T H E MAY 2021 - Christ Church Cathedral Cincinnati, Ohio Cover feature on pages 26-28
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THE
D I A PA S O N
MAY 2021
Christ Church Cathedral
Cincinnati, Ohio
Cover feature on pages 26–28
PHILLIP TRUCKENBROD
CONCERT ARTISTS
ŚĂƌůĞƐDŝůůĞƌWƌĞƐŝĚĞŶƚ
WŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ&ŽƵŶĚĞƌ
THE DIAPASON Editor’s Notebook
Scranton Gillette Communications
One Hundred Twelfth Year: No. 5, Presenting our 20 Under 30 Class of 2021
Whole No. 1338 The principal focus of this issue is The Diapason’s 20
MAY 2021 Under 30 Class of 2021. A biennial recognition program of the
Established in 1909 best of young organists, church musicians, harpsichordists, car- Stephen Schnurr
ISSN 0012-2378 illonneurs, and organ and harpsichord builders, it is a pleasure 847/954-7989; sschnurr@sgcmail.com
to present to you representatives of the promising future of www.TheDiapason.com
An International Monthly Devoted to the Organ,
what we all care about deeply. Here you will find biographical
the Harpsichord, Carillon, and Church Music
information and pictures of each of the Class of 2021. The sole remaining unaltered work of John Bergstrom & Sons as
Many thanks to those who submitted nominations, and be restored by Schoenstein & Co. is featured in “Organ Projects.”
CONTENTS assured there will be many more quality candidates to hear
FEATURES
about again in two years. In December 2022, nominations will Digital edition promotion
open for the Class of 2023. Through the end of June, those purchasing a new or renewal
The Class of 2021: one-year subscription can receive a free one-year digital sub-
20 leaders under the age of 30
by The Diapason staff 14 Elsewhere in this issue scription for a friend. This offer is valid when purchasing a
Pipe Organs of La Grange, Illinois, and the
In “On Teaching,” Gavin Black reports on feedback received print or digital subscription; the free subscription is digital only
Architectural Edifices That House Them, from readers on his discussion about his pedal method. John and is intended for a new subscriber. For information and to
Part 7: First Presbyterian Church Bishop, in “In the Wind . . .,” writes about the particular care subscribe: toll free, 877/501-7540; local, 847/763-4933; for new
by Stephen Schnurr 22
needed and taken by the organ restoration crew of the Jim subscriptions: https://sgc.dragonforms.com/DPP_newfriend;
NEWS & DEPARTMENTS Whelan Boardwalk Hall, Atlantic City, New Jersey, during the for renewals: https://sgc.dragonforms.com/DPP_renewfriend.
Editor’s Notebook 3 recent demolition of the hotel and casino just feet away from the
Here & There 3 hall. The seventh installment of my series on the organs of La Summer events
Appointments 6 Grange, Illinois, details the organs of First Presbyterian Church. If you will be hosting summer organ and carillon recitals and
Nunc Dimittis 8, 10 This month’s cover feature is the installation by Richards, choral events at your church, university, or other venue, be
On Teaching by Gavin Black 11
Fowkes & Co. of Ooltewah, Tennessee, in Christ Church Cathe- sure to let me know. The Diapason is already receiving news
In the wind . . . by John Bishop 12
dral, Cincinnati, Ohio. Readers will find interesting the scheme of upcoming events to share with you, beginning with the June
REVIEWS developed for the instrument’s mixtures. The cathedral’s chapel issue. We would be delighted to announce as many events as
Book Reviews 29 organ by C. B. Fisk, Inc., was featured in the August 2018 issue. possible, in the print issue and at the website. Q
New Organ Music 29
New Recordings 29
Here & There
ORGAN PROJECTS 28
CALENDAR 32 Correction The jury consists of Hans-Ola Erics-
ORGAN RECITALS 33 son, Paul Breisch, Véronique Le Guen,
CLASSIFIED ADVERTISING 34 and Matthias Maierhofer. Deadline for
application is July 15. For information:
orgue-dudelange.lu.
THE
D I A PA S O N
Education
MAY 2021
Methuen Memorial Music Hall
Christ Church Cathedral
Cincinnati, Ohio
Cover feature on pages 26–28
methuenmemorialmusichall. For infor-
mation: https://mmmh.org.
COVER
Richards, Fowkes & Co., Ooltewah, Tennessee;
Christ Church Cathedral, Cincinnati, Ohio 26 Competitions
Editorial Director STEPHEN SCHNURR
and Publisher sschnurr@sgcmail.com Buzard organ, Countryside Community
847/954-7989 Church, Omaha, Nebraska
President RICK SCHWER
rschwer@sgcmail.com Buzard Pipe Organ Builders
847/391-1048 regrets that it sent The Diapason the
wrong photo for its April cover feature. The Littlefield Organ, University of
Editor-at-Large ANDREW SCHAEFFER Washington, Seattle Washington (photo
diapasoneditoratlarge@gmail.com The correct image, as edited by Len
courtesy University of Washington School of
Levasseur, appears above. Music)
Sales Director JEROME BUTERA
jbutera@sgcmail.com
608/634-6253 Stahlhuth-Jann organ, St. Martin’s
Circulation/ Events Church, Dudelange, Luxembourg (photo The University of Washington
credit: FIMOD)
Subscriptions THE DIAPASON Methuen Memorial Music Hall, School of Music, Seattle, Washing-
P.O. Box 300
Lincolnshire, IL. 60069-0300 Methuen, Massachusetts, announces ton, has announced two donor gifts in
DPP@omeda.com summer organ recitals, Wednesdays at The Eighth International Organ support of organ performance. Organ-
Toll-Free: 877/501-7540 8:00 p.m.: May 19, Michael Hey; 5/26, Competition Dudelange will take builder Paul B. Fritts has endowed the
Local: 847/763-4933
Bridgette Wargovich; June 2, Scott place September 5–9 on the Stahlhuth- first Faculty Fellowship in the School of
Designer KELLI DIRKS Lamlein; 6/9, Adam Pajan; 6/16, Jeremy Jann organ in St. Martin’s Church, Music, with a $1.5 million gift that will
kellidirksphoto@gmail.com Bruns; 6/23, Cathy Meyer; 6/30, Christo- Dudelange, Luxembourg. The competi- provide support for organ performance
pher Houlihan; tion is open to organists who have not degree programs. The Paul B. Fritts
Contributing Editors LARRY PALMER
Harpsichord July 7, Rhonda Sider Edgington; 7/14, reached their 35th birthday by Septem- Endowed Faculty Fellowship will fund
Stephan Griffin; 7/21, Mark Pacoe; 7/28, ber 1, 1986. instruction from organists who are noted
BRIAN SWAGER Stefan Donner; August 4, Nichole Keller; First prize is €5,000 plus a concert for their scholarly and professional
Carillon
8/11, Caroline Robinson; 8/18, Rosalind at the 2022 Dudelange Organ Festival; contributions to the field. This gift estab-
JOHN BISHOP Mohnsen; 8/25, Jennifer McPherson. second prize is €2,500; third is €1,250; lishes one of the largest endowments in
In the wind . . . All programs are livestreamed via the the audience prize is $750. Finalists the School of Music. The University of
hall’s YouTube channel: youtube.com/c/ not receiving a prize will receive €750. ³ page 4
GAVIN BLACK
On Teaching
THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of
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WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2021 Q 3
Here & There
³ page 3 harpsichord at University of St. Thomas.
Washington houses the Littlefield Organ Other professional appointments
in the Walker-Ames Room in Kane Hall, included conductor of Concert Chorale
which was finished by Fritts in 1990 and of Houston, artistic director of Houston
has been the location of organ concerts Masterworks Chorus, as well as an opera
over the past thirty years. coach for Houston Grand Opera.
At the same time, the School of Music In 2005, Brewer joined the faculty
has received a gift of $250,000 from an of Rice University as an artist in opera
anonymous donor to create a four-year studies. In 2006, he became organist and
organ competition for early-career choirmaster of the Episcopal Church of
organists. The timing and details of this the Epiphany, where he built a compre-
competition will be announced once it is hensive Royal School of Church Music
possible again to schedule public events. program for children and adults. Addi-
For information: music.washington.edu. tionally, he served as principal accompa-
nist of the Houston Children’s Chorus,
primary organist of the Bach Society
Concert Management of Houston, and assisting organist of
Concert Artist Cooperative Temple Beth-Israel.
announces the addition of new artists to From 2011–2018, Brewer worked in Katherine Jolliff Simon Templet
its roster. San Antonio as artist-in-residence of St.
Mark’s Episcopal Church and was music East Carolina University School of Music, Greenville, North Carolina,
director and organist of Temple Beth-El, announces the winners of its 15th Annual Young Artists’ Competition in Organ Per-
conducting its professional choir for ser- formance, held virtually on March 13. Katherine Jolliff of Indianapolis, Indiana,
vices and concerts. As a faculty member won the Cathee Jean Huber First Prize (sponsored by East Carolina Musical Arts
of University of Texas, San Antonio, he Education Foundation) and was also awarded the Bach prize and the hymn playing
taught opera studies, organ, harpsichord, prize. Simon Templet of Hahnville, Louisiana, won the second prize, sponsored
harp, and collaborative piano. by C. B. Fisk, Inc. The adjudicators were Andrew Scanlon and Ann Labounsky. For
His discography includes three information: ecu.edu.
recordings on commercial labels: Echos
of the American Cathedral with St.
Paul’s Choir, Return–Art Songs from Heinz Memorial Chapel in Pittsburgh,
Carolina with North Carolina School of Adolphus Busch Hall (Harvard Univer-
the Arts soprano, Marilyn Taylor, and the sity), and the Fasor Reformed Church
chamber music of Dan Locklair. Cur- in Budapest, Hungary. A solo recording
rently, Brewer is organist of the United on the Pro Organo label, French Éclat at
Church of Chapel Hill and an assisting Saint Thomas Church, is available.
Robert Brewer organist at Duke University Chapel, and
he maintains a private vocal, organ, and
Robert Brewer, a native of Houston, piano studio.
Texas, is an organist, pianist, conductor,
and pedagogue with a varied career Jeremy S. Bruns is associate organ-
spanning more than 40 years. He greatly ist and choirmaster at The Church of
expanded the music program at St. Paul’s the Advent, Boston, Massachusetts.
United Methodist Church, Houston, Bruns has previously held positions in
including an 80-voice choir that has sung Dorchester, Massachusetts, Pittsburgh,
for multiple conventions of the Ameri- Pennsylvania, and elsewhere, including
can Guild of Organists, American Choral three years as associate organist of St. Jeremy S. Bruns
Directors Association, and other regional Thomas Church Fifth Avenue in Man-
festivals and served as choir-in-residence hattan, where he worked with the late and a Performer’s Certificate. Bruns
at Westminster Abbey, York Minster, Ely John Scott and the St. Thomas Choir of has won prizes in major competitions,
Cathedral, St. Alban’s Abbey, Southwark Men and Boys. Bruns has also served as a including the 2003 Dallas International
Cathedral, Thomaskirche (Leipzig), visiting assistant professor in the School Organ Competition. He was also one of
St. Thomas Church Fifth Avenue, and of Music at Stephen F. Austin State Uni- four North American finalists chosen to
Washington National Cathedral; and versity, Nacogdoches, Texas. compete in the 1998 Calgary Interna-
was also the resident vocal ensemble Bruns studied with David Higgs at the tional Organ Festival and Competition, Tyler Canonico
of Houston Ballet. Brewer has served Eastman School of Music, Rochester, and was a prize winner in the 1993
as instructor of organ at University of New York, earning a Master of Music International J. S. Bach Organ Competi- Tyler A. Canonico is minister of
Houston and instructor of organ and degree in performance and literature tion held at the Kennedy Center for the music and organist at Market Square
Performing Arts in Washington, D.C. Presbyterian Church, Harrisburg, Penn-
Bruns has been heard on the nation- sylvania, where he leads a music program
ally syndicated radio show Pipedreams that includes a children’s choir, two bell
and has accompanied the St. Thomas choirs, the Sanctuary Choir, the Schola
Choir for regular broadcasts on BBC Cantorum, and the Market Square Sing-
Radio, as well as recordings on the Pro ers, a touring choir comprising amateur
Organo label. He has been featured at and professional volunteers from the
the Piccolo Spoleto Festival in Charles- church and greater Central Pennsylvania
ton, South Carolina, and has performed community; he is also program direc-
recitals with engagements including St. tor for Arts on the Square. Recently,
Paul’s Cathedral and Westminster Abbey he led the Market Square Singers on a
in London, Canterbury Cathedral, Wash- concert tour of Canada, and the group
“one of this era’s ington National Cathedral, St. James’s is currently preparing for its 2022 tour
most adventurous Cathedral in Toronto, Grace Cathedral to Scotland. Previously, Canonico was
interpreters of in San Francisco, Methuen Memorial organist and assistant music director at
the classical Music Hall, St. Paul Cathedral and ³ page 6
organ repertoire”
NY MUSIC DAILY
MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com
4 Q THE DIAPASON Q MAY 2021 WWW.THEDIAPASON.COM
Allegro Elisa Jackson Robert Jeremy S. Tyler Vincent
con fuoco Bickers Borges Brewer Bruns Canonico Carr
Joseph Carson Shin-Ae Angela Theo. S. Laura Faythe Joy-Leilani
Causby Cooman Chun Kraft Cross Davis Ellis Freese Garbutt
Simone Margaret Justin Sarah
Gheller Harper Hartz Hawbecker
Jacob Christopher Jason Peter
Hofeling Jacobson Klein-Mendoza Krasinski
David Mark Colin Katherine Scott Shelly Brenda Joseph
Lamb Laubach Lynch Meloan Montgomery Moorman-Stahlman Portman Ripka
Vicki Patrick A. Thomas David Richard Beth Rodland Duo
Schaeffer Scott Sheehan Von Behren Webb Zucchino Organ & Viola
www.ConcertArtistCooperative.com
Faythe Freese, Director
512.470.7782
Colin Lynch, Assistant Director
ConcertArtistCooperative@Gmail.com
Beth Zucchino, Founder & Director Emerita
Here & There
³ page 4
Christ Episcopal Church and the accom-
panist for the Alabama Choir School in
Tuscaloosa. He also served as assistant
organist at the Cathedral of St. Paul,
Birmingham, Alabama.
Canonico is organist for the Harris-
burg Symphony Orchestra; co-founding
member of Allegro con Fuoco Duo; and
is collaborative pianist for the Central
Pennsylvania Womyn’s Chorus. In 2011,
he was awarded first place in the Ameri-
can Guild of Organist/Quimby Region
III Competition for Young Organists. He
has performed Samuel Barber’s Toccata
Festiva with the Lebanon Valley College
Symphony Orchestra and performed for
the Piccolo Spoleto Festival in Charles- Vincent Carr Paul Jacobs and Franz Welser-Most
ton, South Carolina, and at national and
regional AGO conventions. organ competitions. In 2013 he took On March 18 and 19, Paul Jacobs was soloist with the Cleveland Orchestra, con-
Canonico is a graduate of the Uni- a sabbatical in France, studying in the ducted by Franz Welser-Most, in performances of Poulenc’s Concerto for Organ,
versity of Alabama, Tuscaloosa, where tradition of Nadia Boulanger. Strings, and Timpani, which were streamed via the orchestra’s digital media plat-
he received a Master of Music degree From 2006 to 2013, he served the form, Adella. Jacobs also performed by livestream the Poulenc with the Philadelphia
in organ performance and studied Cathedral Basilica of the Sacred Heart, Orchestra on January 14, conducted by Yannick Nezet-Seguin. For information:
with Faythe Freese. He earned his Newark, New Jersey; at a subsequent pauljacobsorgan.com.
Bachelor of Arts degree in music with post at the Cathedral of the Incarnation,
a concentration in organ performance Garden City, New York, he recorded
and sacred music from Lebanon Valley A Year at Incarnation. Before joining
College, Annville, Pennsylvania, where the Indiana University faculty, he was a Appointments
he studied organ and piano with Shelly professor at John J. Cali School of Music Ryan T. Mueller is appointed
Moorman-Stahlman and orchestral con- at Montclair State University for nearly tonal director of Berghaus Pipe
ducting with Johannes Dietrich. Visit his a decade. Organ Builders, Bellwood, Illinois.
website at: www.tylercanonico.com for As a composer and improviser, he has Mueller is a native of Milwaukee,
more information. developed original music for keyboard, Wisconsin, and has previously worked
choir, silent film, and musical theater. for Grandall & Engen, LLC, and
Vincent Carr is associate professor Currently, his areas of interest and Dobson Pipe Organ Builders, Ltd.
of organ and sacred music at the Indi- research include improvisation peda- A member of The Diapason’s 20
ana University Jacobs School of Music, gogy, the integration of artificial intel- Under 30 Class of 2019, he is also a
Bloomington. In addition to maintain- ligence into organ instruction, and the recitalist, scholar, and advocate of the
ing a studio of organ majors as well as career development of church musicians. pipe organ and has served in various
teaching courses in church music and offices at the local and national level
improvisation, he is known for his ver- Joseph Causby is director of music for the American Institute of Organ-
satility as a performer and collaborative and organist for Chapel of the Cross, builders, Organ Historical Society,
musician. From concert hall to church, Chapel Hill, North Carolina, and American Guild of Organists, and is
he has championed new music and the president of the Royal School of Church also a member of the National Trust
works of underrepresented composers, Music in America. Prior to his appoint- for Historic Preservation, Associa-
such as Black composers, especially ment in Chapel Hill, he spent 14 years in tion of Lutheran Church Musicians, Ryan T. Mueller
Florence B. Price, in diverse concert Texas, most recently at St. Mark’s Epis- and the Association for Preservation
programs. In 2020, he was elected copal Church, San Antonio, where he Technology. Mueller will oversee the tonal department, provide artistic vision
national councillor for education for the built an active music program. Under his for all projects, engage in new organ sales, and also maintain an active role in
American Guild of Organists. direction, the St. Mark’s choir took part the tuning & service department. For information: berghausorgan.com.
He earned his undergraduate degrees in three English cathedral residencies,
in organ performance and Spanish performed major works with orchestra,
language from Indiana University, and and recorded and broadcasted live on
his graduate music studies were at Yale NPR and PBS. A dedicated collaborator,
University, where he was the recipient Causby has formed relationships with
of prizes from the faculty and in national ³ page 7
Joshua Stafford
Joshua Stafford is appointed director of music ministries and organist for
Riverside Presbyterian Church, Jacksonville, Florida. A native of Jamestown,
New York, he earned a Bachelor of Music degree in organ performance from
Proud builders
pipe organ kit
the Curtis Institute of Music, Philadelphia, Pennsylvania, in 2010 as a scholar-
ship student of Alan Morrison. In 2012 he received his Master of Music degree
in organ performance and a certificate in sacred music from the Yale School of
Music as a student of Thomas Murray in organ and Jeffrey Brillhart in impro-
of the
visation. While at Yale, Stafford was the recipient of the Robert Baker Award.
In 2016, Stafford was named the Pierre S. du Pont First Prize winner of the
Longwood Gardens International Organ Competition. He is a member of The
Diapason’s 20 Under 30 Class of 2017. In 2020 Stafford was named director of
sacred music and the Jared Jacobsen Chair for the Organist of the Chautauqua
Institution, Chautauqua, New York. He leaves his position as director of music
follow for St. Peter’s Episcopal Church, Morristown, New Jersey, where he has served
us on since 2013. Joshua Stafford is represented by Phillip Truckenbrod Concert Art-
facebook!
ists. For information: concertartists.com. Q
Photo courtesy of Eric Harrison
WEEKEND ORGAN
16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA
t 800 625-7473 mail@letourneauorgans.com
MEDITATIONS
Visit our website at www.letourneauorgans.com Grace Church in New York
www.gracechurchnyc.org
6 Q THE DIAPASON Q MAY 2021 WWW.THEDIAPASON.COM
Here & There
and a doctorate from the University of freely from YouTube and his website For bookings and information:
Durham, UK, where he also served as (carsoncooman.com). concertartistcooperative.com.
the first American organ scholar of Dur- As a composer, Cooman has created a
ham Cathedral. His most recent organ catalog of works in many forms ranging
study has been with Gillian Weir. from solo instrumental pieces to operas, Publishers
and from orchestral works to hymntunes. Breitkopf & Härtel announces a
His work has been performed on all six new organ publication: Nicolaus Bruhns:
inhabited continents and appears on Complete Organ Works, urtext edition
over forty recordings, including more by Harald Vogel (EB 8663, 72 pp.,
than 25 complete CDs on the Naxos, €27.50). In the preface, a commentary
Albany, Artek, Gothic, Divine Art, offers a discussion of the authorship of
Métier, Diversions, Convivium, Altarus, two dubious works that are included in
Joseph Causby MSR Classics, Raven, and Zimbel labels. the appendix. There are also two essays
focusing on important aspects of nota-
universities and international organiza- tion, interpretation, and original instru-
tions including Snape Maltings Friday ments. For information: breitkopf.com.
Afternoons project, the Royal Academy
of Music, and Cambridge University.
Causby has worked with Duke Univer-
sity Chapel’s organ scholar initiative, pri-
vate and public school music education
programs, and the University of North
Carolina’s music department and faculty. Carson Cooman
In addition to serving on the RSCM
board since 2017, he was co-chair of the Carson Cooman, an American
2018 national conference of the Asso- composer and organist, holds degrees
ciation of Anglican Musicians, former in music from Harvard University and Allegro con fuoco
board member of the Youth Orchestra of Carnegie Mellon University and since
San Antonio, and former artistic director 2006 has held the position of composer Allegro con Fuoco Duo was formed
of the Alamo Baroque Festival. in residence at Memorial Church, Har- in January 2014 by Tyler A. Canonico
As an organ recitalist, Causby has vard University. As an organ recitalist, and Jordan R. Markham. The piano and
presented concerts in the United States, Cooman specializes in performance of organ duo has been featured on many
Canada, England, and France. In 2019, contemporary music. Over 300 new com- concert series, including the Friday
he was a featured speaker for the 100th positions by more than 100 international Music at Midday series at National City
anniversary of the founding of the Choir composers have been written for him. Christian Church, Washington, D.C.,
School of St. Thomas Church, Fifth Cooman has made many recordings as and the Music at Grace Concert Series
Avenue, New York City. His disserta- organist, including more than ten com- at Grace United Methodist Church in
tion, “Who dares stand idle? Thomas plete CD releases of music by Thomas Baltimore, Maryland, where they gave
Tertius Noble, a life in church music, Åberg, Paula Diehl, Carlotta Ferrari, the world premiere of a piano four-hands
1867–1953,” was completed in 2015. Lothar Graap, Eva-Maria Houben, and piece, composed for and dedicated to Creator Spirit
A native of North Carolina, Causby Andreas Willscher, along with several them by Eric Whitehill. This duo has
holds a Bachelor of Music degree from multi-composer albums. His recordings performed at the governor’s mansion, Fruhauf Music Publications
Appalachian State University, a Master of more than 3,000 additional contem- Harrisburg, Pennsylvania, for a diversity announces a new and complimentary
of Music degree from Rice University, porary organ compositions can be heard event with the governor in attendance. ³ page 8
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puts the organ within reach for both the novice and INCLUDING THE WORLD FAMOUS *OHANNUS SOUND 4HE
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WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2021 Q 7
Here & There
Nunc Dimittis produced on the Raven label: French voice (singing the Evangelist part in
Éclat in the Roanoke Valley, Éclat J. S. Bach’s St. John Passion), as well
Encore, Christ Church Voluntaries, as being inspired to compose and
and a choral CD, Christ Church Cen- to be trained as a church musician.
tennial, 2017. He established a summer While in Princeton, he was a member
recital series and revived the traditional of the barbershop quartet The Nas-
Episcopal service of Choral Evensong sau Blend and was director of the
in the Roanoke Valley. barbershop chorus. On his return to
Charlotte after graduate school, he
served primarily as a section leader
in four Charlotte churches (including
Covenant Presbyterian) and worked
at the Rasberry Insurance Agency. For
a week each summer between 1971
and 1988, Johnston attended and later
was a faculty member of the Wildacres
Music Camp, Little Switzerland, North
Carolina, which his voice teacher Har-
Michael Ray Johnston vey Woodruff founded and directed.
Johnston composed choral, vocal,
H. Thomas Baugh, III Michael Ray Johnston, 64, of instrumental, and organ music, includ- Scott C. Weidler
Charlotte, North Carolina, died ing a cantata, The Mountain of the Lord,
H. Thomas Baugh, III, died February 22. Born July 3, 1956, in for the chapel dedication at Wildacres integral part in the ELCA’s Renewing
December 6, 2020, in Roanoke, Vir- Charlotte, he graduated from North Retreat, and a triptych, Manifestations Worship project and the develop-
ginia, where he was organist and choir- Mecklenburg High School in 1974. of the Spirit, for the Ben Long fresco ment of the hymnal Evangelical
master of Christ Episcopal Church for He received a Bachelor of Arts degree dedication at St. Peter’s Catholic Church Lutheran Worship (2006). He was
34 years, beginning in October 1986. from Mars Hill College, Mars Hill, in Charlotte. He organized Ye Queen’s also instrumental in shaping the vari-
Previously, he had served Christ and North Carolina, in 1978 and a Master Carrollers, a vocal quartet dressed in ous publications that complement this
Grace Episcopal Church, Petersburg, of Music degree in church music from Victorian costume, for regional Yuletide resource including: Musicians Guide
Virginia, as director of music, and St. Westminster Choir College, Princeton, events. In 2001, Johnston founded to Evangelical Lutheran Worship
James’s Episcopal Church, Richmond, New Jersey, in 1980. After piano study Michael’s Music Service (michaels- (2007); Worship Guidebook for Lent
as assistant organist. He studied choral with Flora Neely and vocal study as a musicservice.com) with organist and and the Three Days (2009); In These
conducting at Westminster Choir Col- teenager with Harvey L. Woodruff, friend John Apple, primarily to restore or Similar Words: Crafting Language
lege, Princeton, New Jersey, and stud- he studied voice with Julie Fortney and publish organ music, continuing as for Worship (2015); and Singing in
ied organ with John Mueller, Bruce and William Thomas at Mars Hill and business and website developer/man- Community: Paperless Music for Wor-
Stevens, and Gerre Hancock, and in Marvin Keenze at Westminster. His ager until his death. ship (2017). Attentive to the needs of
Lyon, France, with Louis Robilliard. organ study was with Donna Robert- Michael Ray Johnston is survived by smaller parish choirs, he commissioned
He was a graduate of Oklahoma City son at Mars Hill and William Hays at his mother, Katie McAllister Sigmon; several composers for O Lord of Light:
University, Union Presbyterian Semi- Westminster, and conducting studies his brother, Timothy Gray Johnston Nine Two-Part Mixed Anthems for the
nary, as well as Westminster Choir Col- were with Joel Stegall at Mars Hill and and wife, Ronda; a niece and a nephew. Church Year (2013) that, in his words,
lege. He was first appointed a church Joseph Flummerfelt at Westminster. His funeral service (including music of were fashioned for “those times we
organist at age 14 in Oklahoma. Johnston exhibited interest in music Bach and Johnston’s compositions) was regularly need either learn something
Baugh was born September 21, 1953, from an early age and sang solos and held on March 2 at Covenant Presby- very quickly” or “sing with limited
in Oklahoma City. He is survived by his in the local children’s choir of Mallard terian Church in Charlotte. Contribu- forces because of holiday schedules.”
wife of 38 years, Jane Roth Baugh; his Creek Presbyterian Church. He was tions in his memory may be made to Beyond his work for the ELCA,
sister, Barbara Baugh Laird; in-laws, selected by Michael Pittard, his high Bach Akademie Charlotte, 3527 Provi- Weidler was involved in several orga-
Katherine and Alan Riley; a niece and school choral director, to attend the dence Road, Charlotte, North Carolina nizations that enriched the liturgy and
a nephew. Governor’s School of North Carolina 28211, bacharlotte.com. song of the church, as well as sup-
At Christ Church in Roanoke, he over two summer sessions. During this ported the vocations of its musicians.
encouraged interior renovations, time, he became the youngest member Scott C. Weidler, 61, died January He served the Lutheran Summer
acoustical improvement, and replace- and section leader of the Sanctu- 23. Born in the Los Angeles, California, Music Academy and Festival in several
ment of the existing Zimmer organ ary Choir of Covenant Presbyterian area on June 21, 1959, he completed an capacities; was a charter member of the
with C. B. Fisk, Inc., Opus 124 of 2004, Church in Charlotte under Richard undergraduate degree in elementary Association of Lutheran Church Musi-
which he designed. Playing the Fisk M. Peek. It was here that he began music education at what is now Con- cians; an advisory council member and
organ, he recorded four compact discs to develop his tenor and countertenor cordia University, Seward, Nebraska, frequent presenter at the Institute of
and subsequently earned graduate Liturgical Studies; a member of the
degrees in sacred music and liturgy Lutheran caucus and liturgical music
from Wittenberg University in seminar of the North American Acad-
Springfield, Ohio, and University of emy of Liturgy; and a frequent work-
Notre Dame, South Bend, Indiana. shop leader and composer for Music
Between 1981 and 1995, he served that Makes Community.
as a teacher and cantor at Lutheran An online funeral attended by
congregations in Florida, New York, more than 300 was held on January
and Pennsylvania. 30. Memorials may be directed to
From 1995 until 2016, Weidler the Association of Lutheran Church
served the Evangelical Lutheran Musicians (alcm.org/make-a-donation)
Church in America (ELCA) as and Music that Makes Community
program director for worship and (musicthatmakescommunity.org/
music. In this role, he helped cul- donate_to_mmc).
tivate worship resources, playing an ³ page 10
³ page 7 of J. K. F. Fischer’s Blümen-Büschlein,
three-verse hymn anthem for choir opus 2, “Praeludium VIII;” the edition
and organ, “Creator Spirit,” available will include a detailed realization of the
for printing and performance. Written chorded introductory movement. For
for SATB, SAB, and unison voices with information: frumuspub.net.
organ, it displays many traits present in
early 20th-century Anglican choral music. MorningStar Music Publishers
In June a transcription for organ will be announces a new organ publication:
posted, drawn from the keyboard music African-American Organ Anthology,
Jacques Stinkens
Orgelpijpenmakers B.V.
sinds 1914
Flues - Reeds
www.ruffatti.com Your personal wishes are in good hands
www.stinkens.nl
info@stinkens.nl
8 Q THE DIAPASON Q MAY 2021 WWW.THEDIAPASON.COM
Here & There
Volume 9, edited by Mickey Thomas 2020 issue of The Diapason, pages
Terry (10-649, $20). Works include 16–19.) For information:
Variations on “There Is a Fountain,” radiofrance.com.
by Undine Smith Moore; Toccata, by
David Hurd; Toccata on “Lift Every
Voice,” by Mark A. Miller; and Eleva- Organbuilders
tion and Invocation, by George Walker.
For information:
morningstarmusic.com.
Life Pictures: Scenes of the Life of King L’Art de la Transcription
Christian IV
Tempéraments Radio France
1610 Esaias Compenius organ located announces a new CD: L’Art de la Rendering of Létourneau Opus 138
in Frederiksborg Castle in Denmark. Transcription (TEM316066), featur- for St. Charles Avenue Presbyterian
The instrument was a gift to the Danish ing Vincent Genvrin performing on Church, New Orleans, Louisiana
King Christian IV from his sister Elisa- the Grenzing organ of the auditorium
beth. Compenius built it for Elisabeth’s of Radio France, Paris. Compositions Orgues Létourneau announces a
husband in Hesse, and after his death, include Mussorgsky’s Pictures at an new organ to be built for St. Charles
moved it to Frederiksborg. (For further Exhibition, Wagner’s “Prelude” from Avenue Presbyterian Church, New
information on this organ see “Book Tristan und Isolde, and Élisabeth Jac- Orleans, Louisiana. This instrument
Reviews,” in the December 2020 issue, quet de la Guerre’s Sonata in G Minor. will have divisions in all four corners of
page 21.) For further information: (For information on the Grenzing organ, the church sanctuary to support a wide
peterwaldner.at. see an article by the builder in the March ³ page 10
Marcel Dupré: The Work of a Master
Organist
NORTH AMERICA’S
The Organ Historical Society PREMIER PIPE ORGAN
catalog offers a new book: Marcel Dupré:
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of the several generations who preceded them. Foley-Baker, Inc.
APOBA has developed publications to help organ Paul Fritts & Co. Organ
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committees make Goulding & Wood, Inc.
informed decisions Holtkamp Organ Company
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Hymns of Kassianí effectively, whether Patrick J. Murphy & Associates
purchasing an Parsons Pipe Organ Builders
Cappella Records announces a new Pasi Organbuilders, Inc.
organ or planning Quimby Pipe Organs, Inc.
CD: Hymns of Kassianí (CR422, $19.99), a program for Schoenstein & Co.
featuring Cappella Romana, directed Taylor & Boody Organbuilders
by Alexander Lingas. The disc includes
renovation or service.
A. Thompson-Allen
selections of the earliest surviving music
by a female composer, a ninth-century
nun, poet, and hymnographer, Kassianí OUR VISION SUPPLIER MEMBERS:
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Life Pictures: Scenes of the Life of King Whether building a new organ or ensuring the
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WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2021 Q 9
Here & There
Nunc Dimittis
John Borland Weaver, 83, died
February 1. Born April 27, 1937, in
Mauch Chunk (now Jim Thorpe),
Pennsylvania, he began music studies
at age six at the Peabody Conservatory
of Music, Baltimore, Maryland. At
age 14 he began to study organ with
Richard Ross and George Markey.
Soon thereafter, he became organist of
a church in Baltimore and played his
first organ recital.
John Weaver earned his undergrad-
uate degree from the Curtis Institute
of Music, Philadelphia, Pennsylvania,
where he was a student of Alexander
McCurdy. After two years in the Army
as organist and choir director of the
Post Chapel at the United States
Military Academy at West Point, New
York, he earned a master of sacred
music degree from Union Theological
Seminary, New York, New York, where
he studied organ with Robert Baker
and composition with Joseph Good-
man. He held honorary doctorates
from Westminster College, New Wilm-
ington, Pennsylvania, and the Curtis
Institute of Music.
Weaver taught at Curtis, serving as
chair of the organ department between
1972 and 2003, and also taught at
Union Theological Seminary, Westmin-
ster Choir College, and the Manhattan
School of Music. He was chair of the John Weaver at the Aeolian-Skinner console of the Curtis John Borland Weaver at the M. P. Möller console of the Cur-
organ department of The Juilliard Institute of Music tis Institute of Music
School from 1987 until 2004.
In 1959 John Weaver was appointed States, Canada, Western Europe, the Seattle, Washington. There was also a honored by the Peabody Conservatory
organist and choir director for Holy United Kingdom, and Brazil. He was release, The Organ and Choral music with its distinguished alumni award.
Trinity Lutheran Church, New York, well known for presenting a large of John Weaver, available on the JAV He further received the distinguished
New York. There he met his future wife, repertoire of works from memory and label, featuring a program of his own alumni award from Union Theological
Marianne, a flautist and choir member. was featured on broadcast television organ and choral compositions. Seminary in 2008. (For an interview
They would establish the Bach Vespers and radio network programs in the John Weaver performed at numer- with John Weaver marking his 70th
series at Holy Trinity in 1968, the first United States and Germany. Weaver ous regional and national conventions birthday by Michael Barone, see the
series in the United States where Bach appeared in solo performances at of the American Guild of Organists, April 2007 issue of The Diapason,
cantatas were performed in liturgical Boston Symphony Hall, Alice Tully a convention of the Organ Historical pages 20–23.) In their retirement,
context. John Weaver left Holy Trin- Hall, the Philadelphia Academy of Society, and at the 1987 International John and Marianne Weaver lived in
ity Church in 1970 to become music Music, Orchestra Hall in Chicago, and Congress of Organists in Cambridge, Vermont, from whence he would con-
director at Madison Avenue Presby- Severance Hall in Cleveland. He made England. At many of his appearances, tinue to concertize and lead workshops
terian Church, remaining until 2005. recordings for Aeolian-Skinner, the he concertized with his wife, Marianne. and masterclasses.
Among his many activities, he directed Wicks Organ Company, Klais Orgel- Among his compositions, Weaver John Borland Weaver was prede-
the St. Andrew Chorale in major works bau of Germany, a CD released by published Fantasia, Passacaglia on ceased by his son Jonathan in 2008. He
with orchestra. Gothic Records for the Schantz Organ a Theme of Dunstable, and Toccata is survived by his wife Marianne, one
Weaver was represented by the Company, and a recording on the Pro with Boosey & Hawkes. He composed daughter Kirianne, and two brothers,
management of Karen McFarlane Organo label on the new Reuter organ choral works, as well as Rhapsody for Robert and his wife Anne, and David
Artists, Inc., performing in the United at University Presbyterian Church, flute and organ. In 1989, Weaver was and his wife Barbara. Q
³ page 9 Cincinnati, Ohio. The layout, mecha-
range of liturgical music throughout nism, console, control system, and relay
the space. Létourneau’s Opus 138, a are all new. The project reused 31 ranks
four-manual organ of 79 ranks, will be of the church’s 1971 Möller organ,
completed during summer 2024. For revoiced, while 18 new ranks were
information: letourneauorgans.com. installed, resulting in an instrument of
2020-2022 Projects 49 ranks playable across three manuals.
The existing non-speaking façade pipes
86$LU)RUFH$FDGHP\3URWHVWDQW&DGHW&KDSHOĆ&RORUDGR6SULQJV&R were also cleaned and restored.
Rebuild III/83 Moller/Holtkamp Among the projects currently under-
way is a rebuilding of the console from
86$LU)RUFH$FDGHP\&DWKROLF&DGHW&KDSHOĆ&RORUDGR6SULQJV&R Mount Hebron United Methodist,
Rebuild III/33 Moller/Holtkamp West Columbia, South Carolina, with
a modern control system. Casters will
7KH)R[7KHDWUHĆ$WODQWD*D be installed to allow the two-manual
Rebuild “Mighty Mo” Moller theater organ console console to be movable, and several
other minor mechanical revisions are
%URDG6WUHHW3UHVE\WHULDQ&KXUFKĆ&ROXPEXV2K
also being carried out on this instrument
Build V-manual console with new windchests and more built by Schantz in 1975. For informa-
6W$QGUHZ(SLVFRSDO&KXUFKĆ)RUW3LHUFH)OD tion: schantzorgan.com. Q
New III/31 pipe organ
St Simons Island Presbyterian ChurchĆ6W6LPRQV,VODQG*D
New III/38 pipe organ
THE DIAPASON thanks
3OXVPRUHSURMHFWVIRUQHZFRQVROHVQHZIDFDGHV
UHEXLOGLQJDQGUHVWRUDWLRQRIYLQWDJHLQVWUXPHQWV St. Mary Catholic Church, Cincinnati,
APOBA
Ohio for providing complimentary
subscriptions to the
How can we help you? Schantz Organ Company, Orrville, 20 Under 30 Class of 2021
ZZZSLSHRUJDQFRPĆ Ohio, recently completed its project
#2336 for St. Mary Catholic Church,
10 Q THE DIAPASON Q MAY 2021 WWW.THEDIAPASON.COMOn Teaching By Gavin Black By Gavin Black
Pedals: one more time it is not a good idea to track detritus of much the shoes change the size. Agility accustomed to be replaceable when they
The aim this month is to wrap up the outdoors onto the pedalboard, that and flexibility are the important things: wear out? The ones that I wear have not
a few loose ends about pedal playing, tells us nothing at all about what sort of any mismatch between the size of one’s been made in a while. I purchased my last
including some interesting points that shoes to wear or not to wear while play- feet and the pedalboard can almost cer- few pairs on eBay, and there are not any
I gleaned from readers’ feedback fol- ing. For organ playing, one could bring tainly be dealt with by angling the feet available there now. What will I do when
lowing last December’s pedal-oriented a second pair of the very same shoes in more or less or in some different way. these shoes wear out?
column. This will be the twelfth column which one walks. I did this for decades, Not that it is necessarily a mistake for this One reader wrote of an early organ
that I have written over the years that is although honesty requires me to admit player to play in socks, if it works. This teacher who tied their students’ knees
specifically focused on pedal playing. that I also have sometimes let myself just reminds me that one of my core beliefs together for playing. This is a vivid way
Numerous people are concerned and keep my walking shoes on if it is dry out about pedal playing is that everything to of getting to the heart of what I want
sometimes perplexed about what sort and I dust them off. (This seems to have do with exact foot position—especially the core practical center of this pedal
of shoes to wear when playing pedals. been the approach of Marcel Dupré, but not limited to the extent and exact method to be about. In several columns
In fact, that issue alone generated the as I mentioned in my December 2020 direction of any turning of the ankles—is I have written about my skepticism of
majority of comments. One reader sent column. I am not sure that we know how a very individual matter. My quest is to dictating in advance a particular position
me the following summary of quotes much dusting off he did.) Since I wrote give students guidance on how to work for the knees or legs for pedal playing.
about the matter, with his comments, that I play the organ in New Balance that out without trying to prescribe an It is not illogical or absurd to think that
that he had collected over the years: walking shoes, I have stopped walking in answer in advance. a stable position could be of assistance
1) “I play in cowboy boots.” those shoes, in favor of something more I tend to look at the issue of shoes or in something that presents as being as
2) “I can feel the pedals better in appropriate in its orthopedic approach, no shoes as being mainly about comfort arcane and difficult as finding notes with
socks.” but I still use them at the organ. and secondarily about style and presenta- the feet. I have plenty of respect for
3) “I travel to Europe . . . . Organists 4) This is true for some people, and for tion. But in a recent conversation my col- anyone’s efforts to find solutions. And if
there wear street shoes.” me at this point in my life. I have never league Thomas Dressler reminded me I want my very different solutions to be
4) “You can injure your foot if you been particularly interested in playing that it also ties in with a player’s approach convincing, I must make it abundantly
don’t wear shoes.” without shoes, but I could do it in a pinch. to using heels. Without shoes we are rely- clear that they work and make it as trans-
5) “I do not sit near the organist on Sometimes around home I have wanted ing on only the shape of our feet to reach parent as possible how and why they
hot days.” (I assumed that said organist to play just a little bit but have felt lazy the keys. Even a pair of shoes that does work. That is the absolute core.
is wearing only socks.) about finding shoes and socks. However, not have a built-up heel gives the player Other readers reminded me to make
6) “The method books only mention over the last few years I have noticed a bit of an assist in reaching with the part the method as systematic and logical as
to wear shoes.” that if I do this even briefly, I get signifi- of the foot that cannot extend far. This is possible. This is my intention, and one
7) [my favorite] “My first organ cant pain in my feet. (This also occurs if a bigger issue, as Dressler pointed out, about which I am happy to be reminded.
teacher was a nice old sweet lady. She I drive without shoes, by the way.) This the farther toward the edges of the pedal One issue is the number of exercises I
wore shoes but let me play in socks.” is a late-middle-age medical/orthopedic keyboard one goes. If a student wants should include for each particular tech-
8) “I have very big feet . . . . Shoes are development, and it is not surprisingly the assistance afforded by actual built- nical point or stage. Should I rely on stu-
too big, I use socks.” one that I am not happy with. The point up heels, then that renders the notion dents to create their own exercises with
I added the numbers above for ease of that I take away from this is that things of playing without shoes moot and also plenty of guidance? I believe that this is
reference to my comments below. change. This could in principle apply to guides the choice of shoes. a good thing, but I want to be sure that
These comments are intended to anything and everything about the ques- I realize that my own actual and the guidance is sufficient. I will likely
be humorous, but each of these is also tion of organ-appropriate shoes, and to practical way of encountering this ques- end up using more exercises than I have
really apt. I can relate to several of everything about pedal playing as such. tion of playing without shoes is a very included as part of any pedal-playing
these remarks, either from personal How does one write a pedal method and specific one. If a student, either new to columns, though certainly not enough to
experience or as something that I have take into account changing needs? It is the instrument or with some experience, be exhaustive, if there is such a thing.
encountered with students or colleagues: crucial to ponder that. indicated that they really want to play Several readers suggested that I
1) I have never played in cowboy 5) Presumably the “hot days” remark in socks, my immediate impulse would include a generous selection of actual
boots, but I have once or twice played in is about aroma, and that is one particular be to discourage that. I need to sort pieces or substantial passages drawn from
snow boots. This came about for two very circumstance. What we do in playing out why that is my immediate impulse, a variety of repertoire. That is also a good
different reasons. Once I had walked to the organ is often bound up with inter- what reasons there are for or against idea, possibly as a separate volume of my
school in the snow in boots and unex- relationships and appearances that have that impulse, and what is the best way method. But what I would not expect to
pectedly needed to play. I kept my boots nothing to do with the music or the to address this in writing, absent any do is to provide pedaling for those pieces.
on—cleaning them thoroughly. The other instrument as such. Some of the specifics possibility for back-and-forth discussion. Instead I would want to give a concise
time I had snow boots with me but had when it comes to organ playing have to (I noticed by chance right now in a but thorough discussion for each piece
been walking in regular shoes through do with religious services and the tradi- brief break from writing a video of some- of what some of the possibilities are for
the snow. That time I used the boots tions and ethos of those situations. This one changing stops with their feet while thinking about whatever pedaling issues
because they were clean. Playing in boots can be a pervasive issue. I believe that it playing! This absolutely requires playing the piece presents either typical of a type
was awkward: I would not recommend is critical to use shoes or not use shoes in neither shoes nor socks. I doubt that of piece or peculiar to that one piece
it, and I do not know why the organist in whatever way really works for playing this technique will catch on.) in some way. This would also be a good
quoted above liked to do it. But it moved and is free of any tension or pain. Style Another reader wrote that she likes to place to remind a student to notate pedal
me to think a lot about foot position and and look must be secondary, even when play in organ shoes because the sameness markings exclusively in pencil!
how to maintain relaxation while playing. they are important. of feel is important. It is disconcerting to Another reader suggested that this
I come back to that memory frequently 6) This is very important, though not have the feel of a foot on pedals be differ- whole project could be or should be
while practicing or teaching. because of its own specifics. Rather, it is ent from one time to another. This makes produced as a video rather than as a
2) I note that people have differing important to remember that we have a sense to me. Over the years, when I have book. That seems like a great idea to me,
concepts as to whether feeling the pedals strong tendency to believe what we read. occasionally needed to plan on a different though as a supplement, not a replace-
with tactile sensitivity while playing is a It is utterly incumbent on anyone writ- pair of shoes for a particular performance, ment. I am daunted by video technology,
good thing. I find it interesting that I do ing a method or any other authoritative I have made a point of getting used to or at least relatively inexperienced with
not have a clear idea as to what I think work to ensure that what they write is them over as long a period of time as pos- it. I will tuck that idea away in my mind
about that. There are perhaps dangers sound. But equally important is making sible. This process has never quite worked somewhere and return to it at some point.
to being too caught up feeling the keys it clear that flexibility is almost always to make me as comfortable as I would be I have many notes on this project, in
by trying to caress the keys or hold on to important, that nothing is engraved in in my regular organ shoes. This principle my head, in writing, in emails, indeed
them. If the latter leads to active use of stone. This is most of what I have been does not say anything about what exactly in effect as the whole or certain parts of
the toes—curling them, for example—it musing about in trying to settle on how the shoes should be. It works just as well some previous columns. I will now stir it
is probably in most cases a place where to give my pedal method its final shape. with any of the thoughtfully designed all together and see what comes about. Q
problems could arise. On the other hand, This brief comment suggests not that the “official” organ shoes, my New Balance
any sense that the foot is inert or clunky, methods in question actively discourage shoes, or anything else that is intrinsically Gavin Black is director of the Princeton
or that the shoes are a barrier to supple- playing in socks or bare feet, but that correct. However, it is worth bearing this Early Keyboard Center, Inc., Princeton,
ness, is at least as great a danger. they simply did not mention it. No one in mind as it relates to the passage of New Jersey (pekc.org). He can be reached
3) The question of whether one may should assume that a method book cov- years. Will the shoes that you like and are at gavinblackbaroque@gmail.com.
wear street shoes to play is a very big ers everything. But we have an impulse
one. It encompasses all sorts of other to assume that. How can a writer be
matters, starting with concern about clear, emphatic, and honest about what
dirtying the pedals. It seems pretty they think without inadvertently seem-
self-evident that it is a good idea not to ing to close out other options?
allow a pedal keyboard to become dirty 7) I am a proponent for allowing stu-
or gritty, and especially not to scratch dents to establish their own preferences.
it. Can this be achieved by walking into This is a good model for students to
the room already wearing the shoes in not necessarily do everything that your
which you are going to play but making teacher does—or for the teacher not to
sure to clean them? That might depend assume that what is right for you is also
on what is going on outside, particularly right for everyone else.
when it comes to various types of inclem- 8) This gets back to the cowboy boot
ent weather. But it is also important to thing. The question as it relates to shoes
keep issues separate. If we think that is not what size one’s feet are, but how
WWW.THEDIAPASON.COM THE DIAPASON Q MAY 2021 Q 11You can also read
