmas Eve—we move to West Hartford’s
Church of St. Peter Claver for three pieces from an Epiphany concert sung by
St. John’s choristers, and one special treat from St. Peter Claver’s own musicians.
Finally, back at St. John’s we hear four favorites recorded by Ralph Valentine
in 2010 upon his retirement from thirty-four years of devoted service. These
tracks—concluding with Widor’s “first” Toccata—were made utilizing the
organ’s computerized ‘roll-playing’ playback system in an empty room.
A guide accompanying the 2013 St. John’s Choirs CD
If you come to a service or concert at St. John’s, you will find some words to guide your enjoyment
and perhaps illuminate meaning in a new way, at times of a lighthearted nature. If humor can serve
as an open door for discovering truth, so serves music for theology! We hope you will enjoy this
compilation of texts and notes pertaining to the 20 tracks on the CD.
Sometimes the wondrous happens in a live musical event, perhaps especially
around Christmas. These recordings, originally made for archival purposes, have
been requested because each captures some moment of grace which can be
elusive in recording sessions or studio projects with controlled environments.
We hope you agree, and may excuse the background noise and other occasional
imperfections. In one case, you literally will be surrounded by singers.
The Choirs of St. John’s Episcopal Church, West Hartford, CT
Peter S. Berton, director & organ 17-20 Ralph Valentine, organ 13, 15 Tim Stella, piano
2-7, 9, 10 Susan Knapp Thomas, harp
www.sjparish.net
2012
soloists: 4 Corinne Harney 5, 10 Louise Penfield Blood
13 Elizabeth Hammond 14 Jennifer D. Berton 15 Marian Maccarone
St. John’s Episcopal Church, West Hartford, CT
A Ceremony of Carols Benjamin Britten (seven excerpts) Procession 1:43
Wolcom Yole! 1:23
tracks 1-12 service at St. John’s Church, 12/24/12
There is no Rose 2:49
13-16 concert at Church of St. Peter Claver, 1/6/13
17-20 playing recorded at St. John’s Church, 4/24/10
That yonge child 1:43
Publishers: 1-7 Boosey & Hawkes; 8,11 OUP; 9 Hinshaw;
Balulalow 1:26
10 Randall Egan; 14 Estate of Skinner Chávez-Melo; 17
MorningStar; 18 Galaxy. Licensing: Harry Fox Agency, NYC
As dew in Aprille 1:04
© 2013 St. John’s Episcopal Church, West Hartford, CT 06119
This little Babe 1:28
O come, all ye faithful Adeste Fideles, arr. David Willcocks 6:30
Candlelight Carol John Rutter 4:30
Silent night Stille Nacht, st. 3 arr. Wolfgang Lindner 4:23
Hark the herald angels sing Mendelssohn, arr. David Willcocks 3:52
Final from Symphony No. 9 (“Gothique”) Charles-Marie Widor 5:28
O holy night Adolphe Adam, arr. John E. West, Peter S. Berton 4:44
Epiphany Skinner Chávez-Melo 5:54
The Wexford Carol traditional Irish, arr. Maccarone/Stella 5:09
The three ships Colin Taylor 5:02
Aria Charles Callahan 3:46
Prelude on ‘Rhosymedre’ Ralph Vaughan Williams 4:15
Sortie in E-flat Louis James Alfred Lefébure-Wély 4:36
Total Time
Toccata from Symphony No. 5 Charles-Marie Widor 5:41
77:11
Christmas Live
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Christmas
Live
The Choirs of
St. John’s
Episcopal Church
West Hartford
Peter S. Berton,
director & organist
with organ solos
played by
Ralph Valentine
4PAN1T
4 Panel Digipak
Adobe InDesign
05/17/11 mk
Paste OFA tag here.
The cover photo is from the first window surrounding the font at St. John’s. This delightfully child-sized area of
the church is full of welcoming images of animals and nature, where the journey into faith begins with baptism
and a remembrance that Jesus too came into the world as a small weakling. We apologize for the amputation of
the lamb’s feet (not to mention the poor hen) in the quest for focus on the infant in the manger.
1-7 A Cermony of Carols, Op. 28 (excerpts)
Benjamin Britten (1913-1976)
sung by Louise Penfield Blood, Corinne Harney, Anne Harney (top voice),
Margaret Beers, Jennifer Berton, Nancy Sichler (middle voice),
Rachel Love, Benjamin Rechel (lower voice)
Susan Knapp Thomas, harp
A Ceremony of Carols was written by Benjamin Britten originally for treble choir and harp in March of 1942,
while at sea. Because of the immense popularity of the piece, piano accompaniment and a mixed choir
arrangement are also often heard. The majority of the text is taken from poems in Middle English (late 12th to
late 15th century). Medieval vocabulary and syntax informed the “translation” provided as well as the following
notes, both by Thomas Ajack. While some of the theology is arguable in the text, it remains rich and valuable.
It also serves as a springboard to clarify our own thoughts and beliefs. With this understanding, we may worship
through the text and the music, which transcends time and brings us closer to God. For reasons of space on the
CD and some technical issues, we have included only the first seven movements of this charming music.
1. Hodie
Taken from the Vespers of the Nativity, this plainchant antiphon is used as a procession and recession, rounding out
the form of the composition. (The singers begin in the back of the church and without a conductor sing while walking
single file down the left side aisle to positions on the steps (see page 16). The harp is on the floor nearer the microphones
than the singers, giving an unusually rich recorded sound to the virtuosic and always appropriate accompaniment.)
Today Christ is born; Today the Savior has appeared; Today the angels sing,
The archangels rejoice; Today the righteous rejoice, saying, “Glory to God in the highest, Alleluia!”
2. Welcome Yule
A miniature of the liturgical calendar of the Christmas season. The heavenly child is welcomed as important saints’
feast days of the season are referenced. December 28 is known as Holy Innocents Day, in remembrance of the
Massacre of the Innocents by Herod. The New Year and Epiphany (twelfth day) are mentioned, as well as saints who
have left and were dear to us. Candle Mass refers to Feb. 2, which remembers Mary’s purification at the temple, and
Jesus’ presentation to Simeon. In some countries the crèche is left out until Candle Mass signifies the end of the season.
Welcome, Welcome, Welcome to You, our heavenly King.
Welcome, you who was born one morning, Welcome, for You, shall we sing!
Welcome, to you, Steven and John, Welcome all innocent children,
Welcome, Thomas, the martyred one, Welcome, good new year,
Welcome Twelfth Day, both in fear . . . Welcome Saints left and dear.
Candle Mass, Queen of bliss, Welcome both to more and less.
Welcome you that are here, Welcome all and make good cheer. Welcome all another year.
3. There is no rose
There is no rose. The message here is that Mary was unparalleled. For the first time, heaven and earth were in the
same space: within her womb. Because of her, we learn the mystery of the Trinity.
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There is no rose of such virtue As is the rose that bore Jesus. Alleluia.
For inside the Rose (called Mary) Were heaven and earth in a single, little space.
Miraculous thing. By that rose, we now may see, There be one God in persons three.
Created in the Parent’s image. The angels sang to the shepherds, Glory to God in the highest!
We rejoice. Leave we all this wordly mirth, And follow we this joyful birth.
We cross over to Christ’s world.
4. That Young Child
When the baby Jesus began to cry, Mary sang a lullaby. The nightingale sang also, but Mary’s song was superior.
When that young child began to weep With song, she lulled him to sleep
It was such a sweet melody, It was so very merry.
The nightingale sang also, But her song was hoarse, it was not the same:
Whoever listens to the nightingale’s song Instead of Mary’s, does wrong.
Corinne Harney, soloist
5. Balulalow
Showing great humility, Mary sings a good and proper Lullaby to the young Jesus.
O love of my heart, young Jesus sweet, Prepare your place in my heart, And I shall rock thee with great love, And I shall never leave your side. I shall praise you forever, With sweet songs of your glory.
The knees of my heart shall I bow And sing the right “Lullaby.”
Louise Penfield Blood, soloist
6. As dew in April
We are reminded of a traditional tale that Mary’s labor was painless, a gift only fitting for such a blessed lady.
I sing of a maiden that is mateless, Her son was the King of all Kings.
From his mother he came to us quietly As dew in April that falls on the grass.
His mother’s labor was painless and quiet, As dew in April that falls on the grass.
As His mother lay there, he came quietly, As dew in April that falls on the flower branches.
Never has there been such a mother and maiden; How fitting it is that this be God’s mother.
7. This little Babe
A list of metaphors depicts Christ’s battle with Satan, oddly juxtaposing infant images with weapons and battles.
This little Babe so few days old Has come to rifle Satan’s fold.
All hell quakes at his presence, Though he himself shivers.
For in this weak, unarmed guise He will surprise the very gates of Hell!
With tears he fights and wins the field, His naked breast stands for a shield;
His shots are his cries, His arrows, the looks of his weeping eyes.
His martial ensigns are cold and need, And his feeble flesh, his warrior’s steed.
His camp is pitched in a stall, His bulwark is a broken wall;
The crib his trench, haystalks are his stakes, Of shepherds, he enlists the troops.
And sure of wounding the foe, The angels sound the trumpets’ alarm.
My soul joins Christ in the fight, Stay by the tents that he has pitched;
Within his crib is sure protection. The little babe will be your guard;
If Christ can foil your foes with joy, Stay near the heavenly boy.
Benjamin Britten
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8 O come, all ye faithful
Adeste Fideles
arr. Sir David Valentine Willcocks (born 1919)
The history of Adeste Fideles was shrouded in mystery for many years. At various times, the lyrics were attributed
to St. Bonaventura, the 13th century Italian scholar (and other scholars from Portugal, Germany and Spain). The
music was also attributed to many composers. After it underwent revisions and additions in the 19th century, it was
John Wade, an English copyist who produced the first publication with music and four verses of text in 1740.
O come, all ye faithful, joyful and triumphant,
O come ye, O come ye to Bethlehem;
come, and behold him, born the King of angels;
O come, let us adore him,
O come, let us adore him,
O come, let us adore him,
Christ the Lord.
God from God, Light from Light eternal,
lo! he abhors not the Virgin’s womb;
only-begotten Son of the Father; Refrain
Sing, choirs of angels, sing in exultation,
sing, all ye citizens of heaven above;
glory to God, glory in the highest; Refrain
See how the shepherds, summoned to his cradle,
leaving their flocks, draw nigh to gaze;
we too will thither bend our joyful footsteps; Refrain
Child, for us sinners poor and in the manger,
we would embrace thee, with love and awe;
who would not love thee, loving us so dearly? Refrain
Yea, Lord, we greet thee, born this happy morning;
Jesus, to thee be glory given;
Word of the Father, now in flesh appearing; Refrain
9 Candlelight Carol John Rutter (born 1945)
This carol was commissioned by John Romeri, then Director of Music at the Church of the Assumption in Bellevue,
Pennsylvania. Written in 1984, it was first recorded by John Rutter’s own group, the Cambridge Singers, on their
1987 album Christmas Night. The carol has since been recorded by many artists, including Neil Diamond (on his
1994 album The Christmas Album, Volume 2), Joseph McManners (on his 2005 album In Dreams), Aled Jones
(including a version in Welsh), and several important choirs including the Mormon Tabernacle Choir. It has also
become a fairly popular carol for choirs at Christmas concerts in the United Kingdom, the United States and other
countries. In this recording the lullaby is occasionally overlaid with the words of administration of Communion...an
annual pairing at St. John’s for many years.
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How do you capture the wind on the water? How do you count all the stars in the sky?
How can you measure the love of a mother, Or how can you write down a baby’s first cry?
Candlelight, angel light, firelight and starglow Shine on his cradle till breaking of dawn.
Gloria, Gloria in excelsis Deo! Angels are singing; the Christ child is born.
Shepherds and wise men will kneel and adore him, Seraphim round him their vigil will keep;
Nations proclaim him their Lord and their Savior, But Mary will hold him and sing him to sleep.
Find him at Bethlehem laid in a manger: Christ our Redeemer asleep in the hay.
Godhead incarnate and hope of salvation: A child with his mother that first Christmas Day.
Words by John Rutter
Sopranos Margaret Beers, Louise Penfield Blood, Anne Harney, Corinne Harney, Nancy Sichler
Altos Jennifer Berton, Rachel Love, Benjamin Rechel
Tenors Lynn Brooks, John Church, Oren Givoni, Jeff Martin
Basses Philip Chapman, Stephan Christiansen, John Janeiro, Hal Rives
10 Silent night Stille Nacht, Franz Xaver Grüber (1787-1863)
stanza 3 arr. Wolfgang Lindner
On Christmas Eve 1818, organist Franz Grüber composed this setting for verses just given to him a few hours before
the service at St. Nicholas Church in the Austrian village of Oberndorf. It is in the form of a ländler, a traditional
Austrian folk dance, and for some time was passed off as a Tyrolean folk carol, performed by touring folk groups.
It was originally written for guitar accompaniment, but not, as the legend goes, because the organ broke down.
At St. John’s it has become traditional at the late service to use for the final stanza this arrangement by Wolfgang
Lindner, with radiant harmonies and a descant sung by a single voice.
Silent night, holy night,
all is calm, all is bright
round yon virgin mother and child.
Holy Infant, so tender and mild,
sleep in heavenly peace.
Sleep in heavenly peace.
Silent night, holy night,
Son of God, love’s pure light
radiant beams from thy holy face,
with the dawn of redeeming grace,
Jesus, Lord at thy birth.
Jesus, Lord at thy birth.
Silent night, holy night,
shepherds quake at the sight,
glories stream from heaven afar,
heavenly hosts sing alleluia;
Christ, the Savior, is born!
Christ, the Savior, is born!
Josef Möhr (1792-1848), 1818; trans. stanzas 1 & 3: John Freeman Young (1820-1885), 1863;
trans. stanza 2: anonymous.
Louise Penfield Blood, soloist
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11 Hark, the herald-angels sing Mendelssohn, Felix Mendelssohn (1809-1847)
arr. Willcocks
The music for this carol is from the second chorus of a cantata by Felix Mendelssohn written in 1840 to commemorate
Johann Gutenberg and the invention of printing. The words are from a hundred years earlier, written in 1739 by
hymn writer, Charles Wesley who began the text with “Hark, how the welkin (heaven) rings”. A colleague, the
Calvinist Whitefield, substituted the familiar opening line over the protests of the author. In 1855, after both Wesley
and Mendelssohn were dead, Dr. William Cummings put the words and music together in spite of evidence that
neither author nor composer would have approved!
Hark, the herald-angels sing
glory to the new-born King,
peace on earth, and mercy mild,
God and sinners reconciled.
Joyful, all ye nations, rise,
join the triumph of the skies;
with the angelic host proclaim,
‘Christ is born in Bethlehem.’
Hark, the herald-angels sing
glory to the new-born King.
Hail, the heaven-born Prince of Peace:
hail, the Sun of Righteousness.
Light and life to all he brings,
risen with healing in his wings.
Mild he lays his glory by,
born that man no more may die,
born to raise the sons of earth,
born to give them second birth.
Hark, the herald-angels sing
glory to the new-born King.
Christ, by highest heaven adored,
Christ, the everlasting Lord,
late in time behold him come,
offspring of a Virgin’s womb.
Veiled in flesh the Godhead see:
hail, the incarnate Deity,
pleased as man with man to dwell,
Jesus, our Emmanuel.
Hark, the herald-angels sing
glory to the new-born King.
Charles Wesley (1707-1788), 1739; first two lines altered by George Whitefield (1714-1770), 1753; and altered by Martin Madan (1726-1790)
12 Final from Symphony No. 9 (“Gothique”) Charles-Marie Widor (1844-1937)
The St. John’s Christmas Eve postlude is from Widor’s Symphonie Gothique, the ninth
of his ten celebrated symphonies for organ, based on a Christmas plainsong hymn, Puer
natus est (A boy was born). The final movement (Toccata) was played annually on
Christmas Eve by the composer at the famous church of St. Sulpice in the heart of Paris,
where he was organist from 1870 until his death in 1937. Unlike the famous toccata
from Widor’s Fifth Symphony which begins and ends loudly, this one gradually builds
in excitement, and concludes softly, in a peaceful, almost plaintive mood which can be
interpreted as a meditation on the full meaning of Christmas and the life of Christ.
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Charles-Marie Widor
next page: the organ at
St. Sulpice, Paris
13 O holy night
Adolphe Adam (1803-1856), 1847, arr. John E. West, 1910
final refrain arr. Peter Stoltzfus Berton, 1996
“O Holy Night” (“Cantique de Noël”) was composed by Adolphe Adam in 1847 to the French poem “Minuit,
Chrétiens” (Midnight, Christians) by Placide Cappeau (1808–1877). Cappeau, a wine merchant and poet, had been
asked by a parish priest to write a Christmas poem. Unitarian minister John Sullivan Dwight, editor of Dwight’s
Journal of Music, created a singing edition based on Cappeau’s French text in 1855. In both the French original and
in the two familiar English versions of the carol, the text reflects on the birth of Jesus and of humanity’s redemption.
This and the next three tracks come from an Epiphany organ concert held January 6, 2013 at the Church of St. Peter
Claver (Roman Catholic) in West Hartford, where Peter S. Berton serves as Associate Organist. For this concert,
members of the St. John’s Youth Choir, some choir alumni from two of Mr. Berton’s previous church positions, and
some soloists were asked to join in the fun, and this is the first piece on that program employing singers. The youth
choir was randomly spread around the church in the midst of the audience, and stood suddenly from wherever they
happened to be, as a ‘flash mob’ to sing from memory the descant near the end of the arrangement. Thus the
audience was as surprised as perhaps you will be (or already have been) suddenly to hear the singing of the
‘angel-voices’ that inspired the descant. One singer was a bit close to the left microphone as it turned out,
but all the more to seem very much like being there in the midst of the concert.
O holy night! the stars are brightly shining, It is the night of the dear Savior’s birth; Long lay the world in sin and error pining, ’Till he appeared, and the soul felt its worth. A thrill of hope, the weary world rejoices, For yonder breaks a new and glorious morn! Fall on your knees! Oh, hear the angel-voices! O night divine! O night when Christ was born! Truly he taught us to love one another,
His law is love, and his gospel is peace.
Chains shall he break, for the slave is our brother,
And in his name all oppression shall cease.
Sweet hymns of joy in grateful chorus raise we,
Let all within us praise his holy name.
He knows our need, he guardeth us from danger;
Behold your King! before the lowly bend!
Adapted from the French by John Sullivan Dwight (1812-1893)
Elizabeth Hammond, soloist
Tim Stella, piano
Members of St. John’s Youth Choir: Christine Babbitt, Margaret Babbitt, Teddy Babbitt,
Britt Emerick, Cate Emerick, Madeline Green, Daaé Ransom, Kali Ransom
Guest choir members: Alexandra Dick, Paul Jacob Connelly, Rachel Long, Samuel Morris Long
Adolphe Adam
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14 Epiphany Skinner Chávez-Melo (1944-1992)
Skinner Chávez-Melo was born in Mexico City, and completed his musical studies in the United States, receiving
degrees at Eastern Nazarene College and Union Theological Seminary, pursuing further studies at the Juilliard
School and the Manhattan School. He toured internationally as an organist and conducted orchestras in Mexico,
Brazil and the United States. As a composer, he wrote works for organ, choir and orchestra, and contributed hymn
settings to several published hymnals, including those of the United Church of Christ and Yale University. He also
lectured and presented workshops on Hispanic church music. Besides directing music at St. Rose of Lima Roman
Catholic Church in Manhattan, he conducted the annual Singing Christmas Tree concerts at the South Street
Seaport. He died of spinal cancer at the age of 47. (Obituary, The New York Times, 1/28/92)
The music includes a part for randomly rung handbells, approximated here by an organ accessory called a
Zimbelstern (on one-day loan from St. John’s Church, West Hartford). A Zimbelstern (meaning “Cymbal Star” in
German, also spelled Cymbelstern, Zymbelstern, or Cimbalstern) is a “percussion” organ stop consisting of a metal
or wooden star or wheel, on or behind which several small bells are mounted. When engaged, the star rotates, producing a continuous tinkling sound. The visible turning of the star on the façade of some organ cases is sure to turn
the heads of the curious. It was common in northern Europe, Germany in particular, throughout the 16th, 17th,
and 18th centuries. After about 1700, the bells were tuned to particular notes. In some liturgical traditions, it is rung
during the singing of the Sanctus or on doxological stanzas of hymns. The Zimbelstern is a standard part of Baroque
organ repertoire, especially music of Christmas and Epiphany, and has been used to novel effect by twentieth-century composers as well. In order to be able to adjust its volume, the Zimbelstern was located inside the swellbox (an
enclosure around a division of pipes with adjustable louvers for letting sound out or keeping it in, controlled by a foot
pedal) at St. Peter Claver, as it is when at home at St. John’s. Modern (motor-driven, not wind-driven) Zimbelsterns
allow variable speed as well, to suit varying musical moods; here it was set to a slow speed.
The night was full of wonder, and the stars above me sang a shimmering song.
The infant lay sleeping, power and peace shining like light around him.
As I knelt and saw the God before me, for one crystal moment, I saw beyond my tiny place in time;
I saw what was to come.
I heard the voices of men and women generations beyond mine,
and saw them changed by this holy birth.
I felt the earth shaped by his humble words, and saw forgiveness, like a seedling, blossom in their hearts.
And then I knew that my vision was true. For as I knelt and saw the God before me,
I knew that his powers were also mine: to forgive, to worship, to love.
I saw the universe reflected in his tiny eyes. I felt his love stir my soul;
and as I saw the God before me, I saw the God in me.
David Pogue (born 1963)
Jennifer Delmhorst Berton, soloist
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15 The Wexford Carol arr. Tim Stella and Marian Maccarone
This carol originated from County Wexford, Ireland and specifically, Enniscorthy (hence its other name, Enniscorthy),
likely dating to the 12th century. As it is one of the oldest extant Christmas carols, traditions abound concerning the
song. For many years, it was felt that only men should sing it. It was only at the recent revival of all things Irish that
this attitude changed, and many popular female artists recorded the “Wexford Carol” during the 1990s. The song
achieved its ongoing popularity because of the work of William Grattan Flood (1859-1928), who was organist and
musical director at St. Aidan’s Cathedral in Enniscorthy. He transcribed the carol from a local singer, and had it
published in the Oxford Book of Carols, putting Enniscorthy into most carol books around the world.
One of the unusual and wonderful things about this live performance, aside from the fact that the story is told so
convincingly and the piano part is improvised, is that the piano, a Bösendorfer Model 290 Imperial Grand with 97
keys, goes down to low C. One of these extra-low notes (low F) is heard near the very end.
Good people all, this Christmas time,
Consider well and bear in mind
What our good God for us has done
In sending his beloved son.
With Mary holy we should pray,
To God with love this Christmas Day
In Bethlehem upon that morn,
There was a blessed Messiah born.
With thankful heart and joyful mind,
The shepherds went the babe to find;
And as God’s angels had foretold
They did our Saviour Christ behold.
Within a manger he was laid
And by his side the Virgin maid
Attending on the Lord of Life
Who came on earth to end all strife.
Near Bethlehem did shepherds keep
Their flocks of lambs and feeding sheep;
To whom God’s angels did appear,
Which put the shepherds in great fear.
“Prepare and go,” the angels said,
“To Bethlehem, be not afraid!
For there you’ll find this happy morn,
A princely babe, sweet Jesus, born.”
There were three wise men from afar
Directed by a glorious star.
And on they wandered night and day
Until they came where Jesus lay.
And when they came unto that place
And looked with love on Jesus’ face,
In faith they humbly knelt to greet
With gifts of gold and incense sweet.
Marian
Maccarone, soloist
Tim Stella, piano
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16 The three ships Colin Taylor (1881-1973)
In the original version of the carol, the Three Ships were the ones taking the supposed skulls of the wise men to
Cologne cathedral in Germany. However, since the Middle Ages, when it was first written, there have been many
different lyrics with different Bible characters being on the ships. The most common lyrics used today are about Mary
and Jesus traveling to Bethlehem. This version is a bit different, suggesting in the end that these could be the “ships
of the desert” (camels) bearing the gifts of the Magi and wondering if the annual observance of Christmas will keep
our interest, though the stories fade like a dream. The author needn’t have worried, and the dramatic Victorian-era
music (composed “For the Eton College Musical Society, Christmas, 1909”) invites no wandering of attention, either!
Special appreciation is given to the two very busy stop-pullers, Suzanne Gates and Erik Eickhoff, who had quite a
mental and physical workout to change the organ’s stops by hand during this piece.
As I went up the mountainside
The sea below me glitter’d wide,
And eastward, far away, I spied
On Christmas Day, on Christmas Day,
The three great ships that take the tide
On Christmas Day in the morning.
From the heights above the belfried town
I saw that the sails were patched and brown.
But the flags were aflame with a great renown
On Christmas Day, on Christmas Day,
And on every mast was a golden crown
On Christmas Day in the morning.
Ye have heard the song, how these must ply
From the harbors of home to the ports o’ the sky!
Do ye dream none knoweth the whither and why
On Christmas Day, on Christmas Day,
The three great ships go sailing by
On Christmas Day in the morning?
The sun and the wind they told me there
How goodly a load the three ships bear,
For the first is gold and the second is myrrh,
On Christmas Day, on Christmas Day,
And the third is frankincense most rare,
On Christmas Day in the morning.
Yet as I live, I never knew
That ever a song could ring so true,
’Til I saw them break through a haze of blue
On Christmas Day, on Christmas Day;
And the marvelous ancient flags they flew
On Christmas Day in the morning!
They have mixed their shrouds with the golden sky,
They have faded away where the last dreams die.
Ah yet, will ye watch, when the mist lifts high
On Christmas Day, on Christmas Day?
Will ye see three ships come sailing by
On Christmas Day in the morning?
Alfred Noyes (1880-1958)
Sopranos Christine Babbitt, Margaret Babbitt, Teddy Babbitt, Alexandra Dick,
Paul Jacob Connelly, Britt Emerick, Cate Emerick, Madeline Green, Rachel Long,
Samuel Morris Long, Daaé Ransom, Kali Ransom
Alto Jennifer Delmhorst Berton
Alto de cameo treshippo Barbara Delmhorst
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17 Aria Charles Callahan (born 1951)
Charles Callahan is one of America’s leading organist-composers. A native of Cambridge, Massachusetts, he is a
graduate of the Curtis Institute of Music and the Catholic University of America. Orchestras, choirs, chamber music
ensembles and soloists all over the world have performed compositions by Dr. Callahan. He has been commissioned
to compose music twice by Harvard University. In 1999, he was awarded the Papal Honor of Knighthood in the
Order of the Holy Sepulchre of Jerusalem, in recognition of his service to the church and his commissioned
compositions for Papal visits to the United States. Aria was pubished in 1988 and is dedicated to George Faxon,
noted organist of St. Paul’s Cathedral, Trinity Church and the Old South Church, Boston. This and the next three
tracks were recorded by Ralph Valentine in 2010, using the St. John’s organ’s computerized playback system.
18 Prelude on ‘Rhosymedre’ Ralph Vaughan Williams (1872-1958)
Rhosymedre is the name of a hymn tune written by the 19th-century Welsh Anglican priest John David Edwards.
Edwards named the tune after the village of Rhosymedre in the County Borough of Wrexham, Wales, where he was
the vicar from 1843 until his death in 1885. The hymn tune appears in a number of hymnals and is sung to a variety of words, such as the hymn “My song is love unknown,” “Arise, O God, and shine,” and “Author of life divine”
where in the English Hymnal (1933) it is known by an alternative tune name, Lovely. The tune was used by Ralph
Vaughan Williams as the basis of the second movement of his organ composition Three Preludes on Welsh Hymn
Tunes (published 1920). This is probably best known as an orchestral arrangement by Arnold Foster, published in
1938. The prelude has been arranged for other instruments or combinations of instruments. In 2008, to mark the
50th anniversary of the death of Vaughan Williams, Richard Morrison (chief music critic of The London Times)
arranged the piece for string quartet and solo tenor. This organ prelude has been a favorite at weddings for generations.
19 Sortie in E-flat Louis James Alfred Lefébure-Wély (1817-1869)
Lefébure-Wély was a French organist and composer who played a major role in the development of the French
symphonic organ style and was closely associated with the organ builder Aristide Cavaillé-Coll, inaugurating many
new Cavaillé-Coll organs. His playing was virtuosic, and as a performer he was rated above eminent contemporaries
including César Franck. His compositions, less substantial than those of Franck and others, have not held such a
prominent place in the repertory. Among 200 compositions, Lefébure-Wély wrote works for choir, piano, chamber
ensemble, symphony orchestra and an opéra comique, Les recruteurs (1861). In the Grove Dictionary of Music and
Musicians, David Sanger writes, “His organ pieces, many of which have recently become available in modern
editions, include pastorales, versets, élevations and communions, which were sentimental, lyrical works, and
offertories, marches and sorties, which were louder and more akin to the operetta choruses then in vogue.” The
French government website says of Lefébure-Wély’s music, “His admirers called on him many times to adopt the
‘religious style’ …. However, he had his habits and his preferences, and, above all his ‘clientele’. Also, even though his
contemporaries were unanimous in their admiration for his improvisations, he often seems to have taken the easier
alternative, the immediately accessible option, music that doesn’t ask any questions.” Still, this Sortie is a lot of fun!
20 Toccata from Symphony No. 5 Charles-Marie Widor
Widor’s best-known single piece is the final movement from his Symphony for Organ No. 5, which is often played as
a recessional at wedding ceremonies and on Easter Day. It was the first of the toccatas characteristic of French
Romantic organ music, and served as a model for later works by Boëllmann, Mulet, and Dupré. Widor was pleased
with the worldwide renown this single piece afforded him, but he was unhappy with how fast many other organists
played it. Widor himself always played the Toccata rather deliberately. Many organists play it at a very fast tempo
whereas Widor preferred a more controlled articulation to be involved. Widor recorded the piece at St. Sulpice in his
eighty-ninth year.
11
About the Performers
The Choirs
of St.
John’sChoirs
Episcopal
are
The St.
John’s
areChurch
well-known
well-known
in the greater
Hartford
community
and
in the greater
Hartford
community
and
beyond as a regional center of excellence in vocal
beyond as a regional center of excellence
training and repertoire. The youth choir (ages 7 and
in vocala stipend
trainingtoand
up) receives
sing repertoire
the sopranofor
(treble) line
ages alongside
7 1/2 and adult
up. The
youthand
choir
everychildren
other Sunday,
volunteers
receivesona stipend
singforthe
soprano
professionals
the otherto
parts,
a flexible
performing
aiming
at the
highestalongside
standards
(treble)schedule
line every
other
Sunday,
of musical
expression
within
a
safe,
supportive,
adult volunteers and professionals on
inspiring environment. Affiliated with the Royal
the other parts, for a flexible performing
School of Church Music in America, the program
schedule
aiming at tradition
the highest
standards
focuses
on a centuries-old
of music
of musical
expression
within
a safe,
composed
originally
for children’s
voices
alongside
adults.
The
youth
also
sing
on
their
own
once
supportive, inspiring environment. per
month
and for special
occasions.
The adult choir
Affiliated with the Royal School of Church Music in America,
the program
focuses
on a centuries-old
sings on its own every other week and is open to experienced choral singers by audition. Occasionally, only the men or the
tradition of music composed originally for children’s voices alongside adults. The youth also sing on their
women sing. These configurations allow variety of repertoire as well as breathing room in the schedule. Inquiries from
own
once per
month
and forany
special
occasions.
Includednecessary;
are a summer
camp,
choir festivals
and
prospective
singers
are welcome
time; no
religious affiliation
call 860choir
523 5201
or contact
music@sjparish.net.
collaborations, and the broadening experience of travel. The adult choir sings on its own every other week
and is open to experienced choral singers by audition. Occasionally only the men or the women sing. These
Jennifer
Delmhorst
Berton studied
flute, and piano
CollegiateInquiries
Institute, Manhattan
configurations allow
variety
of repertoire
as wellvoice,
as breathing
roomatinPacker
the schedule.
from
School of Music and Skidmore College. She has been a member and soloist in choirs, both sacred and
prospective singers
are welcome at any time; no religious affiliation is necessary. Please visit our website
secular, since she was six years old. Enjoying a wide range, Jennifer has performed solos in all four vocal
sjparish.net for additional
information.
ranges. She has
performed in musical theatre since age seven, carrying leading roles throughout high
school before turning to directing and producing (including vocal direction) throughout college. She also
enjoyed a position as Technical Director for all productions in the dance and musical theatre departments.
A Curt
danceBlood,
major inclarinet,
college, Jennifer
dancedthe
with
Paul Taylor’s
second company
hanging
up her
is currently
Principal
Clarinetist
with the before
Hartford
Symphony
dance shoes. She began singing with the St. John’s Choir regularly in 2011.
Orchestra. He has performed with many of the region’s finest ensembles, such as
Connecticut Opera, Connecticut Orchestra at Harkness Park, Springfield Symphony, and
Northeast
Pennsylvania
Philharmonic.
the
HSO,
he hasofperformed
incertificate
CarnegieinHall
Louise
Penfield
Blood is a graduate
of Trinity With
College
and
a recipient
a high honors
performance
Hartford Conservatory.
Shea has
as a soloist
withCopland
Hartford Symphony
and Bostonfrom
Symphony
Hall, as well as
soloappeared
performance
of the
Concerto in
Orchestra,
Connecticut
String
Orchestra,
various
chamber
ensembles,
and
in
many
area
churches.
Mechanics Hall in Worcester, Massachusetts. In addition to his busy performance
She has performed with the CitySingers of Hartford and, for a number of seasons, with the Connecticut
schedule, he holds
teaching positions at the Hartt School of the University of Hartford and University of
Opera chorus. Louise was a two-time finalist in the Amici Opera Competition. She is a longtime
Connecticut. member and frequent soloist of the St. John’s adult choir.
Elizabeth Hammond is an alumna of the St. John’s Youth Choir. She is currently a Senior at Farmington
Elizabeth Hammond, soprano, is an alumna of the St. John’s Youth Choir. She is a
High School where she sings in the Chamber Singers and student conducts the Madrigals a capella
Junior
wheresociety.
she sings
in the
Singers
student
group.
SheatisFarmington
also a memberHigh
of theSchool
Tri-M music
She has
beenChamber
selected for
the CTand
Music
conducts
the Madrigals
a capella
She isAll-State
also a member
of the Tri-M
music society.
Directors
Association
Regional
Chorus group.
(2008-2012),
Chorus (2011-2012)
and All-National
She has
beenAnselected
theCenter
CT Music
Directors
Regional
Chorus
(2008Chorus
(2012).
alumna for
of the
for Creative
YouthAssociation
at Wesleyan (Musical
Theatre
major),
she
has
most recently
performed
roles of Megand
Brockie
(Brigadoon)
and Bet(2012).
(Oliver! ).An
Shealumna
studies of
dance
2012),
All-State
Chorusthe
(2011-2012)
All-National
Chorus
theat
Evjen
Academy
for
Performing
Arts,
regularly
competing
in
Boston
and
NYC,
and
studies
piano
with
Center for Creative Youth at Wesleyan (Musical Theatre major), she has most recently
Malgosia Lis at The Hartt School where she has been a Select Student recital winner in 2011 and 2012.
performed the roles of Meg Brockie (Brigadoon) and Bet (Oliver! ). She studies dance at Evjen Academy
for Performing Arts, regularly competing in Boston and NYC, and studies piano with Malgosia Lis at The
Corinne
began
singing
at age six
in thewinner
choir atin
St.2011
James’s
Episcopal
Hartt School where
she Harney
has been
a Select
Student
recital
and
2012. Church in West Hartford.
She was named Head Chorister in the seventh grade and then moved to the choir at Christ Church
Cathedral in Hartford, during the fall of 2007. In 2008 she started vocal training with choir director
Kevin Jones, also a full time vocal coach at the Hartt School of Music, and continued for three years
under his direction. She graduated Hall High School in 2011 and began singing at St. John’s as a soprano
choral scholar in the fall of 2012. After finishing two and a half years at University of Hartford, she is
presently moving to Tallahassee, Florida to pursue an education in geriatric nursing.
12
John Janeiro, baritone, is a Choral Scholar at St. John’s Church, where he also assists
Marian
Maccarone
hasfor
sung
for over
thirty years.
with conducting and with
theory
instruction
theprofessionally
youth choir. He
is a private
voice Her activities
include
church
soloist, private
instruction,
instructor, baritone vocal
artistsolo
andperformances,
board member
of CONCORA,
andvoice
frequent
vocal choral directing,
and
artist-in-residence.
She
specializes
in
developing
thematic
programs combining
section leader for the Hartford Chorale. He has appeared as soloist with the Hartford
music
and
the
spoken
word.
Ms.
Maccarone
has
given
her
talent
to support such
Symphony
Orchestra
and
Waterbury
Symphony
Orchestra,
choralhesection
leader for
John Janeiro,
baritone,causes
is athe
Choral
Scholar
at
St.
John’s
Church,
where
also
assists
as Habitat
forformer
Humanity,
The WestOpera’s
Hartford
Street Ministry,
Yale
andtheory
soloist
for the
Willie Loaves and
with Graduate
conductingOpera,
and with
instruction
for theConnecticut
youth
choir.
He isthe
a director,
private
voice
Fishes
Ministry,
The Klingberg
Family
Center,
Centennial
Children’s Choir and
Waters.
Hebaritone
has alsovocal
served
as vocalboard
section leader,ofsoloist,
assistingand
conductor,
and vocal
instructor,
artist
frequent
Song
for and
Haiti. She ismember
Cantor andCONCORA,
Assistant Music
Director vocal
at the Church of St. Peter
coach for the Naugatuck
Valley for
Community
College
Choir.
he was
namedwith
Artistic
Director of
section leader
the Hartford
Chorale.
HeRecently,
has
as soloist
the Hartford
Claver, West
Hartford
andappeared
at the Church
of Saint Patrick
in Farmington, CT.
the Naugatuck Valley
Opera
Society.
He
plans
to
develop
this
program
by
collaborating
with
Symphony Orchestra and the Waterbury Symphony Orchestra, choral section Tutti
leaderOpera
for
Company, where “anyone
has
an
OPERAtunity
to
perform.”
Next
spring,
Tutti
plans
to
present
Pergolesi’s
Yale Graduate Opera, Tim
and soloist
forAssociate
the former
Connecticut
Opera’s
director,
Willie of The Phantom
Stella is
Conductor
of the
Broadway
production
comedy La Serva Padrona,
withhas
thealso
rich,
stubborn,
andasection
crankyleader,
“Uberto”
sung
Janeiro.
Waters. He
served
vocal
soloist,
assisting
conductor,
and
of
theasOpera,
position
he has
held
forby
18John
years.
He wasPlease
alsovocal
the vocal coach for
contact
jjaneiro@me.com
with
any
interest
or
questions.
coach
for
the
Naugatuck
Valley
Community
College
Choir.
Recently,
he
was
named
Artistic
Director
of
Emmy Rossum and Gerard Butler for the 2004 movie version. Tim has conducted ten Broadway and National Tours, as
the
Opera
He plansfortovarious
developalbums,
this program
by collaborating
with TuttiFormerly,
Opera he served as
wellNaugatuck
as playing Valley
keyboards
in Society.
studio sessions
commercials,
and soundtracks.
Company,
whereDirector
“anyoneathas
an OPERAtunity
to perform.”
spring,
plans
toaspresent
Pergolesi’s
Resident Music
Goodspeed
Opera House,
as wellNext
as Radio
CityTutti
Music
Hall
Organist,
Arranger, and
Susan
Knapp
Thomas,
harp,
studied
at
the
Eastman
School
of
Music.
She
is
a
comedy
La
Serva
Padrona,
with
the
rich,
stubborn,
and
cranky
“Uberto”
sung
by
John
Janeiro.
Please
Conductor for several Christmas and Easter Productions. Hartt College Of Music honored him as Alumnus
of the Year
chamber,
orchestral
solo concert
andPeter
instructor
contact
withBroadway
any
interest
or questions.
in 2000.jjaneiro@me.com
In additionwell-known
to a busy
schedule,
heand
is Music
Directorartist
at Saint
Claverthroughout
Church in West Hartford,
Connecticut
and Southern
New England.
As an orchestral harpist, she has enjoyed a
as well as the Church
of Saint Patrick
in Farmington,
CT.
25-year long relationship with the Hartford Symphony where she is currently serving
Susan
Knapp
Thomas,
harp,
studied
at the
Eastman
School
of Music.
SheRhode
is a School
her
second
year
as Acting
Principal
Harp.
She
also plays
regularly
forEastman
the
Island
Susan
Knapp
Thomas,
harp,
received
her
Bachelor’s
Degree
from
the
of Music. She is
well-known
chamber,
orchestral
and
solo
artist
andthroughout
instructor
throughout
is Principal
Harpist
for
theconcert
Waterbury
Symphony,
andConnecticut
performed as
aPhilharmonic,
well-known
chamber,
orchestral
and
solo
concert
artist
and Southern New
Connecticut
andU.S.
Southern
New England.
As an
orchestral
harpist,
she
has enjoyed
a with the Hartford
England.
an
orchestral
she isfrom
currently
servingHer
as
Acting
Principal
Harprange
harpist
forAsthe
Coast harpist,
Guard
Band
1987-2002.
diverse
performing
25-year long
relationship
with
Hartford
Symphony
where
shealso
is shows
currently
Symphony,
with
whom for
she
hasthe
a 25-year
long
relationship.
She
plays regularly
for the Rhode
includes
regular
shows
the
Goodspeed
Opera
House,
touring
forserving
the Bushher
second
year
as
Acting
Principal
Harp.
She
also
plays
regularly
for
the
Rhode
Island
Island
Philharmonic,
is
Principal
Harpist
for
the
Waterbury
Symphony,
and
performed
nell and the Shubert Theaters in Hartford and New Haven, CT, chamber music societies, regular work foras harpist for
Philharmonic,
is
Principal
Harpist
for
the Waterbury
Symphony,
and performed
U.S.and
Coast
Guard
Band
from
diverse
performing
range
includes
regular shows for
the Frank Sinatra Jr.the
show,
backup
work
for
such1987-2002.
notables
asHer
Judy
Collins,
the group
“Yes,”
theasBeach
the
Goodspeed
Opera
House,
touring
shows
for
the
Bushnell
and
the
Shubert
Theaters
harpist
for
the
U.S.
Coast
Guard
Band
from
1987-2002.
Her
diverse
performing
range
Boys, Brian Wilson, Peter Cetera, Johnny Mathis and others. A passionate instructor, she is on the faculty in Hartford
and
New
Haven,shows
regular
for the Frank
Sinatra
Jr. show,
andState
backup
work
such
includes
forwork
theCollege,
Goodspeed
House,
touring
shows
for
the for
Bushat MusicMakers Academy
in regular
Manchester,
Trinity
and Opera
Central
Connecticut
University,
and
is notables as
Judyand
Collins,
the group
” in
theHartford
Beach
Boys,
Peter
Cetera,
Johnny
Mathis
andsocieties,
others.
passionate
she is on
nell
the
Theaters
and New
Haven,
CT,
chamber
music
workinstructor,
for
Director
andShubert
Founder
of“Yes,
Simsbury’s
Connecticut
Valley
Harp
Intensive
Summer
CampAregular
(ctvalleyharp.com).
the Frank
facultySinatra
at MusicMakers
Academy
Manchester,
and is Director
Founder
of Simsbury’s
Connecticut
Valley Harp
the
Jr. show, and
backupin
work
for such notables
as Judyand
Collins,
the group
“Yes,” the
Beach
Intensive
Summer
Boys,
Brian
Wilson,Camp
Peter (ctvalleyharp.com).
Cetera, Johnny Mathis and others. A passionate instructor, she is on the faculty
at MusicMakers Academy
in Manchester,
Trinity
College,
andatCentral
Connecticut
University,
Peter Stoltzfus
Berton,
director,
studied
The University
of State
Michigan
Schooland
of is
Peter Stoltzfus
Berton
studied atValley
The University
of Michigan
School
of(ctvalleyharp.com).
Music and the Yale University
Director and Founder
of
Simsbury’s
Connecticut
Harp
Intensive
Summer
Camp
Music and the Yale University School of Music. Integral to his training as a church
School of Music. Integral to his training as a church musician was serving as Assistant Organist at the
musician was serving as Assistant Organist at the Cathedral Church of St. Paul, Detroit,
Cathedral Church of St. Paul, Detroit, Trinity Church on the Green, New Haven, and Saint Thomas Church
Trinity
Church
onYork.
the Green, NewofHaven,
and Saintbeen
Thomasdevelopment
Church FifthofAvenue,
New
Fifth
Avenue,
New
his career
intergenerational
choral
Peter
Stoltzfus
Berton,Hallmarks
director, studied
at Thehave
Universitythe
of Michigan School
of
York. Prior
to coming
to
St. John’s
Church,and
West
Hartfordof
inmultiple-choir
October 2010,festivals.
he held Prior to coming to
programs
in
the
modern
Anglican
tradition,
production
Music and the Yale University School of Music. Integral to his training as a church
positions
at All Saints
Church,
Worcester,
Massachusetts,
Christ
Episcopal
St.music
John’sdirector
Church,
Westas
Hartford
as Organist
Music
Director
and Organist
in October
2010,
he held similar positions
musician
was serving
Assistant
at the Cathedral
Church
of St. Paul,
Detroit,
Church,
Los
Altos,
California,
and
Plymouth
Church
of
the
Pilgrims,
Brooklyn
atTrinity
All Saints
Church,
Worcester,
MA,Haven,
Christ Episcopal
Church, Church
Los Altos,
CA,
and Heights,
Plymouth
Church
on the
Green, New
and Saint Thomas
Fifth
Avenue,
New Church of the
New
York.
He
is
active
as
a
composer,
choral
clinician,
organ
recitalist
and
recording
artist,
and
is
a
singing
Pilgrims, Brooklyn
Heights,
NY.
He
is
active
as
a
composer,
choral
clinician,
organ
recitalist
and
recording
artist, and is a
York. Prior to coming to St. John’s Church, West Hartford in October 2010, he held
member
of and organist
for
Mastersingers
USA,
a
men’s
touring
ensemble.
He
is
an
adjunct
faculty
singing member
of
and
organist
for
Mastersingers
USA,
a
men’s
touring
ensemble.
He
is
Associate
Organist
music director positions at All Saints Church, Worcester, Massachusetts, Christ Episcopal of the Church
member
of Claver
the Vocal
Performance
ofaccompanist
the
Hartt School,
and
associate
organist
at lives
the
Parish
of St. Peter
in West
Hartford,
and
a regular
for CitySingers
of Hartford.
He
in West Hartford with
Church,
Los
Altos,Department
California,
and
Plymouth
Church
of the
Pilgrims,
Brooklyn
Heights,
of
Peter
Claver
in West
Hartford.
hisSt.
wife
Jenn,
two
musical
cats,clinician,
and model
trains
(O gauge).
New
York.
He
is active
as adaughters,
composer,two
choral
organ
recitalist
and recording artist, and is a singing
member of and organist for Mastersingers USA, a men’s touring ensemble. He is an adjunct faculty
Ralph
B. Valentine
is Organistof
at the
St. Andrew’s
Episcopal
Church organist
in Denver.
He received
member of the Vocal
Performance
Department
Hartt School,
and associate
at the
Parish a Bachelor of
degree
from Harvard University and a Master of Sacred Music degree from Union Theological
of St. Peter ClaverArts
in West
Hartford.
Seminary in New York City. He was Associate Organist at Church of The Advent, Boston, and Assistant
Institute Organist at the Massachusetts Institute of Technology from 1962 to 1966. His organ teachers
include Duncan Phyfe, John Cook, and Vernon de Tar. He began his teaching career at Rosemary Hall
School in Greenwich, Connecticut, and moved with the school to Wallingford, Connecticut, when it
merged with The Choate School in 1971. At Choate Rosemary Hall he was Head of Music, Choral
Director, School Organist, and Instructor in Theory, Harmony, Counterpoint, History, Composition, Organ, and
Harpsichord for forty-two years. A past Dean of the New Haven Chapter of the American Guild of Organists, he also
served as Organist and Choirmaster at St. Andrew’s Episcopal Church in Stamford, St. Andrew’s Episcopal Church in
Meriden, and for thirty-four years as the Organist and Choirmaster at St. John’s Episcopal Church in West Hartford. He
was appointed as a Schoolteacher Fellow at St. Andrew’s University in Scotland in 1985. He has been active as a recitalist,
consultant, workshop leader, accompanist, and composer, not to mention an abiding interest in model trains (O gauge).
13
The Organ of St. John’s Episcopal Church, West Hartford (pictured next page, above St. John’s Church exterior)
Austin Organs, Inc. Opus 2761 (1995) contains three manuals, 64 ranks, 51 stops, and 3,721 pipes. It is the third
Austin organ to serve the congregation; the original 1909 organ, new with the building, was replaced in 1950
with a new instrument given by Hartford’s Austin organbuilding family to its home parish. After a fire in
October 1992 destroyed much of the pipework, Austin again rebuilt the instrument. The organ represents the final
Hartford-area project in the distinguished organ-building careers of Austin Vice President Frederick Mitchell, who
designed and laid out the new instrument, and of David A.J. Broome, who served as Tonal Director of the firm.
The specification, reflecting a robust French aesthetic, was determined in consultation with Ralph B. Valentine.
GRAND ORGUE (Manual I), chancel left – 4 1/2” wind
Violon *
61 pipes
16’
8’ Montre
61 pipes
Violon (ext. 16’ Violon) *
12 pipes
8’
8’ Flûte Harmonique 61 pipes
8’ Bourdon 61 pipes
Cor de Chamois*
61 pipes
8’
4’ Prestant 61 pipes
4’ Flûte Ouverte 61 pipes
2
2 /3’ Quinte *
61 pipes
2’Doublette *
61 pipes
1 3/5’ Tierce 49 pipes
1
1 /3’ Fourniture IV 244 pipes
8’ Bombarde (ext. Pédale) 29 pipes
8’
Trompette en chamade †
74 pipes
Cloches (digital)
32 notes
1
† 2 /2” wind (ANT), 13 double trebles
POSITIF (Manual II), chancel right, near – 3 1/2” wind
8’
Principal *
61 pipes
8’ Flûte Bouchée 61 pipes
8’
Flûte Douce *
61 pipes
8’
Flûte Céleste *
49 pipes
4’ Octave
61 pipes
4’
Flûte à Fuseau *
61 pipes
2
2 /3’ Nasard *
61 pipes
2’ Doublette 61 pipes
Quarte de Nasard *
61 pipes
2’
3
Tierce *61 pipes
1 /5’
1’
Sifflet (prep., ext. 2’ Quarte)
61 notes
2/3’ Cymbale IV 244 pipes
8’Cromorne *
61 pipes
Clochettes (8 bells)
8’ Trompette Harmonique 15” wind 61 pipes
8’
Trompette en chamade ANT
Tremblant
ANTIPHONALE (floating), over Narthex – 2 1/2” wind
8’ Montre
61 pipes
8’
Bourdon en Bois *
61 pipes
4’ Prestant 61 pipes
2’
Flûte à Bec 61 pipes
Fourniture IV 244 pipes
14
* Salvaged pipes revoiced from the 1950 instrument.
RÉCIT (Manual III), chancel right, far – 5” wind
16’
Bourdon Doux (ext. 8’ Flûte) * 12 pipes
8’
Principal *
61 pipes
8’ Flûte à cheminée 61 pipes
8’ Viole de Gambe 49 pipes
8’
Voix Céleste *
61 pipes
4’
Octave *
61 pipes
4’
Flûte Octaviante *
61 pipes
2’ Octavin 61 notes
2’Piccolo Harmonique *
61 pipes
1 1/3’ Larigot 61 pipes
2’ Plein Jeu IV (draws Octavin) 183 pipes
16’
Basson * 61 pipes
8’
Trompette *
61 pipes
8’
Hautbois (ext. 16’ Basson) 12 pipes
4’
Clairon *
61 pipes
8’
Voix Humaine * 4” wind
61 pipes
Voix Humaine Tremblant
Tremblant
8’
Trompette en Chamade ANT
PÉDALE, primarily chancel left – 4 1/2” wind
32’
Flûte Ouverte (digital)
32 notes
32’
Contre Bourdon (digital) 32 notes
16’
Contre Basse *
32 pipes
32 pipes
16’ Soubasse 16’
Violon GD. ORGUE
16’Bourdon (ANT) *
12 pipes
16’
Bourdon Doux
RÉCIT
10 2/3’ Quinte (ext. Bourdon Doux) RÉCIT
8’ Octavebasse 32 pipes
8’
Flûte Couverte (ext. Soubasse) 12 pipes
8’
Flûte à Cheminée RÉCIT
8’
Cor de Chamois
GD. ORGUE
4’
Basse de Chorale *
32 pipes
4’
Cor de Nuit 32 pipes
Fourniture III 96 pipes
32’
Contre Bombarde (digital) 32 notes
16’ Bombarde 32 pipes
16’
BassonRÉCIT
8’ Bombarde (ext.)
12 pipes
8’
Trompette en Chamade ANT
8’ Trompette RÉCIT
4’ Cromorne POSITIF
ed in consultation with Ralph B. Valentine (Organist
rmaster, 1976-2010)
The Organ of the Church of St. Peter Claver,
West Hartford (pictured below)
e
(G.O.)
Dobson Pipe Organ Builders, Ltd. Op. 85 (2007)
contains two manuals, 19 ranks, 16 stops, and 1,011
pipes. Because of its corner location, the organ case is
folded in the middle, like a book. The Great is in the
right half of the case (unenclosed), with the Swell on the
left (enclosed behind moveable expression shades);
both have mechanical key and stop action controlled
from a detached console. The Subbass and full-length
Fagotto are on electric action windchests.
l)
)
tal)
(G.O.)
GREAT (Manual I)
8’
Prestant58 pipes
8’
Chimney Flute 58 pipes
4’
Octave 58 pipes
2’
Fifteenth 58 pipes
1
1 /3’ Mixture IV
232 pipes
8’
Trumpet 58 pipes
PEDAL
16’
Subbass 32 pipes
8’
Bourdon (ext. Subbass)12 pipes
16’
Fagotto 32 pipes
Trumpet (ext. Fagotto) 12 pipes
8’
SWELL (Manual II)
8’
Gedackt 58 pipes
8’
Salicional 58 pipes
8’
Celeste FF 53 pipes
4’
Open Flute 58 pipes
2 2/3’ Nazard 58 pipes
2’
Gemshorn 58 pipes
1 3/5’ Tierce 58 pipes
8’
Oboe 58 pipes
Tremulant affects entire organ
COUPLERS
Great to Pedal
Swell to Pedal
Swell to Great 8’
Swell to Great 16’ (an octave lower...this coupler gives this instrument a vastly larger
number of effects, and the ability to
sound like an organ many times its size)
15
Underwriters
St. John’s Church is grateful to the
following individuals who contributed
the production costs of this recording:
Janet Babbitt
Jane Bartlett
Jennifer D. Berton
Lynn Brooks
Philip H. Chapman
Geoffrey Emerick
Janet H. Erb
Anne Harney
Richard Knapp
Carolyn Perrine
Philip Roberts
Nancy K. Sichler
Mary E. Stoughton
William Uricchio
Jeffery Verney
Technical
At. St. John’s, two matched pairs of Neumann KM-184 MT microphones are
located at positions (E) and (W) on this diagram, approx. 14 feet from the
floor. The signals are combined in a Yamaha MW12CX mixer and recorded
onto a Marantz CDR-310 hard drive recorder. This system ordinarily is in place
for archival recording of services and posting sermon audio online. It was
given in 2011 honoring the lives of Frederick and Evelyn Mitchell by Richard
and Ann Knapp; as Vice President of Austin Organs, Inc., Mr. Mitchell had
been responsible for the physical design of the St. John’s organ.
E
D
B
C
At St. Peter Claver, a pair of microphones located approx. 5 feet from the floor,
10 feet apart and 40 feet from the organ, piano and choir, fed the CDR-310
directly. Soloists were lightly amplified through the church’s sound system.
No global compression or other audio processing was used in the mastering of
this recording; however a form of non-invasive local compression was used in
that each of the softer tracks was made louder and the loud tracks made softer,
to reduce the need for volume adjustments when playing the entire disc.
Assembled in ProTools 11
Manufactured by Disc Makers, Pennsauken, NJ
Licenses and royalties administered by The Harry Fox Agency, New York, NY
Acknowledgments
Thomas Ajack for translation and notes for tracks 1-7
CitySingers of Hartford for notes for tracks 8, 10, 11
Choir photograph, page 12: Lisa Mahoney
St. John’s Church photograph, this page: William Kelly keldesco.com
Window photography, CD package graphic design, booklet, audio assembly,
mastering: Peter Stoltzfus Berton
Wikipedia for notes for tracks 9, 13, 18-20; all other photographs
F
A
A position of choir, beginning of track 1
B choir, end of track 1 through track 7
C position of harp, tracks 2-7
D choir, tracks 9,10 E harp, tracks 9, 10
F choir, beginning of track 8, end of
track 11 (when the choir is here, organ is
heard as louder than choir & congregation)