“The German-speaking Lands,” with theawkward admission that it wascom- posed elsewhere and not mentioned at all in “The United States.” (Weinrich also played Roger Sessions’s Chorale, and that piece is notmentioned either.) Should we care? With so much empha- sis on geographic regions and national histories, this book would seem to sug- gest we should. Yet such questions—in the face of globalization—are becoming less interesting. Another more com- pelling question also arises from this book: Why does the admirable first chapter (on the instruments them- selves) cast so thin a shadow over the re- mainder of the volume? And a related point: Would it have been more useful to place Kolodziej’s essay near the be- ginning, so that it likewise might have helped to shape the discussion? Both of these essays suggest new, possibly un- familiar, even uncomfortable ways to survey the organ repertoire. Taking some of the emphasis away from a na- tional and stylistic history of works and placing thatemphasis on the ways those works were used by, and what they meant to, the musicians of their time is one path toward a 21st-century account of 20th-century organ music. The im- pressive number of footnotes and siz- able bibliographies found throughout this book do not in any way obscure its striking contrasts of historical method- ologies, old and new. Twentieth-Cen- tury Organ Music reveals a field in tran- sition, and the vision of its editor shows us a way forward.


Lawrence Archbold is professor of music and the Enid and Henry Woodward College Organist at Carleton College, Northfield, Minn. He has written essays on Baroque and Romantic organ music.


R &USSELL ORGAN BUILDERS AUGUST 2013


ELL CO.


60 Atcherson Hollow Rd. Chester, Vermont 05143 phone: 1.802.869.2540


website: www.russellorgans.com 49


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