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2012 East Texas Pipe Organ Festival: Kilgore, Longview, and Nacogdoches, Texas

Neal Campbell

Neal Campbell has been director of music and organist of St. Luke’s Parish, Darien, Connecticut, since 2006. Prior to that he held church, synagogue, and college positions in Washington, Philadelphia, New York, New Jersey, and Virginia. Growing up in Washington as a student of William Watkins, he first met Roy Perry in 1972 when he was a finalist in the AGO National Organ Playing Competition in Dallas. He continued his association with Perry during the years Perry presided over the work at Washington National Cathedral and he played and recorded on the Kilgore organ several times. For a fuller account of the festival, including complete programs and stoplists, the reader is referred to Neal’s blog at http://nealfcampbell.wordpress.com.

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Background

For the second time in as many years, I attended the East Texas Pipe Organ Festival held November 12–15, 2012, honoring the life and work of Roy Perry (1906–1978), featuring four organs built by Aeolian-Skinner that Perry designed and finished. The rationale for such an event is best summed up in Roy Perry’s own words in a brochure he wrote in 1952, shortly after the organs in First Presbyterian Church and St. Luke’s Methodist Church in Kilgore, and First Baptist Church in Longview were built:

 

A decade and a half ago the tonal designs of G. Donald Harrison were considered revolutionary, mostly because of the considerable publicity given a few of his organs built in the so-called Baroque style. At the present time, when tastes range all the way from extreme Romanticism . . . to the bleak austerities of the Baroque, his tonal ideas represent a temperate middle-of-the-road. The flexibility of his thinking is well demonstrated in the three organs considered in this booklet. None of these organs is extreme in any direction. They are alike only by way of family resemblance, but each in its way is a work of art. They provide a generous education in contemporary organ building as interpreted by this great artist, and are happily concentrated in a small geographical area.

 

It is clear from his own words that Roy considered G. Donald Harrison, and not himself, to be the designer of these organs. This raises the question: did Perry design these (or any other) A-S organs? Roy himself would have been the first to say it was GDH, whom he revered during their association. But it is also true that Roy had a lot of design control over the organs he sold for A-S and that GDH relied heavily on Perry’s knowledge in setting parameters. In the last fifteen years of A-S’s existence following Harrison’s death, Roy’s influence over “his” organs was even greater, sometimes even surreptitiously so!

However, the real signature that manifests itself in each of Roy Perry’s organs is the result of the finishing process in which he and the Williams family of technicians brought the factory-completed instruments to their full flower through installing and tonal finishing on site. (See Lorenz Maycher, “The Williams Family of New Orleans: Installing and Maintaining Aeolian-Skinner Organs,” The Diapason, May 2006.) This, multiplied over the span of his 20-plus-year career with A-S, puts a musical imprimatur on Roy’s organs that is hard to miss, although difficult to quantify by means of scientific measurement. Writing to Henry Willis III in 1955, Donald Harrison says that Roy 

 

. . . has supervised, with the aid of Jack Williams [sometimes known as T. J.] and his son [Jim or J. C.], most of our important installations in Texas. He is an accomplished organist and has a wonderful ear. He is a top notch finisher and during my periodic visits to Texas I cannot remember a time when I have had to suggest that something might have been done a little differently. He just has that kind of organ sense.

 

Festival itinerary

Unlike AGO conventions and denominational conferences with which I personally have been involved, these festivals were my first experiences with a topic-specific conference, and the rewards for those who love these organs were enormous. All of the playing was memorable and the organs were in excellent condition, which made for an exhilarating week. [For an account of last year’s festival, readers are referred to Michael Fox’s review in the February 2012 issue of The Diapason.] 

My complete participation was somewhat compromised by having to play services in Connecticut on Sunday morning, so I missed the pre-festival recital by Bradley Welch on Sunday evening in Longview. Further, part of my mission in attending was to provide transportation and note-holding for organ technician Stephen Emery. But I did attend all of the recitals on the four Aeolian-Skinner organs—the three in Kilgore and Longview, and one in Nacogdoches.

In addition to honoring the legacy of Roy Perry, this year the life and career of Alexander Boggs Ryan, noted teacher and performer from Longview, was commemorated in the Wednesday afternoon and evening sessions in Longview when the program departed from its A-S-centric (and even its organ-centric) scheme in an organ recital and a program of harpsichord music in Trinity Episcopal Church, the Ryan family church and organ. There was also a display of memorabilia on the lives of Perry and Ryan at the Gregg County Historical Museum.

Just as no discussion of these organs in their earlier generation would be complete without mention of the Williams family of organ technicians from New Orleans who installed and maintained them, so the work of Steve Emery was central to the success of this festival. For a week prior to the festival itself, and throughout the week of events, Steve gave these four organs the type of careful, knowledgeable, sympathetic attention that has earned him his reputation as an expert on the maintenance and restoration of these types of organs. 

This circuit-rider approach to organ maintenance is not unlike what took place in the years following these organs’ initial installations and on other A-S installations throughout the region: the Williamses—T. J. and Sally, Jim and Nora, or some combination—would arrive on site, check into a motel and stay for a week or ten days once a year at the most! to do a thorough tuning and some planned repairs. Between these annual visits Roy Perry, assisted by locals, would tune and make minor repairs. 

 

Monday

Before the festival officially opened, there was an opportunity in the afternoon to gather in St. Luke’s United Methodist Church in Kilgore for a demonstration of the organ and for some reminiscences and conversation with Charles Callahan and Larry Palmer on composers they had known and with whom they had worked. 

Larry offered remembrances of his several commissions from and first performances of the works of Gerald Near, and Charlie told of his encounters with Leo Sowerby, David McK. Williams, and Thomas Matthews. Of particular interest, however, were his remembrances of visiting with Alexander Schreiner, pupil of Widor and Vierne, whom we know primarily as the organist of the Mormon Tabernacle immediately prior to and following the installation of A-S’s legendary five-manual organ. But Schreiner’s Ph.D. degree was in composition and he composed a lot of music, most of which is unknown. 

The opening recital of the festival was given by Thomas Murray at the First Presbyterian Church in Kilgore on Monday evening and was the second annual recital honoring James Lynn Culp, organist emeritus of the church. At the mid-point in the evening a plaque was shown honoring Culp’s thirty years of service to the church, which will be placed in the chancel along with those to Roy Perry and G. Donald Harrison.

Murray’s use of the organ was the most conservative of the week and the organ obliged completely and effectively in replicating a sound more typical of the house of Skinner in its pre-Harrison days, even in his hefty dose of Bach—the Concerto in C after Ernst, and the Passacaglia. The rest of the program, and particularly the Franck Grande pièce symphonique, was informed by a 19th-century aesthetic. In the scherzo of the Franck, in particular, Professor Murray’s solid and assured technique was put to good use. 

 

Tuesday

The morning recital was again at First Presbyterian Church and could not have been in greater contrast to the use of the organ the previous evening. I had not heard Walt Strony previously, although I had known his name and—erroneously, as it turns out—had assumed he was strictly a theatre organist. What I quickly learned was that his approach, technique, and style defies description in typical academic terms; Strony seems completely at home in concert, theatre, and church settings. It must have been this type of all-commanding wizardry put to solid musical principles that led throngs to hear organists Edwin H. Lemare and Archer Gibson in the early 20th century.

He used the organ in all of its permutations and possibilities. The standard groupings of organ tone and registration were clearly evident, but the imaginative exploitative quest for color and drama was also always apparent, and tastefully so. Walt’s biography in the program booklet says that he has written a book on theatre organ registration, which has become a standard reference work for theatre organists. I wish he would write one for classical organists, too. We have a lot to learn from him, especially those who attempt effective transcriptions. 

Walt’s program was an eclectic mix of original works for organ, transcriptions, paraphrases of classical standards, and some dazzling arrangements of his own. His hymn arrangements made me ache for the pre-praise-band days when the organ was still the instrument of choice in evangelical churches. I particularly liked his inclusion of an arrangement of a Fats Waller piece, reminding us that Waller was an organist and knew Dupré! His performance of Lemare’s transcription of the Liebestod easily stood its own with Virgil Fox’s recording at Wanamaker’s. The Carmen Fantasy and closing Kismet suite on music by Borodin were the organist’s counterpart to a standard 19th- and 20th-century piano virtuoso’s staple—the symphonic paraphrase. In this case Walt struck me as being the Horowitz of the organ! Richard Purvis’s music (Capriccio on the Notes of the Cuckoo, and Thanksgiving from Four Prayers in Tone) captured the essence of the Kilgore organ, which was easily the equal of its slightly older and larger cousin, Grace Cathedral, the organ for which it was conceived. 

I was impressed most of all by the fact that Walt Strony seemed comfortable in stepping aside and letting the organ take center stage in its own right. He did not try to mold it into his preconceived notion, or filter it through any established aesthetic. He didn’t attempt to make it sound like a theatre organ, or a so-called symphonic organ, or a classic organ, although elements of each were clearly present. It was simply the modern American organ playing music—and, in a word Roy Perry liked to use in describing this very organ, it was “deluxe!”

Tuesday afternoon the conference moved to Longview, about a ten-minute drive from Kilgore, and was devoted to a visit to Trinity Episcopal Church in Longview, the Ryan family church. Jeremy Bruns demonstrated the Ryan Family Organ built by Ross King, and Larry Palmer played a harpsichord recital featuring several works—modern works by Near, Martinu, Howells, and arrangements of Duke Ellington—which I was particularly sorry not to hear, but Steve Emery and I had our work cut out for us in tuning the large organ in the First Baptist Church. (See “Harpsichord News,” page 20.)

The history and aesthetic of the First Baptist Church in Longview is the stuff of legend. Its complete history is far too rich to adequately tell here. Suffice it to say that it could only have taken place due to three important and independent factors: the oil-rich location in East Texas, the population boom of the post-World War II era, and the visionary leadership of its pastor from 1945–1971, the Rev. Dr. W. Morris Ford. 

Unlike some so-called “high” ecumenical Baptist churches in the South with impressive music programs and facilities to match—such as Myers Park in Charlotte, or River Road in Richmond (or even Riverside in New York)—First Baptist in Longview was always more or less a typical Southern Baptist church. 

Dr. Ford was a cultured man with an earned doctorate, a love of music, and a fine singing and speaking voice. He sang both as soloist and with the church choir, and it was he who infused the church and its services with an innate sense of classical dignity in all things, which was his authentic response to the calling of the Gospel. This he did without diminishing the essential tenets or manifestations of the Baptist tradition. 

When it was decided to build a new church, the vision was big and bold. The local architect B. F. Crain, who trained at Harvard, and built several notable buildings in the area, was selected and the style of the new church was determined to be “Modern Gothic.” To be frank, there is little that is Gothic about it in the textbook sense, but the scale and towering spaciousness—even its domination of its local surroundings—is obviously inspired by the Gothic aesthetic stripped to its essential unadorned lines. It seats 1,700 and was designed with the organ’s success in mind from the beginning. Taken in this light, the 87-rank organ seems modest, at least on paper. But its tonal impact is comprehensive and monumental. Writing in the aforementioned booklet about the organ when it was new, Roy Perry says:

 

Although this organ leans toward the Classic style, it affords five pairs of strings, a Vox Humana, and percussions, not to mention the wonderful flutes and small reeds. It will do justice to any music, even the humblest; in grandeur it holds its own with the great organs of the world.

The organ seems to have suited the needs and vision of the church perfectly; it was appreciated as an asset to the community and was played by the great organists of the day. Virgil Fox inaugurated the organ and ultimately played there several times, and Catharine Crozier made two notable LP recordings on it, which were iconic in publicizing and documenting the organ when new. 

In the ensuing years recitals and concerts took place with regularity in the yearly round of church services and activities, including a performance in 1962 of the Bach St. John Passion sung by the Robert Shaw Chorale, of which by this time Dr. Ford’s son, David, was a member. The church may not have styled itself as anything but a typical Southern Baptist church, but during Dr. Ford’s tenure as pastor there were many opportunities to be presented with world-class music, in nearly perfect acoustical surroundings, by well-known recitalists and ensembles.

Richard Elliott, organist of the Mormon Tabernacle, played the Alexander Boggs Ryan Memorial Concert at First Baptist Church on Tuesday evening. The recital featured several pieces from various eras and genres, which presented the organ to excellent effect. Ryan had played a recital at the church in 1959 that included three pieces sung by the Rev. Dr. Morris Ford. These three songs (The Heavens Are Telling, op. 48—Beethoven; Panis Angelicus—Franck; and Recessional—Reginald De Koven) were here sung by David Ford, and it was good to hear the organ in its role as accompanist, which was a significant part of the organ’s duty in the normal round of services. 

Richard played the technically demanding program with the ease and confidence audiences are accustomed to from his weekly broadcasts. The concluding work was the familiar Vierne Carillon de Westminster, which was characterized by an intense rhythmic drive throughout, and the gradual building up of dynamic forces, which continued throughout the piece until the very end. Elliott obviously knew how to elicit the most drama out of the organ. Many an organist wouldn’t be able to resist pulling out all the stops too soon; here the various climaxes were gauged and measured, saving something for the final few bars. It reminded me of the old Columbia recording of Alexander Schreiner playing this work at the Tabernacle, and it wouldn’t surprise me if Richard had patterned his scheme on it.

 

Wednesday

The first event of the day was a delightful program by Charles Callahan at St. Luke’s United Methodist Church that consisted of lesser-known gems by Bach, Fiocco, Charles and Samuel Wesley—honoring our host denomination—Peace, Wolstenholme, and three of his own compositions. The program was carefully chosen to highlight the great variety and nuance of this remarkable organ, and were played with charm, elegance, and lyricism. I sat in the back of the full, completely carpeted church and the organ had remarkable presence in the room, which itself was completely devoid of reverberation. This is a testament to the success of the organbuilder’s art.

Before lunch we walked the few blocks to First Presbyterian Church for Ann Frohbieter’s well-chosen program, which, with the exception of Houston composer Michael Horvit’s The Red Sea, consisted of standard, well-known organ repertoire by Reger, Vivaldi-Bach, Ives, Barber, Vierne, and Liszt. But the playing was anything but standard! Each piece was thrillingly played with an obvious affinity and understanding of the inherent resources and beauty of the organ. To me it was the perfect foil to Strony’s program the previous morning, showing the same thrilling approach to the organ via the repertoire. The Red Sea is a programmatic work of eleven sections that depicts the biblical drama of the escape and deliverance of the Israelites from the Egyptians through the Red Sea. 

After lunch we walked back to St. Luke’s for a recital by Christopher Houlihan. The program was heroic for the small organ and room, but consistently well played from memory. Having heard the Bach Passacaglia on Monday evening, it was interesting to hear it again on this organ. Christopher’s interpretation sounded more at home in this setting. Houlihan has made a specialty of the Vierne symphonies, playing all six in marathon sessions around the country. Here he planned three movements (including the Final) from the Sixth, but after practicing at the organ, substituted three movements from the Second, which was a wise move. 

I particularly liked the Bach trio sonata (C major) and his transcription of the slow movement of Debussy’s opus 10 string quartet. Each seemed to capture the chamber-music aspect of the music, which ideally suited this organ and this room. Christopher is certain to have a bright career ahead of him, and it was good to have someone from the younger generation on the festival roster. Incidentally, there were a good number of young people at the festival for individual events, and Joby Bell’s entire studio from Appalachian State University in North Carolina attended the entire week.

Wednesday evening was movie night at First Presbyterian Church as Brett Valliant accompanied the silent classic “The Phantom of the Opera.” Brett’s accompaniment was lyrical and lush and may have been inspired by the theatre organists of the past, but this, like Walt Strony’s program Tuesday morning, was simply the Kilgore organ rising to yet another musical task with satisfying musical results.

 

Thursday

Thursday morning the festival moved to Nacogdoches, where the smallest of the four A-S organs—located in the First Baptist Church—was featured. The worship space here is slightly larger than St. Luke’s in Kilgore and the factors involving the acoustics are much more favorable. The organ is a model of careful voicing, scaling, and finishing, is ideally suited to its surroundings, and is entirely satisfying on its own, in spite of its small size. 

The program began with Scott Davis leading the audience in singing a hymn, with his improvised introduction, an interlude, and concluding stanza. Scott also concluded the program with an extended multi-movement improvisation in the style of his late teacher Gerre Hancock. These—the hymn singing and improvising—were the only nods during the week to the liturgical effectiveness these organs also possess.

The centerpiece of the program was another of Charlie Callahan’s signature programs of interesting, lesser-known works, which were carefully selected and performed to present the organ in its most favorable light—works by Clarence Dickinson, Nathaniel Dett, Joseph Clokey, and Richard Purvis’s Melody in Mauve, a harmonically rich and evocative gem. Charlie also played two recent compositions of his own: Alleluia (an energetic miniature, similar in feel to his more virtuosic Fanfares and Riffs) and Festival Voluntary on “St. Anne” for Horn and Organ, which received its first performance.

Charlie also spoke at some length about Roy Perry and the Williams family, and some of the other Aeolian-Skinner personalities he has known over the years growing up in Boston, particularly Arthur Birchall, for whom as a young man he held notes on tuning and finishing jobs. This was a valuable spoken addition to the otherwise instrumental nature of the week’s events.

Back to Kilgore for the afternoon recital by Christopher Jennings for what was anticipated as a highlight of the week: the complete performance of Clarence Dickinson’s Storm King Symphony at First Presbyterian. We know that Dickinson played individual movements from among the five, but there is no documentation of his (or anyone else’s) ever playing the entire work, and this was one of several times this season when Christopher has played it in its entirety. The program notes told us that the symphony “reflects impressions made on the composer by the varying moods of the stately Storm King mountain, which stands guard over the Highlands of the Hudson” near Dickinson’s home.

It is a pity that in most circles Dickinson’s compositions aren’t taken very seriously today. He wrote so many small works and carol arrangements that are so accessible that the larger forms, which require significant technical prowess, are basically unknown. Taken as a whole, the entire symphony could easily supplant the effect and aura of either the Reubke Sonata or Liszt Ad nos on a recital program.

Christopher’s use of the organ was informed by the early 20th-century organs that Dickinson would have known, but in a commanding and vivid way that did not sound retrospective. The natural power and expressiveness of the organ was entirely satisfying and there was not the impression that he was under-using the organ, even though he elected to leave out most of the upperwork. On occasion he used the famous Trompette-en-Chamade in chorus, Bombarde-wise, and it was very effective. The sound is not as ferocious as it looks, at least out in the church. In fact, it is one of the standard A-S Trompette Harmonique designs mounted horizontally, on reasonable wind pressure, which can in fact function as a chorus reed capping the full ensemble when called upon to do so.

I regretted that I could not attend the second half of the program, consisting of works by New York composers Alec Wyton, Calvin Hampton, and Gerre Hancock, as Steve Emery and I had to get over to Longview to touch up the tuning.

Ken Cowan played the concluding recital at First Baptist Church. In advance publicity on its Facebook page, festival director Lorenz Maycher wrote: “On the questionnaire, where his manager asked what kind of program we’d like, I put HEAVY DUTY. That’s exactly what we got. I love it when that happens!” There’s really not a lot that I can add to that. It was a huge program, played from memory, characterized by effortless technique in the service of the music, and impeccable use of the organ’s vast resources. It was epic and (sorry Virgil Fox) I don’t recall a better organ recital in my life.

When the Kilgore organ was new, one of the first players to present a recital on it was William Watkins, then not 30 years old. He had just won the Young Artist Award of the National Federation of Music Clubs, at the time the most prestigious competition to which any young musician could aspire; it was open to all instrumentalists. Watkins was the first organist to win it, and Roy Perry wisely brought him to play the new organ to a full church. The review in the Kilgore News Herald of February 17, 1950, which Watkins used in his publicity for many years, was written by Roy Perry himself, concluding “This boy is one of the great interpretive artists of the century.” The same can truthfully be said of Ken Cowan in this century. ν

 

 

 

All recent photography is by Bill Leazer and Paul Marchesano.

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Larry Palmer
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Broadening a harpsichordist’s 

horizons: Remembering the East Texas Pipe Organ Festival,

November 2014

It was a somewhat unusual beginning for a fascinating week in November: a two-hour Sunday-morning drive from west Dallas to the east Texas town of Kilgore, with my 1939 John Challis clavichord occupying the car’s back seat. The purpose of the trip: to present a program inaugurating the downtown office space for the East Texas Pipe Organ Festival, with a short recital and brief preview of a work by Herbert Howells scheduled to be sung during the festival’s day trip to Dallas! After my quiet clavichord opening, the rousing Sunday evening concert by duo-organists Elizabeth and Raymond Chenault was a complete contrast. The Chenaults performed on the magnificent Aeolian-Skinner organ of Kilgore’s First Presbyterian Church, the professional home of Roy Perry (1906–78), whose life and work provides the focus for these annual gatherings.

Monday’s schedule began in nearby Tyler, Texas, with some welcome insights into Jewish worship music (Ann Frohbieter) and a riveting presentation by local author Jan Statman. Statman read from her book Raisins and Almonds . . . and Texas Oil: Jewish Life in the Great East Texas Oil Field (Austin, Texas: Sunbelt Eakin Press, 2004), relating the background story of the 1930s economic boom that provided the funds for purchasing the outstanding American Classic pipe organs to be found in this part of Texas. Further down the road, George Bozeman demonstrated several historic organs in Palestine. The evening program, back in Kilgore, offered choral repertory from the Aeolian-Skinner recording Music of the Church, a much-praised 1950s disc recorded by Roy Perry and his choir.

A briskly cold day in Dallas produced some of the hottest musical performances of the festival, especially in the flawless playing of three Leo Sowerby masterpieces by festival director Lorenz Maycher on the Aeolian-Skinner chancel organ in Lovers Lane United Methodist Church and the perfectly planned and executed Evensong at the Episcopal Church of the Incarnation, where organist Graham Schulz and music director Scott Dettra offered incandescent renderings of the Dallas Canticles by Herbert Howells as well as a new prelude by Dallas organist and composer George Baker on Howells’s hymn tune Michael. There were exciting surprises even for longtime residents of Big D. For instance, I had never heard recital programs on two of the city’s outstanding Aeolian-Skinner organs at Kessler Park United Methodist Church and at the Fifth Church of Christ, Scientist, lacunae ably remedied by organists Casey Cantwell and Joby Bell. Many festival attendees were heard to opine that a “Dallas Day” would be well received as an annual event, even though the round trip to and from the city takes four hours!

Bookending Wednesday’s events were two highly contrasting musical offerings. An early morning recital by David Baskeyfield on Roy Perry’s Presbyterian masterpiece displayed lovely registration choices and musical suavity in two Mozart pieces originally composed for mechanical clock organ and stunning virtuosity in works by Tournemire and Widor. In the evening, a brilliant accompaniment by Walt Strony for Buster Keaton’s hilarious silent film The General was very much appreciated by the capacity audience.  

Thursday’s excursion to Shreveport, Louisiana, and the neo-Gothic splendor of St. Mark’s Episcopal Cathedral was another “embarrassment of riches,” with a trio of superb organists making memorable music on the magnificent instrument there. Michael Kleinschmidt’s performance of Duruflé’s Prelude and Fugue on the Name ALAIN and his architectural mastery of Widor’s final organ symphony (“Romane”) particularly stand out in memory, but Frederick Swann and Richard Elliott gave memorable recitals as well.

Not to be forgotten were the “words of wisdom” delivered by veteran Shreveport organist William Teague in conversation with Lorenz Maycher—a charming (and practical) interlude. Listed in the program book as “Little Nuggets I Have Picked Up Along the Way,” Teague reminded his listeners to “always check the pistons; play for God and not yourself; [do] not  . . . play too fast because in the details one hears the music.” He reminded us of Dora Poteet [Barclay]’s quote from Marcel Dupré: “Find the fastest it can go, and play less fast.” Other reminders were: employ meditative music for church, rather than recital repertoire; do not forget that hymns belong to the congregation; and, perhaps most important as advice for male organists: never wear tails if the organ bench has a back!

Aural (or at least “organ-al”) fatigue was setting in by Friday, the final day, but Jeremy Filsell’s concert at First Baptist Church in Longview was made memorable when he mistakenly stepped into the baptismal font on his way to the organ console in this stunningly original sanctuary! All was made better by that day’s lunch at Longview’s Johnny Cace’s Seafood and Steak House, a soothing organ and harp recital by Charles Callahan and Stephen Hartman, and a brilliant closing concert by Mark Dwyer (both concerts at First Presbyterian, Kilgore). Dwyer’s program was the fourth annual concert in honor of James Lynn (“Jimmy”) Culp, organist emeritus of the church.

The 120-page spiral-bound festival program book sported a genial photograph of Roy Perry on its front cover. Special guest of honor for 2014, Frederick Swann, was portrayed in multiple photographs and program facsimiles from various stages of his life and illustrious career. The book, available through the ETPOF website, would be worth its price even if it contained nothing more than the fascinating “Reminiscences” (1989) by Robert Owen, another iconic organist remembered for his recordings. Of interest to harpsichordists is a short reference to Owen’s study in France with Landowska student Marcelle de Lacour, as well as his delightful memories of Dupré, Marchal, Demessieux, Noelie Perront, and other mid-20th-century French musical luminaries.

I am pleased to report that, among the “goodies” included in the registration packet presented to each participant, there was a pristine “just-off-the-press” copy of The Diapason for November 2014. It was a much-discussed item at the popular evening “After-Glow” camaraderie that marked the end of each musically rewarding day. 

2014 artists who will return for the November 2015 festival include David Baskeyfield, Charles Callahan, and Mark Dwyer; they will be joined by Bradley Welch, Todd Wilson, Scott Dettra, Adam Pajan, Caroline Robinson, Jelani Eddington, and Ken Cowan. Special guest of honor will be Albert Russell, whose Kilgore residency coincides with the release of digital discs produced from the original tapes of his two Aeolian-Skinner recordings.

I highly recommend this regional festival. Travel to Texas and marvel at
G. Donald Harrison’s and Roy Perry’s legacy of American Classic organs as found in these charming and hospitable East Texas venues. Most guests who attended one of these musical feasts have returned in succeeding years, for second, third, fourth, and now, fifth helpings.

Harpsichord News

Larry Palmer
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A harpsichordist in Aeolian-Skinner land:

2012 East Texas Pipe Organ Festival 

One recurring category in my performing career has been as a harpsichord soloist for conventions of organists: filling in when the planners wish to utilize an historic space in which the organ is not as interesting as the building (St. George’s Methodist Church, Philadelphia, for the International Congress of Organists, 1977); to showcase a lovely church in which the organ is not playable (New Orleans, Organ Historical Society, 1989); or to feature an orchestra hall bereft of any pipe organ whatsoever (Minneapolis, Twin Cities American Guild of Organists national convention, 1980).

Thus, an invitation to play harpsichord during the 2012 East Texas Pipe Organ Festival (November 12–15) was not a total novelty. The justly famous mid-20th-century Aeolian-Skinner organs in Kilgore and Longview were the primary focus for this second annual gathering of organ enthusiasts, but Kilgore’s First Presbyterian Church organist Lorenz Maycher, the originator and organizational wizard who put it all together and made it run smoothly for the 75 registered participants as well as large numbers of local concert attendees, decided that a quieter musical offering at mid-day on November 13 (my 74th birthday) might serve as a respite for “ears tired of too many mixtures.” While my program in Longview was ultimately scheduled for Trinity Episcopal, a church without an Aeolian-Skinner instrument, the parish’s three-manual organ by Fort Worth organbuilder Ross King was featured beforehand in a stellar morning recital by Jeremy Bruns, who demonstrated the organ and showed it to be a  thoroughly satisfying and versatile musical instrument in a warm acoustical space.

Often the greatest obstacle to a successful harpsichord recital turns out to be the instrument on which it is played, so the decision was made to transport my own 1994 Richard Kingston Franco-Flemish harpsichord for the program. When asked if a concert would be expensive, I responded, “No, but moving my harpsichord will be!” Longview is 110 miles east of Dallas, an easy but time-consuming trek for my local instrument mover, himself a busy professional percussionist. Lorenz solved the transport problem by enlisting the aid of the Rader Funeral Home’s J Mitchell, who agreed to provide harpsichord moving. The Rader firm already had a history of supporting the local organ scene by moving large pipes during installation and recording projects. I was expecting that my nine-foot-long “Big Blue” would be transported in a hearse (reminiscent of at least two harpsichord deliveries from Willard Martin, who customarily bought used hearses, citing the ease of double parking them without penalty for deliveries “even in New York City”)! However, Mr. Mitchell substituted an unmarked white van and also provided its careful driver, Logan Montana, a student at Kilgore College.

Another necessity for a successful recital is the thoughtful choice of an appropriate program. How often have I attended a concert played for a general audience only to be underwhelmed by an overly esoteric choice of repertoire! For this particular outing, I figured that the audience would be appreciative and knowledgeable about organ music, but perhaps somewhat less familiar with the harpsichord offerings. Therefore I attempted to choose some works that might have at least a tenuous connection to the organ. After many draft programs were drawn up and discarded, I settled on one that included works by several composers likely to be known to the festival registrants. From J. S. Bach, two compositions to end each half of the recital: first, a transcription of his profound Chaconne in D Minor (from the Solo Violin Partita, BWV 1004) in an unpublished 1944 arrangement by the American harpsichord maker John Challis (who was also an organist), and, to conclude the concert, Bach’s shortest harpsichord Toccata (in E Minor, BWV 914), which opens with an ostinato figure suggestive of an organ pedal motive, includes a highly dramatic recitative, and ends with a brilliant chromatic fugue.

Additional composers probably familiar to organists included Herbert Howells (represented by three short dance movements from Lambert’s Clavichord) and Gerald Near, whose Triptych for Harpsichord I commissioned in 1982. This work, beginning with an atmospheric Carillon, proved site-appropriate, since the church’s hour chimes struck at two, providing thereby an unforeseen, but appropriate, introduction to the recital.  To these works I added pieces that have been favorites in many of my concerts: Bohuslav Martinu’s Sonate pour Claveçin (1958), and two idiomatic baroque works: La D’Héricourt and La Lugeac by Claude-Bénigne Balbastre. Finally, a rarity newly added to my repertoire this season, Duke Ellington’s unique harpsichord work A Single Petal of a Rose (1965) in my own revision of an unpublished arrangement by Igor Kipnis and Dave Brubeck. It must have worked, for applause solicited an encore, Cantilena (from Trifles) by Texas-born, Denver-resident composer Glenn Spring.

The four-day festival sported a roster of players that easily might be the envy of most convention planners: evening recitalists included Ken Cowan (Rice University), Richard Elliott (Mormon Tabernacle, Salt Lake City), Thomas Murray (Yale University), and Bradley Welch (Highland Park Methodist Church, Dallas). In morning and afternoon programs the attendees heard organists Walt Strony, Jeremy Bruns, Ann Frohbieter, Charles Callahan, Christopher Houlihan, Scott Davis, and Christopher Jennings. A late evening showing of the silent film Phantom of the Opera featured organ accompaniment by Brett Valliant. Michael Barone, host of the nationally syndicated organ program Pipedreams, recorded all the concerts, and was a familiar and supportive presence throughout the festival. 

A larger-than-expected number of registrants had indicated an arrival well before the official opening recital on Monday evening, so the resourceful Lorenz added a shopping tour of Kilgore antique and specialty stores, lunch, and an afternoon program at St. Luke’s United Methodist Church, during which Charles Callahan gave an effective brief improvisation in the form of a stop-by-stop demonstration of  the church’s two-manual Aeolian-Skinner organ (1952) as a musical prelude to an informal conversation between the two of us on our assigned topic “Composers We Have Known.” Charles and I had not met previously, but we formed an instant camaraderie as we reminisced for more than an hour about associations with Leo Sowerby (and heard a recording of his anthem for SAB choir and organ, Jesu Bright and Morning Star), Gerald Near (with brief examples from his three-movement Concerto for Harpsichord and Strings), Daniel Pinkham, Thomas Matthews, Paul Creston, Alexander
Schreiner, Olivier Messiaen, Jean Langlais, George Thalben-Ball, Francis Jackson, Alec Wyton, Calvin Hampton, Herbert Howells, Vincent Persichetti, Ross Lee Finney . . . quite a diverse compilation of memorable luminaries!

Housing in the Comfort Suites at Kilgore was truly comfortable, with a full hot breakfast available each morning at no extra charge, a complimentary late afternoon happy hour (if one happened not to be at a recital), and an “even happier hour” that extended late into the night, where all could mingle to talk of the day’s events, enjoy a libation and snack, or purchase recordings, books, and music presented for sale by the festival artists. What better place could there be to acquire Callahan’s Kilgore Suite or reissues of historic Aeolian-Skinner organ recordings on compact discs produced by Lorenz Maycher’s Vermont Organ Academy?

The festival honored the life and work of Roy Perry (1906–1978), Aeolian-Skinner tonal finisher and Texas sales representative, a much-beloved musician and unforgettable character who served as organist of Kilgore’s First Presbyterian Church from 1932 until 1972. Perry is buried in the private Thompson Family Cemetery, a quiet and peaceful gravesite visited by the bus-travelling attendees on their way to a celebratory lakeside dinner in honor of the Crim family, donors of Aeolian-Skinner’s 1949 opus 1173 at First Presbyterian. Celebrated as well were the musical achievements of the Longview-born organist Alexander Boggs Ryan (1928–1978), who was remembered with a recital at First Baptist Church, Longview, featuring several works he had played there in 1959 on Aeolian-Skinner’s 1951 instrument (opus 1174), an exhibition at the Gregg County Historical Museum, and a gala reception. 

It is this sense of connection, of place, and of gratitude to those whose gifts caused such treasured instruments to be built in these Texas churches that assures the festival’s success not only with those who come from afar, but also for the local residents who attend in generous numbers. All the musical programs are open to the general public at no charge, and it was especially gratifying to see many young people at these recitals, including students from the local college and a group of organ students from Appalachian State University in Boone, North Carolina, who had made the long trip to Texas in a van with their teacher Joby Bell.  

It was an honor to be a part of this event, and I felt a great sense of anticipation when informed that my picture (in color) had been published in the Longview News-Journal for Wednesday, November 14. When the festival bus arrived back at the hotel late that evening, I set out on foot to find a copy of the paper, and, after two false attempts, actually found one! And there, at the bottom of page 6A was the photo with the caption, “Larry Palmer performs Tuesday on an autochord at Trinity Episcopal Church.” For years I have collected misspellings of the word harpsichord (and there are many of them that have appeared in print), but here was a totally unique attribution, only one of many pleasant experiences afforded by the East Texas Pipe Organ Festival, 2012.

For a more detailed account of this festival, see Neal Campbell’s report on pages 22–25 of this issue. For more information about past and future festivals, see www.EastTexasPipeOrganFestival.com. ν

 

Photo credit: Bill Leazer

East Texas Pipe Organ Festival, November 14–17, 2011

Michael Fox

Michael Alan Fox is a retired bookseller and publisher who reviewed organ records for The Absolute Sound for 15 years. Growing up in San Francisco, he fell in love with Aeolian-Skinners while listening to Richard Purvis at Grace Cathedral; and as a disciple of Maurice John Forshaw—Jean Langlais’ first American pupil—he has an unshakable faith in seamless legato. He is organist of All Saints Episcopal Church in Hillsboro, Oregon.

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The East Texas Pipe Organ Festival took place November 14–17 in and around Kilgore, Texas, and was one of the best organ-related gatherings I have ever attended. This was largely because of two men: Roy Perry, the former organist-choirmaster of the First Presbyterian Church of Kilgore, and Texas representative for Aeolian-Skinner; and Lorenz Maycher, the current Kilgore incumbent, and devoted historian of Aeolian-Skinner, who decided that Perry’s achievements deserved wider recognition.

 

Harrison & Perry

Admirers of the company know that
G. Donald Harrison held Perry’s work—and zany humor—in high esteem, and the Texas instruments that were installed by the Williams family of New Orleans and finished by Perry have a special place in the hierarchy of Aeolian-Skinner organs. (See “The Williams Family of New Orleans: Installing and Maintaining Aeolian-Skinner Organs,” by Lorenz Maycher, The Diapason, May 2006.) Perry’s own organ in Kilgore was featured prominently in the King of Instruments recordings that the company released to promote its organs, and the slightly larger sister organ in Longview was used by Catharine Crozier to make two important recordings of American organ music. If for no other reason, the Kilgore organ would have its place in history as the organ that introduced the chamade trumpet to America, perhaps a cause for sorrowful head-shaking to many.

Fashions changed in the following decades, and many regarded the American Classic ideal as unsatisfactory eclecticism, and it must be said that even before Harrison’s death that approach seemed to be narrowing its scope even as it was narrowing its scales, and some notable instruments came to be deprecated or ignored—or, worse, rebuilt.

Through these decades, some organists continued to maintain that the Roy Perry organs were very special. He figured prominently in Charles Callahan’s histories of Aeolian-Skinner, with letters to and from G. Donald Harrison. Inevitably, tastes changed yet again, and some of the Romantic aspects of Perry’s designs once again could be seen as reflections of a good musical sense rather than deviations from classical ideals. But the piney woods of east Texas are a long way from big musical centers, and mostly the instruments sat ignored by the larger world. One of them had even fallen on hard times, and due to changing worship styles was sitting unused.

I was enough of a dedicated admirer of G. Donald Harrison organs that I had occasional retirement fantasies about jumping in the car and heading on a long diagonal trek from the Douglas firs of the Northwest to the loblolly pines of Texas and actually hearing those two organs. For one reason or another, the fantasy trek never happened; and so when I read the announcement of this East Texas Pipe Organ Festival I signed up immediately. It ran from a Monday evening opening concert through Thursday evening, three non-stop days and nights.

The festival was essentially on the scale of an unusually good AGO regional, but it really was the work of one man with whatever support he may have asked for and received from others; those are details of which I know nothing. But however Lorenz Maycher made it happen, the organization was impressive. There were 50 or 60 attendees, a comfortable and convenient headquarters hotel, a
giant bus, catered meals that were never less than good and in the case of a gumbo dinner, just terrific, organs that had been freshly tuned (and because of some odd swings in the weather, even retuned), hospitable churches, and first-rate recitalists. For arranging this tribute to Roy Perry, Lorenz Maycher undoubtedly earned himself a place in the ongoing Aeolian-Skinner saga.

 

Opening concert

The opening concert was at First Presbyterian in Kilgore, and the program repeated the content of Roy Perry’s original recording, “Music of the Church,” Volume Ten in the King of Instruments series. A choir of some 30 voices was conducted by Frances Anderson, who as an Austin College student had sung on the original record. After the appropriate opening hymn (Engelberg), the choir, accompanied by Robert Brewer, sang Parry’s I Was Glad, Ireland’s Greater Love Hath No Man, and Vaughan Williams’s setting of Old Hundredth. Practical considerations led to the substitution of Elgar’s The Spirit of the Lord Is upon Me for David McK. Williams’s In the Year That King Uzziah Died, and following the congregational singing of St. Clement, Lorenz Maycher played Bruce Simonds’s Iam sol recedit igneus, the only organ solo on the original record. 

The concert set the tone for the festival perfectly. First Presbyterian is not a huge church—I’d guess that it seats around 300—and even though seat cushions had been removed, it is not a particularly live room. It is not a hostile building: music is clear and well balanced there, but it gets very little enhancement, so the organ’s glory is of its own making. It didn’t take long for that glory to be evident, as Robert Brewer accompanied the choir superbly. The Parry was tremendously exciting, even without the “Vivats”, and that first Trompette-en-chamade is still one of the very best examples, a well-nigh perfect balance of brilliance and body, just loud enough to dominate.

As I heard throughout that concert, and in the succeeding events in that church, Roy Perry’s own organ, Aeolian-Skinner opus 1173, embodies that kind of musical balance in any number of voices. Uniquely, I think, among instruments carrying the G. Donald Harrison signature plate, it is only “rebuilt” by Harrison, since it started life as a Möller, and much of the structure and even pipework (including the notable French Horn) remains from its origin. This perhaps makes Roy Perry’s achievement as a tonal finisher even more notable, because this instrument of 69 ranks is versatile and elegant beyond description. Other Harrisons that I have heard and loved—Grace Cathedral, Church of the Advent, St. John the Divine, etc.—owe something of their effect to their glorious buildings. Kilgore does it all on its own, and I left the concert convinced that I had just heard one of the world’s truly great organs.

 

Tuesday, November 15

The following day offered more opportunities to hear just how versatile the Kilgore organ is, as Maycher, former organist Jimmy Culp (who two days later was honored by the grateful church as its Organist Emeritus), and Casey Cantwell played organ works particularly associated with Opus 1173: Dreams, by Hugh McAmis; Christos Patterakis, by Roy Perry; A Solemn Melody, by Walford Davies; Nun komm der Heiden Heiland, by Bach; Introduction, Passacaglia and Fugue, by Healey Willan; Alleluia, by Charles Callahan; Songs of Faith and Penitence, and Requiescat in Pace, by Leo Sowerby; and The Way to Emmaus, by Jaromir Weinberger.

There were also reminiscences of Roy Perry, as there were later in the week; by my reckoning he would have emerged as the undisputed champion in an all-time contest of Readers’ Digest Most Unforgettable Characters. Attendees learned that his lovely Christos Patterakis was named not for some obscure Orthodox melody, but for an obscure name he saw on a local election campaign poster in California; his irreverence and impishness were as fully developed as his ear for proper pipe speech. For me the highlight among all this music-making was the performance of Weinberger’s solo cantata The Way to Emmaus for soprano and organ. Anneliese von Goerken did a lovely job on the demanding vocal part (it concludes on a pianissimo high A after 22 pages of very chromatic writing); Maycher showed off opus 1173 as no less spectacular an accompanying instrument. 

The Weinberger cantata for years was a tradition on Easter afternoon at Riverside Church, and I have retained a vivid memory of hearing Louise Natale and Fred Swann perform it in the late 1970s. The Kilgore organ was easily the equal of the Riverside giant in providing all of the color required. (I missed only the few Chimes strikes that Swann added; Maycher was faithful to Weinberger’s score.) Part of the magic and the versatility comes from the enclosure of most of the Great, which is both a Great (a splendid Principal chorus, with three mixtures including one that caps full organ in much the same way as the famous
Terzzymbel at Washington Cathedral) and a Solo, with an English Horn and a French Horn to go with an eloquent Flute Harmonique. With some very imaginative thinking, Roy Perry transcended the limits of the usual three-manual instrument and enabled it to be a giant in flexibility.

Later in the afternoon, Casey Cantwell demonstrated another approach Roy Perry took: at St. Luke’s United Methodist Church in Kilgore, opus 1175, he designed a very substantial instrument in a smallish room, but laid it out on two very complete manuals rather than the expected three. The Great, again partially enclosed, is almost enormous at 18 ranks; and the Swell has a chamade Trompette in addition to the usual reed chorus. In a dead room it seems like a recipe for disaster, but Casey Cantwell, moving on from having played the Willan Introduction, Passacaglia and Fugue on Opus 1173 in the morning, demonstrated that Perry knew what he was doing. It played the Bach Prelude and Fugue in E-flat well enough for these ears, and did a thrilling job with the John Cook Fanfare. The program also included Harold Darke’s Meditation on “Brother James’s Air,” Two Meditations on “Herzliebster Jesu” by Mark Jones, and Bach’s Adagio Cantabile arranged by Roy Perry. Cantwell improvised on some hymns, giving the attendees a chance to sing along as the themes were presented, and it was a model church organ in supporting congregational singing. And my fears at seeing those trumpets aimed at us were unfounded; they, and the organ, were just right. In an ideal world you might hope for a livelier room, but working in the real world Perry delivered a very satisfying and completely musical organ.

In the evening, Brett Valliant demonstrated further capabilities of Opus 1173 by using it to accompany a Harold Lloyd film, but I can’t comment on whether that worked or not, since I decided to save my energy for the late night cash bar, where more Roy Perry stories abounded. There sure are some great storytellers in Texas.

 

Wednesday, November 16

The following day the giant bus made the 70-mile trip east to Shreveport, where the group enjoyed the hospitality of the historic Shreveport Scottish Rite Temple, having lunch and dinner in a distinguished dining room. Upstairs in the 500-seat auditorium we heard Charles Callahan demonstrate the sounds of the 1917–1921 four-manual Pilcher, some voices of which weren’t available. Like all such fraternal orders, it faces an aging and declining membership; the preservation of their remarkable buildings, which are usually among the notable structures in every city where they are found, should be yet another cause to which organists might rally.

The major attraction in Shreveport was St. Mark’s Cathedral, Roy Perry’s largest installation. It was designed by G. Donald Harrison in conjunction with Perry and William Teague, then fresh out of the Curtis Institute and embarking on a long career at the cathedral, but it was not built until the Whiteford years. The festival’s visit to the cathedral was preceded by a session of further reminiscences of Perry at St. Mark’s former building, now the Church of the Holy Cross, where a 1920 E. M. Skinner was rebuilt by Aeolian-Skinner in 1949. William Teague—“Uncle Billy” to Roy Perry, and I suppose now about 90 (see “William Teague awarded Doctor of Fine Arts degree by Centenary College,” The Diapason, October 2011, p. 10)—was the star of the show, with a flood of stories that illustrated both Perry’s care for music, as when he sent pipes from the Kilgore strings back to Boston so that the scales could be duplicated for Teague’s organ then in the shop, and his wild sense of humor.

The St. Mark’s organ sounded particularly lovely in Charles Callahan’s prelude to the Evensong service, an atmospheric improvisation that hung in the air like wisps of incense. Following Evensong, Robert McCormick played a recital that started with a particularly colorful performance of the Elgar Sonata, and included three improvisations by Pierre Cochereau, reconstructed by Jeanne Joulain; McNeil Robinson’s Prelude on Llanfair, and Larry King’s Fanfares to the Tongues of Fire; the program ended with an improvisation on submitted themes. The cathedral has a generous acoustic, and the organ sounds like a vintage Perry right up to the point that the big reeds come on. I may be in a minority, but the Solo Major Trumpet unit was the first less-than-beautiful reed I had heard, and the Trompette-en-chamade in the Gallery ranks with that thing at the back of Riverside Church as the ugliest specimen I’ve experienced, and although I wasn’t carrying an SPL meter to be exact about it, I think it was brighter and nastier. I’ll bet Roy Perry would have agreed with me. But the unpleasantness was washed away later back at the hotel by an excellent martini—“Mother’s Milk” in Perry-speak. 

Thursday, November 17

The third day started with a little jewel, the 22-rank opus 1153A in the First Baptist Church of Nacogdoches. Roy Perry priorities are made clear by the presence of two celestes in a small two-manual, and again the organ fits the church like a dream. The church itself was an odd amalgam: distinctive stained glass windows and this vintage American Classic organ on the one hand, a full drum kit opposite the console and a light bridge that would be adequate for a good regional theatre on the other. In any case, Joseph Causby did a great job with a varied program from Bach to Locklair—that last being a substitution that allowed us to hear some very nice Chimes, again a voice found in most Perry organs. No snob, he . . . The program: Bach, Pièce d’Orgue, BWV 572, O Mensch bewein dein Sünde gross; Hindemith, Sonata I; Thalben-Ball, Tune in E; Duruflé, Scherzo, op. 2; Howells, Psalm Prelude, set 1, no. 3; and Guilmant, Final (Symphony No. 1 in D Minor). 

And the day continued in glory. I had gotten Catharine Crozier’s recordings from Longview in my teen years, but I wasn’t prepared for the size and magnificence of the building. It is like no other church I have seen, Gothic stripped down to the essential pointed arch and built in yellow brick on a grand scale. The window at the east end of the church is 66 high by 16 wide, and that reflects the sheer verticality of the design. The organ, Opus 1174, sits in chambers on either side of that lofty chancel, and Charles Callahan demonstrated its 85 ranks in a fascinating recital, mostly of unfamiliar pieces that I’m sure were chosen to show off every aspect of the organ: Wallace Sabin, Bourée in the olden style; Bach, Fantasie con Imitazione, All glory be to God on high, Lord God, now open wide Thy heavens, We all believe in one God; Cimarosa, Sonata IX; Handel, Andante; Paradies, Sicilienne; Gounod, Marche Nuptiale; Salomé, Villanelle; Jongen, Pastorale; Foote, Night–A Meditation, op. 61; Callahan, Three Gospel Preludes, Three Spirituals from Spiritual Suite, Fanfares and Riffs. It sounded wonderful in that huge room, a more sympathetic acoustic than Kilgore, and Opus 1174, wide open, filled it perfectly, the 8 and 4 Trompettes and Cornet of the Bombarde division being ideal climax reeds—but its quiet Romantic voices were just as effective. It is sad to think that the organ had fallen into disuse for some years and then was severely damaged by catastrophic leaks, but it is a cause for rejoicing that the church repaired and restored one of the real monuments of American Classic organbuilding.

The final event was a recital back at Kilgore by Richard Elliott, one of the masters of the Mormon Tabernacle Organ: Handel, La Rejouissance (Music for the Royal Fireworks); Bach, In dir ist Freude, BWV 615, Passacaglia in C Minor, BWV 582; Daquin, The Cuckoo; Widor, Andante sostenuto (Symphonie gothique, op. 70); Gawthrop, Sketchbook I; Elliot, Sing praise to God who reigns above, Be Thou my vision, Swing low, sweet chariot; Wagner, arr. Lemare, The Ride of the Valkyries. I’m sure the church elders were gratified to hear someone who daily plays an organ almost three times the size speak of how thrilled he was to be playing the Kilgore organ for the first time! In turn he managed to thrill the large audience, first with a superb performance of the Bach Passacaglia in the grand manner (every line of counterpoint there to be heard, but also every ounce of drama and passion—not the sort of effect you can get from a start-to-finish forte plenum), and finally with an all-out Ride of the Valkyries, with that miraculous Trompette-en-chamade spurring the riders on. Very exciting stuff—an over-the-top ending to an exciting week.

I am boundlessly grateful to Lorenz Maycher for organizing this heartfelt tribute to Roy Perry and his instruments. I can’t imagine how many hours’ work must have gone into planning all of the necessary arrangements and making everything work so smoothly. The music came first, but it was accompanied by good food and comfortable accommodations, and lots and lots of late-night stories. If the festival is repeated, I’ll sign up the day it’s announced, and you should, too.

Amidst the glorious music and the fun, there was an occasion for solemn reflection when the bus en route to Shreveport stopped to visit Roy Perry’s grave. His last years were difficult, and his death was tragic. His final resting place is in the family cemetery of the Crims, the local eminences who had built the church, donated the organ, and supported Perry’s musical education. His gravestone reads, “Music, once admitted to a soul, becomes a spirit and never dies.” Amen! 

 

 

Harpsichord News

Larry Palmer
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Broadening a harpsichordist’s horizons: East Texas Pipe Organ Festival 5 continues tradition

A stunning series of pictures by photographer David Brown provided the thematic and artistic background for the opening reception of the 2015 East Texas Pipe Organ Festival on Sunday afternoon, November 8, 2015. Brown’s new book comprising photographs of the Aeolian-Skinner organs featured at these annual East Texas celebrations was available at the gala event. Titled An American Classic: Roy Perry and the American Classic Organ, this volume is available as a print-on-demand item from www.blurb.com (www.blurb.com/b/6530916-an-american-classic).

Perry’s own organ at First Presbyterian Church, Kilgore (Aeolian-Skinner’s famous Opus 1173), was the most frequently heard of the Texas treasures, utilized first in Sunday’s vibrant opening recital by Damin Spritzer (works by Benoit, Dallier, Oldroyd, Larry King, Alkan, J. S. Bach, Howells, and Spritzer’s unique specialty, multiple pieces by French-American composer René Louis Becker); continuing on Monday with a thematic program of music associated with the instrument played by festival director and current organist-choirmaster Lorenz Maycher (the finest performance I’ve heard of Sowerby’s Carillon, made unforgettable by the perfect balance of the organ’s chimes and celesta), plus Perry’s own composition Christos Patterakis and three pieces from Callahan’s Kilgore Suite, followed by Charles Callahan himself playing the first performance of his Celtic Suite: four selections commissioned by the festival in honor of this year’s honored guest, organist Albert Russell.

Also playing Opus 1173 on Monday evening, Todd Wilson gave stellar performances of Bach, Widor, and his own transcriptions of three improvisations by Gerre Hancock, culminating in a riveting performance of Reger’s Fantasia and Fugue on BACH. Wednesday began with a program by Adam Pajan, but the day’s most memorable sounds from this versatile instrument were heard by an audibly delighted capacity audience when Jelani Eddington provided his masterfully coordinated accompaniment to the silent film Hot Water, starring comic actor Harold Lloyd. Finally, Ken Cowan made magical music in Thursday’s closing concert, applying his seemingly effortless virtuosity to works by Bach, Karg-Elert, Dupré, culminating in a gripping dramatic performance of Reubke’s Sonata on the 94th Psalm.

Within easy walking distance of First Presbyterian Church, St. Luke’s United Methodist is home to Roy Perry’s smaller masterwork, Opus 1175, a two-manual instrument of 28 stops (plus four borrowed voices to flesh out the Pedal division), and with the added resource of a partially enclosed Great division. One of Maycher’s stated objectives for his fifth festival was to show the extraordinary versatility of this superbly voiced instrument and its ability to encompass the performance of large major works from the solo organ repertory. Bradley Hunter Welch’s impeccable performances of the complete Sixth Symphony of Widor and Liszt’s Prelude and Fugue on BACH certainly put to rest any doubts that might have been harbored by any audience member. Additionally, Welch explored the organ’s lovely individual voices in Max Drischner’s Variations on O Run, Ye Shepherds and all six of J. S. Bach’s Schübler Chorales, cleverly dividing these beloved transcriptions into two groups of three and programming them on either side of the Liszt.

Also playing Opus 1175, young Caroline Robinson presented an eclectic program (Brahms, Vierne, Nico Muhly, Boëly, Alain, Schumann, and Howells, with Sowerby’s Requiescat in Pace sounding particularly appropriate to this instrument). Ms. Robinson was also the inspired presenter of the festival’s free outreach programs for elementary school students and was praised in the local newspaper (Kilgore News Herald, November 14) for her audience-building skills as demonstrated in the two sessions presented at St. Luke’s. 

To experience the region’s other two large Aeolian-Skinner organs of national repute required travelling: on Tuesday morning, November 10, two chartered busses departed at 8:30 for a full day’s excursion to Shreveport, Louisiana. Our schedule began at St. Mark’s Episcopal Cathedral with a 10 a.m. recital by David Baskeyfield. This unflappable young artist showcased the glories of Aeolian-Skinner Opus 1308 in the most generous acoustical environment of the churches that house these treasured instruments with a bracing program comprising works by Whitlock, Saint-Saëns, Dupré (Symphonie II), and a stirring performance of Liszt’s mighty Fantasy and Fugue on Ad nos, ad salutarum undam. After a superb lunch at Ristorante Giuseppe and an eye-opening, leg-stretching visit to the R. W. Norton Art Gallery, the refreshed group assembled at Shreveport’s First Baptist Church (another acoustically live building) to hear Charles Callahan’s demonstration of the fine Williams organ (voiced by Roy Perry), then returned to St. Mark’s for Scott Dettra’s much-anticipated program (Lemare’s organ transcription of Wagner’s Meistersinger Overture, Sowerby’s Arioso, a welcome hearing of Seth Bingham’s Passacaglia in E Minor, op. 40, and Stanford’s Fantasia and Toccata, op. 57—all dispatched with panache and musical grace). Capping the day with a buffet dinner in the uppermost reaches of Shreveport’s Artspace Gallery and a comfortable trip back to Kilgore, weary travelers either engaged in the nightly gathering at Kilgore Comfort Suites (this year titled Owls Paradise, or, in honor of honoree Russell, Al’s Paradise) or simply skittered off to get a good night’s sleep.

The second, much shorter excursion was Thursday’s trip to nearby Longview, where Monica Czausz completely captivated her audience with deftly delivered verbal program notes and supremely confident, musical playing (from memory) of Dvorák’s Carnival Overture (another Lemare-based transcription), shorter works by Bach, Widor, Alkan, and Parker, and a resounding traversal of Reger’s Chorale Fantasia on Halleluja! Gott zu loben—all thrilling on Opus 1174, the Perry-voiced organ housed front and center in the spacious contemporary architecture of First Baptist Church. After another memorable lunch at the Summit Club, Matthew Lewis played a recital of Franck, Vierne, Tournemire, Dupré, the rarely programmed Diptych of Messiaen, and a traversal, both intense and rousing, of Duruflé’s Suite, op. 5.

Evening social times, the famous “After-Glow” sessions at the Kilgore Comfort Suites Inn rounded off each music-filled day. Comfortable transportation on chartered buses also gave the occasional opportunity for such unexpected connections as that between Dallas organist Graham Clarke and Bellevue, Washington, physician Gordon Hale, who discovered their mutually similar experiences from military service during the Vietnam conflict.

ETPOF director Maycher has assembled another stellar group of artists to showcase East Texas’s treasure-trove of American Classic pipe organs for Festival Six (November 6–10, 2016). Book soon (the hotel fills quickly) and join the select 100-plus registrants who will thrill to the musical legacy of the legendary Roy Perry and his magnificently voiced East Texas wonders.

Organ Historical Society National Convention, Chicago, July 8–13, 2012

Frank Rippl
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Chicago? Again? A third OHS national convention in the Windy City? What else was there to see and hear in the way of the pipe organ? There was a great deal—and splendidly presented with grace, good humor, brilliant scholarship, and midwestern charm. Chicago has world-class museums, architecture, shopping, dining, magnificent Lake Michigan—and stunning churches and pipe organs!

 

Sunday, July 8

Jonathan Ryan played the opening recital at St. Chrysostom’s Episcopal Church on Chicago’s North Side, on the fine 2m Fisk Op. 123 (2005) that stands on the floor in the rear nave’s left corner. Things got off to a lively start with Dupré’s transcription of Bach’s Sinfonia from Cantata 29. This robust Fisk has strong, dark, full-bodied reeds; clean, striking mixtures; singing flutes and strings, warm foundations, and a powerful fortissimo. Ryan’s playing had great drive; he saved the mighty reed sounds for a dramatic conclusion. In Sweelinck’s Balletto del Granduca, I liked hearing the full-bodied Trompette, flutes accompanying a Cornet and a jolly Zimbelstern, and a nice organo pleno to close. Fine playing.

Francis Jackson’s Prelude on East Acklam featured some very British sounds: celestes accompanied the 8Octave in the tenor register; I believe we heard the 4Open Flute. The organ more than held its own in the hymn “For the fruit of all creation.” How I love hearing OHS hymn singing! I was seated next to Stephen Schnurr and Dennis Northway, leaders of the convention. Their faces expressed great pleasure. That first hymn is always a wonderful affirmation for convention committee members—a moment of satisfaction after years of hard work. I was happy for them, and all who made this moment possible. This was indeed “the fruit of their creation.”

In György Ligeti’s (1923–2006) Étude coulée 1969 a busy, repetitive pattern of phenomenally fast notes in the flutes flew out over sustained pedal notes, then suddenly ended, flitting off to the upper reaches. A few chuckles were heard. 

Herbert Howells’ Rhapsody in C-sharp Minor, op. 17, no. 3, started big and then presented typical Howellsian dynamic and tonal variations. I liked the Hautbois 8as a chorus reed. The Great Prestant 16in the tenor range was grand. Ryan had a very fine sense of this piece’s architecture.

In No. 4 in A-Flat Major from Robert Schumann’s Six Canonic Etudes, op. 56, Ryan showed the rich foundations, ending with Viole de gambe 8′; No. 5 in B Minor offered pluck and life. George Baker’s Berceuse Paraphrase (1992) was a lovely combination of Vierne’s Berceuse with Away in a Manger—easy on the ear with celestes, solo flute, and soft pedal.

Jonathan Ryan closed with Dupré’s Prelude and Fugue in B Major, op. 7, no. 1—its lively toccata and angular fugue formed a test for hands and feet that he passed well! This excellent recital was a great start to our convention.

Buses took us downtown, where we had our choice of restaurants, then walked to Holy Name Cathedral for a recital by Wolfgang Rübsam on the 1989 4m, 117-rank Flentrop. With mechanical stop action and very deep mechanical key action, it is not for the faint of heart. Following a recent fire, the cathedral was closed for a time. The organ suffered only minor damage, to the Positief; building repairs, with a new terrazzo floor, improved the acoustics. The organ stands proudly in the rear gallery: its elaborate casework, in light-colored French quarter-sawn oak, starkly contrasts with the dramatic dark wooden ceiling. Herr Rübsam’s all-German program began with Bach’s partita Sei gegrüßet, Jesu gütig. Registrations were perfectly proportioned: cornets sang with grace and conviction, beautifully supported by foundations; the full plenum was rich and clear. Elegant playing throughout.

Chorale preludes followed: Helmut Walcha’s Jesu, deine Passion (canon at the sixth) in trio texture; Rübsam’s own Wie soll ich dich empfangen used an 8 Principal with tremolo, a lovely pastel; Walcha’s Ein feste Burg ist unser Gott offered wonderful counterpoint against a sturdy pedal cantus firmus. Walcha (1907–91) was Rübsam’s teacher; Rübsam is recording Walcha’s complete organ works on the Naxos label. We then sang the hymn “A mighty fortress is our God.” Our singing that night was some of the week’s best!

Walcha’s Ich ruf zu dir, Herr Jesu Christ presented effective combinations of 8 and 4 flutes, Cornet with tremolo, and a pedal-reed cantus firmus. Rübsam’s own O Heiland, reiß die Himmel auf: Entrée opened with a grand ff; Communio was a continually moving trio followed by a lush passage on strings and flutes; a lively Toccata followed, including the pedal 32 Bombarde. This thrilling and joyful piece is a first-rate addition to the repertoire. 

More Walcha followed: an introspective Der Tag ist hin, mein Jesu, bei mir bleibe. Usually I’m pretty good at identifying registrations, but not with this organ and organist. Rübsam drew forth a fantastic variety of color—the Dutch reeds were so subtle.

Rübsam closed this perfect recital with Bach’s Passacaglia and Fugue in C Minor. Dynamics began softly but built quickly; tempo was langsam at first, but built momentum and energy. The fugue’s familiar melodies were given their due in perfect balance. I’ve never heard it played better. Rübsam’s wife, Jan, told me that he had had rotator cuff surgery on his shoulder in April. Only three weeks prior to the convention did he know he could play for us! The audience’s roar called him back to the balcony railing countless times. This was a memorable OHS evening.

 

Monday, July 9

Monday dawned bright and sunny. Cooler temperatures followed weeks of horrendous heat. With perfect weather, we were eager to get started. 

We divided into two groups. Mine went to St. Andrew’s Episcopal Church in Valparaiso, Indiana to hear James Russell Brown play the 2m Hook & Hastings Op. 1417 (1889). The Atlas contains Stephen Schnurr’s two-page essay about this organ and Scot Huntington’s 16-page description of his firm’s work restoring the instrument. It stands at the back of the church resplendent in a beautiful oak case and painted façade; the 16 Bourdon pipes form the sides of the case. One of our Biggs Fellows hand-pumped the organ for the recital. Brown began with Handel’s Arrival of the Queen of Sheba (from Solomon). The organ’s sound was clear and warm. In Bach’s Allein Gott in der Höh sei Ehr, BWV 662, the Melodia accompanied the (partially new) 16 Contra Fagotto played one octave lower, along with (I think) the 4Violina, a lovely sound. Brown played with great sensitivity and sweetness. Sur “La, mi, re,” by an anonymous 16th-century English composer, was played on an 8flute. 

Chorale Variations on St. Elizabeth (Crusader’s Hymn), from Frank Ferko’s (b. 1950) Music for Elizabeth Chapel (2001), is charming and would please your congregation. I was eager to see how Brown would bring off the late-romantic Elgar Nimrod from “Enigma” Variations (op. 36), arranged by William H. Harris, on a small tracker organ without stop pullers. He did reasonably well, using the piano and forte ventil-like toe studs, but it was ultimately awkward. Parry’s hymn “O praise ye the Lord!(Laudate Dominum) was a good follow-up, in a fine demonstration of a very beautiful 19th-century organ.

A pleasant walk through a park-like setting complete with pond and fountain took us to First Presbyterian Church for our choice of lectures, one on the restoration of a 1926 Casavant that will be moved to Chicago’s St. John Cantius Church, about which we had received a DVD. I attended the other, “Issues in Restoration,” by Keith Williams of Buzard Pipe Organ Builders, a fascinating consideration of “Why do we do what we do the way we do it,” that also explored the words “conservation” and “restoration”—entertaining and enlightening, with plenty of photos. 

We then drove to Gary, Indiana, once home to U.S. Steel. It has stunning views of Lake Michigan, and an attractive English Gothic-style Catholic cathedral, built and dedicated in 1950 to the Holy Angels. The 2m, 33-rank Phelps Casavant, Op. 2769, installed in 1963, stands in the rear gallery on either side of a large window, and speaks clearly down the nave in a grand acoustic. This was a much-anticipated recital—word was out that this organ was exceptional (it was), and we all love Derek Nickels’ playing (he did not disappoint!). Bach’s Prelude and Fugue in C Minor, BWV 549, sounded clean and polished. The fugue began on the 8 Krummhorn—an unexpected surprise—and built to a blazing full-organ finale. We were all smitten with this instrument; music by Ernst Pepping perfectly suited it: Wie soll ich dich empfangen (Grosses Orgelbuch, 1941), Vorspiel I, Andante cantabile showed the beautiful 8and 4. Vorspiel II, Allegro Scherzando leapt about; a fine reed carried the tune. William Albright’s ever-charming Sweet Sixteenths—A Concert Rag for Organ (1975) was very well played with loads of wit. As it was about 90 degrees outside, and we were packed in the church without A/C, who knows how warm the church was, nor how warm Derek was up in the loft, but it never showed in his playing!

After “Father, we praise thee(Christe Sanctorum)—brilliantly played and vigorously sung—Nickels closed with Dupré’s Variations sur un Noël, op. 20 (1922), a dazzling performance that lifted us out of the pews roaring our approval for this superb recital. (Derek was also in charge of the buses, and did his work very well, indeed!)

Next was Christ Temple Cathedral—Church of Christ (Holiness) U.S.A. in the Roseland neighborhood. The present building was dedicated in 1926. Originally a Dutch Reformed church, in the 1960s and ’70s it and the neighborhood became largely African-American. The church is a well-maintained part of the community. Its 3m, 39-stop electro-pneumatic 1926 Hinners—the largest surviving Hinners in the Chicago area—stands in the front of the church in chambers on either side of the seated choir. Chicago organist and composer Clarence Eddy played the dedication recital. In 1954 Austin replaced the console. The organ fell silent in recent years, but was brought back to life by the Chicago-Midwest OHS chapter especially for our convention. Recitalist Mark Sudeith began with Wilhelm Middelschulte’s (1863–1943) Canon in F Major, dedicated to Clarence Eddy—cheery music using the foundation stops. Schubert’s Am Meer, arranged by Eddy, showed the beautiful soft strings and Vox Humana; the tone is warm and luxurious. Sudeith then played (from the original manuscript) Variations on a Folksong, “Peter, Go Ring Dem Bells,” by Florence B. Price (1887–1953), which displayed the solo reeds and ended with a lively toccata. The hymn “I’m happy with Jesus alone,” by Charles P. Jones Sr. (1865–1949), founder of the Church of Christ (Holiness) U.S.A., was a rouser in the best sense—we loved it. The playing was first rate, and our voices filled the 1,150-seat church with joy.

Our buses took us to Rockefeller Memorial Chapel, on the University of Chicago campus, to hear the massive 72-bell carillon, the world’s second largest (the largest, also a gift of the Rockefeller family, is at New York City’s Riverside Church, with 74 bells). John Gouwens played a stunning program as we sat in the grass beneath the chapel’s soaring tower: Dave Grusin’s On Golden Pond (1981); John Courter’s Suite No. 4 (2009); an improvisation on a submitted hymn tune; and Roy Hamlin Johnson’s Victimae Paschali Laudes (1986).

My group had dinner at Augustana Lutheran Church; organist Daniel Schwandt allowed us access to the church’s new handsome 2m tracker built by Wahl Organbuilders of Appleton, Wisconsin. We took quite a shine to its clear voicing. Wahl reused pipework from an old Lyon & Healy organ as well as newly made pipes—a very successful blend. 

On to the First Unitarian Church, completed in 1931 in the English Perpendicular Gothic style, to hear three historic organs from Stephen Schnurr’s collection. There was also a Hammond player organ performing: another treat! Who knew there was such a thing? Gregory Crowell, making his ninth appearance at an OHS convention, began on a Henry Willis “Scudamore” organ (ca. 1857–1860) with Gottlieb Muffat’s Overture, Suite 1 in C Major. The one-manual, 54-note organ had two ranks: Open Diapason 8 and Principal 4, with a permanently coupled 25-note pedal. The pleasing sounds graced the early evening. Crowell then moved to a sweet-toned little George Jardine & Sons (ca. 1850s) (“the oldest American-built pipe organ in the Chicago metropolitan area,” according to the Atlas). He gracefully played Handel’s Voluntary in C Major, movements III and VI from Ernest Chausson’s Vêpres des Vierges, op. 31 (I enjoyed the flute in movement VI), and his own transcription of Mendelssohn’s Lieder ohne Wörte, op. 67, V. Moderato

A two-rank (no pedal) Hilborne L. Roosevelt, Op. 297 (1885) looked like an upright piano, having a reed organ’s foot-pumping pedals. It was meant to be portable. We heard Voluntary by Samuel Jackson (1818–1885), then some elegant Elgar: Vesper Voluntaries, op. 14, I. Andante and IV. Allegretto piacevole, with an effective Stopped Diapason. Praeludium in F-sharp Minor by Ernst Friedrich Richter (1808–1879) was interesting and well suited to the Roosevelt. Crowell concluded on the Willis, with Eric Thiman’s Postlude on “Nun danket alle Gott” and I. Allegro from Sonatine for Organ by Eberhart Egermann (b. 1933), good demonstration pieces, well played. We were grateful to Stephen Schnurr for making these instruments available (and to those who helped transport them!).

We returned to Rockefeller Memorial Chapel to hear Nathan Laube; the performance was broadcast over the Internet (available at: http://news.uchicago.edu/webcast/nathan-laube-live-2012-ohs-chicago-con…), an OHS first. The chapel is vast: long, wide, and high, with the main organ in front and a substantial gallery organ in the rear. The front 4m console plays both organs; a 2m gallery console controls just that organ. The room’s windows were never properly finished, so it lacks color, but is still quite impressive. The 132-rank Skinner Organ Company Op. 634 was built in 1928—a period in which Ernest Skinner built his magnum opus at Yale University’s Woolsey Hall, and huge organs at the University of Michigan and Princeton. This organ suffered some rebuilding efforts in the 1970s and later; several ranks were dispersed. In 2005 the Schantz Organ Company returned old ranks, replicated others, and replaced some with vintage Skinner pipework. Rededicated on June 7, 2008, the organ, while not exactly as Skinner left it, is once again a major part of the Chicago organ scene. 

OHS executive director Jim Weaver welcomed the audience, including those on the World Wide Web, then Nathan Laube opened with Allegro vivace from Widor’s Symphonie, op. 42, no. 5 (1878). This familiar music moved over us gently at first, followed by a good deal of aggression. Laube kept things in proportion, giving each melodic line its due, ending on full organ with those fabulous reeds. Laube spoke about growing up in Chicago; as a young boy he was taken to hear the E. M. Skinner organ at St. Luke’s, Evanston, and to Rockefeller Chapel, where he heard Wolfgang Rübsam play. He fell in love with these instruments and knew that playing the organ would be his career.

Mendelssohn’s Sonata in A, op. 65, no. 3 (1845), first movement ended in a blaze of glory, followed by the lovely Andante tranquillo. Laube’s transcription of Mendelssohn’s Variations serieuses, op. 54 (1841), with passages of great wit and virtuosity, wonderfully displayed this huge organ’s colors. Though young (he turned 25 the day before this recital), Laube is a master of the art of transcription. He reached deeply into the vast Skinner tonal palette, and brought us to places we might not have gone before—a brilliant performance. 

After intermission, he played Saint-Saëns’ Fantaisie in D-flat, op. 101 (1895). Its quiet opening showed beautiful strings and a solo flute that was to die for. A gentle reed chorus punctuated the flutes and strings, then stronger reeds were in dialogue with the foundations. A swelling crescendo then arose. Laube played it beautifully, announcing the ff section on a powerful reed, then slowly drifted back to quiet strings. 

In Funérailles (d’après Lamartine) from Laube’s transcription of Liszt’s Harmonies poétiques et religieuses, S. 173, no. 7 (1849), thunder-like pedal rumbles gave an ominous start, followed by a smashing fanfare played on the gallery organ’s horizontal trumpet. This piece is full of foreboding darkness, and Laube summoned forth remarkable color. A riotous pedal solo accompanied the active manual work, which featured a few blasts from a strong reed, and then gave way to a single flute. In two Brahms settings of O Welt, ich muß dich lassen, no. 3 employed a quiet 8 Diapason on the choir, and no. 11 drew especially gorgeous foundations. Laube’s tempo was a bit restless, as though the soul longed to leave the body and journey heavenward. 

The world premiere of Laube’s transcription of Brahms’s Academic Festival Overture, op. 80 (1880), featured melodic lines and rhythmic passages carefully delineated, and blended into a musically rich and full whole. The concert concluded with Gaudeamus Igitur, so fun to sing in this full chapel, ending a wonderful day. 

 

Tuesday, July 10

In the suburb of Downers Grove we visited the charming Tivoli Theatre, where house organist David Rhodes played its 3m, 10-rank Wurlitzer, Op. 942. The third organ to grace this theatre (it was preceded by a Barton and a Wurlitzer), this instrument is owned and maintained by Chicago Area Theatre Organ Enthusiasts (CATOE). We munched on popcorn as Rhodes entertained us with Richard A. Whiting’s Hooray for Hollywood (1937), and Charles Chaplin’s Smile, then accompanied a hilarious 1915 Chaplin short film, In the Park (possibly filmed in the Chicago area). Rhodes seemingly caught every nuance. In a hot dog-eating scene, he slipped in the “Oscar Mayer Wiener Song”—very clever playing and a fun start to the day.

Our next stop was very sentimental for me: the beautiful Noack organ, Op. 44 (1969) at the Convent of the Sisters of St. Joseph in La Grange Park. Installed the summer I graduated from college, this organ became a place of pilgrimage for us “Tracker Backers” on our visits to Chicago. It stands in a balcony in the rear of the nave of this handsome modern chapel. Originally the room had all hard surfaces, but now carpet covers the concrete floor, and padded chairs have replaced wooden seats. Though the acoustic is not as beautiful as it once was, the organ still sounds great. 

Thomas Wikman began with Buxtehude’s Partita on “Vater unser im Himmelreich”; I especially enjoyed the 4 flutes with tremolo. In Antonio Cabezón’s Tiento del quinto tono, Wikman’s well-chosen registration—reeds and Sesquialtera II—led the way. This organ’s Italian accent spoke in Girolamo Cavazzoni’s Canzona sopra ‘Il e bel e bon’, played with good style. The sounds were as beautiful as I remembered. The music was cleanly and sensitively played. 

After the hymn “Alleluia! Sing to Jesus” (Hyfrydol), Wikman gave us a sweet performance of Robert Lind’s Prelude on ‘Love Unknown’, then Bach’s Pièce d’Orgue, BWV 572, which worked quite well. The brilliant closing section brought this outstanding concert to a fine conclusion.

Emmanuel Episcopal Church in La Grange is the city’s oldest congregation, founded in 1874. The present French Gothic-style church was built in 1926. (Our Atlas noted that it was featured in the 1995 film While You Were Sleeping.) The 1970 electro-pneumatic Phelps Casavant, Op. 3062, 3m, 46 stops, 63 ranks, stands in a chamber to the right of the chancel. Stephen Schnurr, author of the OHS Organ Atlas 2012, began with the hymn “Lo, he comes with clouds descending” (Helmsley),  followed by Buxtehude’s Praeludium in A Minor, BuxWV 153. Schnurr used the Krummhorn to good effect. Flutes led to the final fugue and a fantasia presenting the full plenum and pedal reeds—a wonderful sound, in a fine performance. 

Next came the premiere of Variations on Hyfrydol, written by convention chair Dennis Northway. At one point the tune appeared in the tenor with imaginatively placed fast notes up top. Another movement used a canon between a trumpet and pedal foundations. After a beautiful movement with sweet strings and soft foundations, a fugue brought this very good new piece to a close. Well done!

A hallmark of Stephen Schnurr’s OHS recitals is the showcasing of young musicians and friends. This recital featured a mother and her children. Tenor Willson Oppedahl, a junior at Lawrence University Conservatory of Music in Appleton, Wisconsin, movingly performed Thomas Matthews’ (1915–99) The Lord Is My Shepherd, beautifully sung with sincere conviction. Elegy for violin, harp, and organ, by Harold Friedell (1908–58), featured violinist Allison Alcorn, Willson’s mother; her daughter Kiersten Oppedahl played harp. This enchanting piece, very well presented, cast a spell over all of us. 

Horatio Parker’s Allegretto, from Sonata in E-flat, op. 65, was a good contrast. The Phelps Krummhorn was playful, especially in the lower register, while flutes 8 and 4 scampered above. Stephen closed with the Allegro from Widor’s Symphonie VI, op. 42, a fine choice for this outstanding exemplar of the Organ Reform Movement. This organ has a lot of oomph, and Dr. Schnurr used it to good effect, playing with marvelous style and color. 

La Grange’s First Presbyterian Church was organized in 1890. The present church was built in 1962. Its 1962 3m, 46-rank Aeolian-Skinner stands in a gallery at the rear of the long, narrow nave. David Jonies and Jay Peterson shared the concert. Peterson opened with Rheinberger’s Sonata No. 8 in E Minor, op. 132, Introduction and Passacaglia, which sounded very good, with clear sounds in every dynamic range. They then joined forces for Handel’s Organ Concerto in F Major, op. 4, no. 4. Jay Peterson played the four-stop 1981 Brunzema Op. 3 portative organ from the front, while David Jonies played the orchestra bits on the main organ in the gallery. The organs were well matched, and the performance spirited. 

Jonies then played Andantino from Vierne’s Pièces de fantaisie, op. 51, no. 2, showing the beautiful strings, and Naïades, op. 55, no. 4. Next, both played the Skinner: John Rutter’s Variations on an Easter Theme (O sons and daughters), featuring a fine solo on the Oboe. The hymn was: “O sons and daughters let us sing!” (O filii et filiae).

On to Oak Park, to the beautiful St. Catherine of Siena–St. Lucy Catholic Church, a Tudor Gothic-style building dedicated in 1934. Casavant Op. 1467, built in 1932, stands in the rear gallery in two chambers that frame a large Tudor-style window. A modest 3m instrument, it has everything you’d need to be its happy player. The lucky person playing for us was Rhonda Sider Edgington, who opened with Percy Whitlock. In Pastorale, Psalm 23:1 from Seven Sketches on Verses from the Psalms, a solo on the Clarinet was accompanied by flutes, a great choice that slowly revealed the organ’s beauty. Folk Tune, from Five Short Pieces, used what I believe was the Cornopean in the tenor range. The beautiful strings crept in—still fresh after 80 years.

The hymn Picardy (“Let all mortal flesh keep silent”) was a joy to sing in this resonant room. We then heard our first music by Chicago composer Leo Sowerby: Picardy from Meditations on Communion Hymns. Edgington knew just how to express Sowerby’s marvelous harmonic sense. Her closing selection displayed this organ’s strong foundation tone: August Gottfried Ritter’s (1811–85) Sonate Nr. 2 in E Minor, op. 19.

We went to Oak Park’s Grace Episcopal Church for our Annual Meeting, followed by dinner; some explored the neighborhood, with its historic and architectural sites. 

At nearby First United Methodist Church, Ken Cowan played the splendid 4m 1926 Skinner. The console stands in a front balcony behind and above the altar, with pipes in chambers on either side of the chancel; a two-rank Echo division is in the ceiling above the rear gallery. A division of select stops from the main organ speaks into the chapel, where the division has its own 2m console. 

Cowan began with Liszt’s arrangement of Otto Nicolai’s Festival Overture on the chorale “Ein feste Burg is unser Gott,” op. 31. This organ was completely restored without alteration in 2005–6 by the Spencer Organ Company of Massachusetts and Jeff Weiler & Associates; except for an added stop in 1937, it is as it was when Skinner delivered it, producing powerful foundation tone and floor-shaking pedal notes. Cowan’s arrangement of Liszt’s Consolation No. 3 in D-flat featured lush strings and flutes, and a Skinner French Horn, played with his usual sensitivity.

The hymn was “When the morning stars together” (Weisse Flaggen). Ken Cowan’s hymn playing, like everything else, is done with great art and grace.

John Ireland’s beautiful Elegiac Romance began with a sweet Oboe solo followed by a wonderful section with celestes—perfect for a summer evening. It included the French Horn, and then built to a mighty roar; the plaintive Oboe returned, and it ended with quiet strings. Cowan closed the first half with a blazing performance of Dupré’s Prelude and Fugue in G Minor, op. 7, no. 3. I liked the Clarinet’s clear, round sound. The playing was precise and yet supple, with the musical line clearly shaped. That fantastic fugue really galloped along.

This organ had been restored but not modernized: it lacks levels of memory. So, as in the good old days, Cowan had to come out during intermission and reset his pistons. He chuckled about it, but went about his work good-naturedly. 

Cowan then returned to his perch high above us to perform Rachel Laurin’s Étude Héroïque, demonstrating the assertive Gamba Celestes on the Solo division, and a sweet 2 in a French Tambourin section of this piece. He closed with Guilmant’s Sonata No. 1 in D Minor, op. 42, giving this well-known work a new sheen through his musical creativity. The Pastorale showed the Clarinet again, the beautiful Vox Humana, and the Chimes. The Finale swept us along for a gleeful ride, with our pilot Ken Cowan giving the OHS another brilliant and memorable concert! We returned to our hotel fired up for the instrument we love, having just heard one its finest champions.

 

Wednesday, July 11

We began at Chicago’s Carl Schurz High School. The 1910 building is a masterpiece, incorporating elements of both Chicago and Prairie School styles. The 1925 Waveland Avenue wing included an auditorium seating nearly 1,800 and boasting three seconds of reverberation. The 4m Richard O. Whitelegg Möller proved to be one of the favorite instruments heard at this convention. The console abuts the front-left of the stage on the auditorium floor; pipes stand on a wide shelf at the back of the stage. We were told that this organ was delivered seven weeks after the contract was signed; the high quality of the work tells a great deal about Möller’s vast resources. (See Dennis Northway, “A new four-manual pipe organ in seven weeks: Möller Opus 6373 at Chicago’s Carl Schurz High School,” The Diapason, May 2012, pp. 26–29; audio file available at www.thediapason.com.) 

John Sherer, organist at Chicago’s Fourth Presbyterian Church, presented a “Concert to Commemorate the 100th Anniversary of the Sinking of the Titanic.” “Music of 1912” began with Elgar’s Imperial March, brilliantly played. The instrument has an English town hall organ’s power and grandeur. In Edward Bairstow’s Elegy, gorgeous strings and flutes were played with just enough rubato. The pedal part rumbled quietly as though it were a creature of the deep ocean. 

In “Music Heard Aboard the Titanic,” John Philip Sousa’s rousing and entertaining El Capitan was followed by Edwin H. Lemare’s transcription of Barcarolle, from Offenbach’s The Tales of Hoffmann, said to have been played one hour before the ship sank. Next came Irving Berlin’s Alexander’s Ragtime Band, which was played as the ship sank. Sherer played it very well. 

“Music to Honor the Titanic Victims” began with Joseph Bonnet’s touching In Memoriam. The organ gave us deeply moving sounds of sadness, grief, and horror, and images of the deep, cold ocean. The piece ended with a quiet farewell to the victims of this tragedy.

This beautiful organ is in need and most worthy of a complete restoration, but was made to sound quite fine this day. Sherer closed with The Navy Hymn, “Eternal Father strong to save.” Here the too-brisk, march-like tempo seemed to not match the words. An over-busy accompaniment threw us off the pulse, and twice Sherer modulated up. The rest of the concert, however, was lovely and inspiring. 

We then went to Glencoe and the beautiful North Shore Congregation Israel. It was a thrill to enter this holy space, designed by architect Minoru Yamasaki (who designed the Oberlin Conservatory of Music). A peaceful study in white overlooking Lake Michigan, the sanctuary is shaped like praying hands. Narrow windows start just above the floor and rise to form ceiling arches, allowing light to fill the space. The 3m, 46-rank electro-pneumatic Casavant, Op. 2768 (probably the largest untouched early Phelps Casavant in the Chicago area), perches on a free-standing rear balcony.

The recitalist was H. Ricardo Ramirez, director of music/organist at Chicago’s Holy Name Cathedral. Jehan Alain’s Les Fêtes de l’Année Israelite, AWV 85, in the style of Hebrew chant and song, began quietly on the Krummhorn and gradually grew to a Trumpet fanfare. This very approachable music was so appropriate to the space, with clear and refined sounds. We sang the hymn “God of might” (Adeer Hu) in both Hebrew and English. In Bach’s Trio Sonata in G Major, BWV 530, the third movement showed the organ’s Sesquialtera. Ramirez closed with Duruflé’s Suite, op. 5. The Fagott 16 played one octave lower was a very fine sound. The Toccata was thrillingly played.

In the leafy suburb of Winnetka, we visited Winnetka Congregational Church and its landmark 3m Martin Pasi tracker, Op. 18 (2008). Established in 1869, the church’s present building, Colonial with Art Deco and Egyptian touches in its lovely white interior, was built in 1936. The ornate North German-style case in front commands the eye with the Great in the middle, the Swell above the Great, and the Positiv cantilevered in front of the Great with the keydesk below, similar to John Brombaugh’s Op. 33 organ at Lawrence University in Appleton. The Pedal is in towers at the sides of the case; the 32 Subbass is in the old chambers above and to the sides of the altar, where the previous Austin once stood. 

Nicholas Bideler, a doctoral candidate at the University of Kansas, began with Bruhns’s Praeludium in G Major, which sounded wonderful on this organ. Bideler’s playing had clear direction and he used the organ’s many colors very well. Next was Bach’s Schmücke dich, o liebe Seele, BWV 654. One tremulant affects the entire organ, and it was fine, although it did create a bit of a stir on that low pedal E-flat that starts the piece. I think Bideler used the Vox Humana with a 4 flute as the solo line. His performance was imbued with the inner joy expressed in the chorale. 

In Karg-Elert’s Trois Impressions, Op. 72—I. Harmonies du soir, Bideler showed this versatile organ’s romantic voice. I enjoyed the Krummhorn and strings. “Dear Lord and Father of Mankind” (Repton) was followed by Impromptu from Vierne’s 24 Pièces de fantaisie, 3ème Suite, which worked quite well. Bideler closed with Duruflé’s Prélude, adagio et choral varié sur le theme di Veni Creator, Op. 4—III Choral varié. The triumphant ending was riveting. 

Grace Presbyterian Church in Winnetka had been First Church of Christ, Scientist, built in 1938—a white Colonial-style church, whose pewter and crystal lighting fixtures were imported from Czechoslovakia prior to World War II. The church was sold to Grace Presbyterian Church in 2012. The 1938 tonally and mechanically unaltered 2m W. W. Kimball Co. organ, Op. 7238, stands at the front. Both Swell and Great are enclosed in separate chambers. The first recital was given by William H. Barnes, of Evanston, on August 21, 1938. Our recitalist, Elizabeth Naegele, who, among other things, has the distinction of being Nathan Laube’s first organ teacher, opened with Lefébure-Wély’s Sortie in B-flat Major—jolly music, played with great spirit and flourish. In a salute to this building’s long history as a Christian Science Church, the hymn was Mary Baker Eddy’s 1896 “Saw ye my Saviour?” (Laundon). We sang it well, and she played it with great sensitivity to the text, using the organ’s colors nicely. 

Naegele then played five of the “versets” from Léon Boëllmann’s Heures mystiques, ending with Entrée III. I particularly liked the Oboe. Sonata II—III Seraphic Chant by Lily Wadhams Moline (1862–1966) was lovely music, beautifully played. Naegele ended this fine and well-chosen program with Let Us Break Bread Together from Communion Hymns for Organ, Vol. I, in a quite inventive setting by Edwin T. Childs (b. 1945). 

Our next visit, to Techny’s Chapel of the Holy Spirit, Society of the Divine Word, was highly anticipated as we had seen stunning photos of its interior. A huge complex, its property adjoins St. Joseph’s Technical School, whence the “Techny” nickname originates. The large Romanesque chapel, adorned with beautiful carvings, statues, chandeliers, and sconces (forged in the Techny shops), opened in 1923. The second-story gallery runs the entire perimeter of the chapel, and our musicians took full advantage of it. Acoustics were generous and rich. The 4m Wiener organ, some of whose ranks are reused from other instruments, stands in the rear gallery in an attractive case. Its condition is not great, but it was shown to its best advantage. 

We heard The Madrigal Choir of Grace Episcopal Church, Oak Park, led by Dennis Northway, along with young organists Madeleine Woodworth and Charlie Carpenter. Now in its twelfth year, the choir, made up of mostly high school students, is dedicated to singing music of the Renaissance. Mr. Carpenter began, playing Vierne’s Carillon sur la sonnerie du carillon de la chapelle du Château de Longpont (Aisne) from 24 Pièces en style libre, op. 31, no. 21, with skill and aplomb. 

The choir sang Kyrie Eleison from William Byrd’s Mass for four voices very well, in proper Anglican style. They surprised us by singing not from the rear gallery where the organ was, but from the perimeter gallery above the high altar. After Madeleine Woodworth played Divertissement from Vierne’s 24 Pièces en style libre, with plenty of drive from this powerful organ, the choir offered Blessed Are the Pure in Heart by Eric DeLamarter (1880–1953), a beautiful setting sung and conducted with great sensitivity. Woodworth led the hymn, Leo Sowerby’s “Come risen Lord, and deign to be our guest” (Rosedale). The choir moved to different places along that perimeter gallery each time they sang, slowly making their way to the organ loft—a magical effect. Northway led these well-trained students beautifully in Peter Lutkin’s The Lord Bless You and Keep You

A new setting of Ave Verum Corpus was by a familiar figure: 20 year-old Adam Gruber, an alumnus of this choir and organ student of Dennis Northway, who has played for us many times and is now a student at Oberlin. The piece was well constructed and showed that Gruber has a future in the art of composition. Charlie Carpenter, a current Northway student, played the Widor Toccata. Great job, Charlie! Kudos to Dennis Northway for giving these young people a chance to perform at the convention!

Buses then took us to Evanston, for dinner at the North Shore Hotel downtown, and then the treat of several neighborhood open consoles. Some of the young, fast-moving types, led by Nathan Laube, made it down to St. Luke’s Church and its magnificent E.M. Skinner. It was a grand, fun, free time. 

The day concluded at the Music Institute of Chicago. This building, a former Christian Science church, retained its 1914 E. M. Skinner organ, Op. 208 (the oldest functioning Skinner in Illinois, according to our Atlas), a modest 3m instrument whose pipes stand at the back of the platform in front of the 900-seat auditorium built in the Neoclassic style favored by Mary Baker Eddy. The console is on the stage. Recitalist Scott Montgomery began with Saint-Saëns’ Fantaisie in E-flat. The forte sections demonstrated the sturdy foundation stops echoed by the Cornopean—a great sound. Montgomery played Bach’s transcription of Vivaldi’s Concerto in D Minor, BWV 596, in the Romantic tradition, with shades and all. I loved the ppp strings in the second movement. It worked surprisingly well.

In the Choral of Widor’s Symphony No. 7, op. 42, no. 3, Montgomery captured the mood nicely, alternating string, flute, and foundation tone. Scherzo from Vierne’s Symphony No. 2, op. 20, was an audience favorite; Montgomery did a fine job, and so did the Skinner. Huge flute sounds crowned the ensemble. Dudley Buck’s Variations on Home, Sweet Home, op. 30, displayed the big, bold Cornopean, Vox Humana, Flügel Horn, and the Great Philomela. The Swell Aeoline and Unda Maris closed the piece—wonderful sounds that made my mouth water. One young member was heard to say, “I want an E. M. Skinner in my church!” In a beautiful calm Calvin Hampton Lullaby, Montgomery summoned all of the organ’s softest sounds. The Swell Gedackt accompanied the Clarinet in the tenor range; the Vox Humana was heard again as a solo with a 4 flute. Unda Maris and Aeoline were a great combination. This is a piece your congregation would love!

In Guilmant’s Caprice in B-flat, op. 20, no. 3 from Pièces dans différents styles, Book VI, there was a good deal of playful shifting of manuals—welcome after the Hampton’s quiet gentility, and very well played. This organ has no general pistons, so Montgomery employed two very skilled stop pullers. The hymn was Mary Baker Eddy’s “It matters not what be thy lot” (Gloaming). Montgomery closed his fine program with John Knowles Paine’s sturdy Concert Variations on the Austrian Hymn, op. 3, no. 1—always a good tour of an organ. We returned to the hotel tired but exhilarated. 

 

Thursday, July 12

Thursday dawned bright and sunny. At Chicago’s Evangelical Lutheran Church of St. Luke (ELCA) we heard Erik Wm. Suter play the large 1963 3m Schlicker. The church’s long, high nave offers wonderful acoustics. The main organ stands in the rear gallery, with a Positiv mounted on the railing. The clear, refined sound includes marvelous mixtures that were like cooling drops of water. A smaller unit organ is in front of the church. Suter opened with Bach’s Prelude and Fugue in G, BWV 541; he has a fine and clean technique, and tempos were perfect for both music and room. 

Dale Wood’s gorgeous setting of In Thee Is Gladness began with strings and a 4 flute. We also heard lovely solo reeds. In “Come down, O love divine” (Down Ampney), Suter showed brilliant hymn leadership. His time as organist at Washington National Cathedral was evident in a grandiose and thrilling style of playing; his last verse reharmonization was a thing of wonder.

In Peter Eben’s Nedelní Hudba (Music for Sunday), Finale, Suter put the blazing reeds on full display. After a quiet section with strings, solo flutes, and quiet solo reeds, some growling and menacing pedal sounds took us back to the louder, livelier music. Organ and organist were a fabulous combination; this fantastic concert was a great start to the day. 

We proceeded to the huge and imposing St. Josaphat’s Church in Chicago, in Romanesque style with massive stone walls, blessed in 1902. The first organ in the rear gallery, built by the Wisconsin Pipe Organ Factory in 1902, was replaced in 1924 by a 3m Kilgen, Op. 3386, which used some pipes from the previous instrument and retained its case. In 2004, the Bradford Organ Company installed a “much traveled” 1872 2m Johnson Organ Company Op. 386 in the nave on the right side. Our recitalist Bernadette Wagner earned her bachelor’s degree from the Jacobs School of Music at Indiana University; she is now a graduate student at Arizona State University. Wagner began with two Brahms settings of O Welt, ich muß dich lassen on the Kilgen; diapasons were warm and rich in the reverberant space—nicely played. She then came downstairs to the Johnson organ for the hymn “Creator spirit, by whose aid” (Surrey). Bernadette Wagner and the room-filling sound of this 14 stop-organ were quite up to the task of accompanying us. 

Movements II and III of Mendelssohn’s Sonata No. 4 in B-flat, op. 65, featured the organ’s beautiful Clarinet, Oboe and Bassoon, and lovely flutes—very pleasing playing with a well-developed sense of musical line. Wagner closed her fine recital with Daniel Pinkham’s The Book of Hours, a nice demonstration of the various combinations on this well-made treasure from another century. 

Chicago’s Wicker Park Evangelical Lutheran Church, ELCA, was formally organized in 1879; the present Romanesque church was finished in 1907. The 1907 Möller tracker is still in use; sadly, however, only part of the Swell division was operable, so much of the program was compromised; at times it was difficult to even hear the organ. Our players were Dennis Northway and Adam Gruber. Northway opened with a very soft Clarence Eddy Prelude in A Minor, using the Möller’s beautiful strings very well, then played Harrison M. Wild’s ironically named hymn “Softly fades the twilight ray.” Adam Gruber played two selections from Bach’s Orgelbüchlein, and Northway played Pachelbel’s Aria Sebaldina from Hexachordum Apollinis (1699). I felt sorry for these gentlemen having to play an instrument not up to convention standards. We had to listen very carefully to hear anything, but I must say that it was always worth the effort. 

During free time downtown, we could either visit the Chicago Cultural Center in the grand old former public library, or, as I did, cross Michigan Avenue and visit Millennium Park with its fantastic Frank Gehry-designed bandshell, and the three-story Anish Kapoor “Cloud Gate” steel sculpture (known locally as “The Bean”). The entire complex is brilliant.

A problem arose, beyond the convention leaders’ control. The 1927 3m Estey at the John Murphy Auditorium of the American College of Surgeons was unable to be played. So our brave recitalist, Cathryn Wilkins, moved to a quite different venue and organ—the huge 4m Aeolian-Skinner in the Fourth Presbyterian Church on Michigan Avenue, across the street from the 100-story John Hancock Center—and very quickly adapted her program. Designed for a very different instrument, the program did not make full use of this organ’s range, but was nevertheless entertaining. Wilkins played some waltzes by Brahms for piano, Vierne’s Scherzetto from 24 Pièces, and Le Cygne from Saint-Saëns’ Carnival of the Animals. She ended with three movements from In Fairyland by Roy Spalding Stoughton (1884–1953)—a pleasant recital. 

Our buses took us to Navy Pier—a huge place with a highly charged carnival atmosphere. We boarded “The Spirit of Chicago” for a late-afternoon harbor cruise and buffet dinner. The dramatic Chicago skyline was very beautiful. We enjoyed each other’s company and the tasty food. 

As we were downtown at 6 pm, when traffic was busy (with numerous street carnivals), our buses got snagged—the only bus problem all week. Our evening recital was at St. Pauls United Church of Christ, founded in 1843 to serve German-speaking Protestants. In 1959 the present English Gothic-style building was completed and the 4m Aeolian-Skinner, Op. 1328, installed. Its main pipe chambers are situated above and on either side of the chancel. In 1998–2000 the Berghaus Organ Company completed the organ as originally planned, updating some of the mechanical features of the console, located at the front. 

Our performer was well-known Chicago organist David Schrader. It took about 40 minutes for everyone to arrive, and bless his heart, Schrader entertained us early arrivals with an impromptu performance, from memory, of Bach’s Toccata, Adagio and Fugue in C Major. It was delightful. 

When the audience was finally in place, Schrader began with Bach’s Prelude and Fugue in E Minor, BWV 548 (“The Wedge”). Some of the playing was rushed, which took away from the towering majesty of Bach’s music. The organ was more than up to the style, and Schrader used it quite well. In Commotio, op. 53 by Carl Nielsen (1865–1931), we heard mixture tone for a very long time, which, right after the Bach, grew tiresome. Finally, some flute sounds were heard, leading to contrasting dynamics in another section. A fugue began—Schrader’s tempos were just fine. We then heard what I believe was the lovely Gedeckt in the Antiphonal division, located high in the rear balcony—imaginative and colorful use of contrast. He used dramatic moments to good effect. The piece was OK, but it seemed to be longer than needed. Although Schrader played it well, my ears could have done with less mixture tone; at the end, he drew all of the high-pitched mixtures, bordering on painful after such a long piece.

After intermission, the lovely hymn “O blest Creator of the light” (Lucis Creator) was followed by Frank Ferko’s Symphonie brève (1987). The opening Andante had a running bass line in the pedals, with foundation stops and reeds in chords on the manuals. Attractive flute sounds accompanied a Cornet. The pedal motion returned with punctuations from those singular A/S reeds. The Toccata began on strings and flutes with fast figures. A bonny solo flute sounded out a tune in the pedal’s tenor range. We heard wonderful colors in this very appealing work. In the final Chorale, the use of mixtures and reeds was startling. The writing was fresh, sort of Messiaen or Langlais “lite”. 

Schrader closed with Reger’s Fantasia and Fugue in D Minor, op. 135b. Plenty of contrast is called for and we got it, in a fine tour of this noble instrument’s fine solo voices and choruses. It was all beautifully played with great attention to the rhythmic and thematic structure.

 

Friday, July 13

The final day, devoted to regional organbuilders, began with Sebastian M. Glück’s lecture on “Innovation, Adaptation, and Stagnation: The Tonal Trajectory of the Roosevelt Organ.” Hilborne and Frank Roosevelt, aristocratic æsthetes as well as businessmen, were interested in organbuilding. Glück discussed their life and work, people who influenced them, and how their work still influences American organ building over a century after their deaths—most interesting.

We then were bused to Grace Lutheran Church in River Forest. Founded in 1902, the present English Gothic-style building was dedicated in 1931. The organ began as Skinner Organ Company, Op. 833, a 3m, 36-rank organ, rebuilt in 1956 by Schlicker. In 1987, it was rebuilt and enlarged to its present size by the Berghaus Organ Company of Bellwood, Illinois. The pipes are in twin chambers on either side of the altar, the console in a balcony over the left transept. The church has beautiful carvings and a live acoustic. 

Organist Karen Schneider Kirner began with a hymn: “As daylight steals across the skies.” Kirner wrote the tune, Morning Hymn, which was quite good. Eugène Gigout’s Grand Chœur dialogué made good use of the reeds. I could have done with less mixture tone. Kirner’s steady playing gave this majestic piece its just due. After Gigout’s Scherzo, from Dix Pièces, we then heard Variations sur un Noël bourguignon by André Fleury (1903–95), which showed some of the organ’s softer stops as well as fuller sounds. The music was attractive—like an updating of Dandrieu. 

This is a very loud organ. Seated in the front row, I wished that I had sat further back because Kirner may have crossed a line with overuse of tutti. Mixtures and reeds together over a long stretch of time is tiring.

A Gigue for the Tuba Stop by Donald Stuart Wright (b. 1940) was next—a thrilling piece, but again loud. My ears longed for strings and flutes played with the shades closed. Chicago composer Keith S. Kalemba’s (b. 1972) Toccata was also a loud piece. Kirner is a fine organist, but her programming choices were not wise. We did not hear any of the soft solo reeds. Another hymn followed: “Sing the Lord a new song,” to a tune written by Ms. Kirner. One final blazingly loud piece brought her program to a close: Marcel Dupré’s Carillon, from Sept Pièces, op. 27.

OHS convention recitalists usually take great pains to show the entire range and color of the organs to which they are assigned in thoughtfully and carefully chosen pieces. Sadly, this was not the case.

On to Wilmette, and St. John’s Evangelical Lutheran Church ELCA, to hear William Aylesworth, former organist at that church, long-time and well-loved performer at OHS conventions, and past OHS president. The church, founded in 1903, built its present English Gothic red brick worship space in 1923. Aylesworth told us that he was approached in the late 1980s by the Bradford Organ Company, offering to build an organ as an example of what they could do with recycled materials from other organs. The result was Bradford’s Op. 6 from 1990, a very successful 2m instrument. It stands in a small transept, with pipework in a chamber to the left of the altar, using a space formerly occupied by a Wangerin organ. 

Aylesworth began with “O God, our help in ages past” (St. Anne). Bill was organist here for 38 years, and knows how to lead a hymn in this space. It was beautifully played. Bach’s Wir glauben all’ an einen Gott, BWV 680, wonderfully showed this organ’s great clarity. Ich ruf’ zu dir, Herr Jesu Christ, BWV 639, demonstrated the lovely Oboe with tremolo. In Dandrieu’s Trio avec Pédale, we heard the warm Clarinet, which came from a Hutchings organ. The beautiful Great 4Gedeckt, and the Swell 4 Flute d’Amour (from a Johnson & Son organ, Op. 389) worked very well. Dandrieu’s Duo en cors de chasse sur la trompette used, I believe, the Great Trumpet, which came from a 19th-century organ. It had a surprisingly robust sound.

Aylesworth ended his fine recital with Guilmant: Three Nöels, op. 60, demonstrated more solo stops; Marche sur un thème de Hændel, op. 15, no. 2 was very well played and sent us out on a high!

At Glenview Community Church (UCC), we heard young organist Stephen Buzard in music for organ and brass quintet. The organ was built by Stephen’s father’s company: John-Paul Buzard Pipe Organ Builders, Champaign, Illinois, Op. 21 (1999). In the Colonial-style church the organ is in three chambers behind the altar; a rank of Principal pipes provides façades for each of them. The center chamber’s façade is of polished tin, while the flanking chamber façades are flamed copper. The console is in the French style; the organ as a whole is highly eclectic, speaking with a sturdy sound and a wide range of color and tone on its 69 ranks.

Bach’s Concerto in C Major after Johann Ernst, BWV 595, was a clean, spirited performance with just the right amount of rubato, followed by Buzard’s own transcription of Schubert’s Du bist die Ruh, D. 776, displaying strings and several beautiful solo stops (my favorite was the Great 4 Open Flute with tremolo), played with sweet sensitivity. Duruflé’s Scherzo, op. 2, showed more of this instrument’s variety and range.

In Percy Whitlock’s Five Short Pieces, the Allegretto used the many flute stops. The Great Harmonic Flute was featured as a solo accompanied by the Choir strings. We also heard the Swell Trompette in the tenor range. Paean featured the Major Tuba 8 stop (on 15 inches of wind), quite thrilling. We then sang Stephen Buzard’s arrangement of the hymn “How shall I sing that majesty” (Coe Fen, a marvelous tune). The time he spent in England was very much evident in his style of playing. Prelude, Elegy and Scherzo by Carlyle Sharpe (b. 1965) was commissioned for this convention by Rodney Holmes. Stephen used many beautiful solo stops in Elegy, beginning with a sad little song on the Choir’s Cor Anglais, then a tiny Cornet, the Corno di Bassetto, and this organ’s beautiful strings. The lively Scherzo for organ and brass is a good addition to the repertoire. 

Stephen Buzard ended this superb recital with Jeanne Demessieux’s Te Deum, op. 11, easily communicating the profound nature of this music, all very splendid. We heard this fine organ play music from many different periods and national styles with ease—and Stephen Buzard is someone to watch!

The grand finale of the convention was a visit to the Place de la Musique in Barrington Hills, Illinois. It has the world’s largest collection of restored automatic musical instruments, the largest theatre organ in the world (5m, 80 ranks), and is also the private residence of Mr. and Mrs. Jasper Sanfilippo. The 46-acre complex includes an enormous shed that houses most of the mechanical instruments and a huge carousel. We ate a picnic supper amidst this collection, then soon made our way to the 44,000 square-foot house with its huge theatre organ in a massive auditorium big enough to hold the entire convention. The organ comes from many sources—some new, some vintage. There are four 32 ranks; the massive 32 Diaphone and Bombarde pipes line the walls on either side of the stage, as do the countless percussions, including a set of 32 Deagan Tower Bells, the largest of which we were told weighs 426 pounds! 

Our multi-talented recitalist, Jonathan Ortloff (looking quite snappy in his bright red socks), presented a highly entertaining program of mostly familiar music played with great style and good humor. We heard the theme from Family Guy, some sweet salutes to the late Henry Mancini (Charade and Moon River), a bit of nostalgia for those of us of a certain age, “Puffin’ Billy” (or as I remember it, the theme from Captain Kangaroo). The Trolley Song used all manner of percussion sounds, which raised the roof! Ortloff’s transcription of Stravinsky’s L’Oiseaux de Feu (Tableau II) showed great skill. I really admire his generation of organists who have become so adept at the art of transcription. He ended with An American in Paris, which was great fun. But the part of the recital that left us all in pain with laughter was the hymn “Earth and All Stars” (Dexter), one not exactly on my list of favorites. The text is unintentionally humorous—I cannot get past “loud boiling test tubes” with a straight face. On this huge organ, Jonathan was able to illustrate each turn of phrase in sound effects that were hilarious and a perfect end to the evening. 

This was a very good convention. Instruments, recitals, performers, lecturers—the great variety never left us bored. Buses were agreeable, respectful of our needs, on time, and quiet during recitals. Food was filling and good, and the publications (Atlas, Handbook, and Hymnlet) were beautifully produced, with wonderful content. (Good companions to the above would be Pipe Organs of Chicago, Vols. 1 and 2, by Stephen Schnurr and Dennis Northway. Gorgeous photographs, specifications, and histories of each building and instrument will keep you entertained for hours.) This was the third OHS convention in Chicago; we certainly saw and heard a breadth and depth of pipe organ beauty that other cities would be more than pleased to have. We were treated with great humor and kindness all week long. The committee did an outstanding job! Bravo, Chicago! “It’s my kind of town.” 

The 2013 convention is in beautiful Vermont: http://www.organsociety.org/2013/. See you there!

 

 

Photo credit: William T. Van Pelt, III

 

New Organs

Leek Pipe Organ Company, Oberlin, Ohio: 

St. Luke’s Lutheran Church, North Baltimore, Ohio

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Leek Pipe Organ Company,

Oberlin, Ohio

St. Luke’s Lutheran Church,

North Baltimore, Ohio

The Leek Pipe Organ Company of Oberlin, Ohio has renovated the 1942 Schantz organ at St. Luke’s Lutheran Church in North Baltimore, Ohio.

“All for the Glory of God” was Pastor Mineo’s passionate call to his flock for the organ rededication service and the 115th anniversary celebration at St. Luke’s Lutheran in North Baltimore, Ohio. The sounds of the organ and enthusiastic choir filled the church with celebration.  As a member of the Northwestern Ohio Synod of the Evangelical Lutheran Church in America, St. Luke’s serves a small but important area of North Baltimore, Ohio and surrounding cities.  The city of North Baltimore is poised to grow into a key commercial center due to the recent addition of a CSX depot. 

At the time that we performed an inspection on St. Luke’s Schantz organ in early 2012, there were problems caused by deteriorated leather in the bellows and windchests, and an antiquated (the original) control system in the console. It was time to move forward with a thorough renovation of the instrument. 

 

Clearing the chambers

The organ is housed in a single chamber behind the choir loft in the church’s rear gallery. The church itself is an A-frame structure with a pitched timber ceiling, which provides ample acoustic for the small instrument, despite its buried location.

We began the project immediately in order to meet the time requirements of the church’s leaders and musicians. The first step involved removing all the pipes, bellows, windchests, and electrical systems from the chamber. The components were then shipped back to our shop in Oberlin, Ohio. After the chamber was entirely cleared, we went to work cleaning years of dust and debris—a job that is not much fun, but does help to guarantee that ciphers won’t occur once the chests are re-leathered. We also installed a new lighting system in the chamber, replacing an unhelpful single 60-watt bulb in the middle of a large room.

Finally, we removed the organ console from the floor of the rear gallery with a hydraulic lift. Our cabinetmaker, Jeff Green, had to produce a platform for the console while it was still in the gallery, so that it could be correctly positioned to move from the floor of the gallery to the fork of the lift. Once strapped down, we were able to turn a handle on the lift and slowly lower the console to the ground. The unit also doubled as a dolly, which allowed us to easily roll the console out the door and into the truck.

Once all the components were back at the shop, we got to work releathering bellows and rebuilding windchests. Meanwhile, Solid State Organ Systems was busy at work designing a new control system.  

 

Bellows

Little has changed in (reliable) re-leathering since the beginning of organ building itself. We still use hyde glue and a traditional time-tested method of re-leathering at our shop. After the bellows is completely disassembled, we go about removing all the old leatherback, canvas, and glue. In order to ensure a good bond for the new canvas and leather, it is critical that every last spot of material is removed from the ribs, body, and lid of the bellows. Over the years we have developed a system to do this efficiently.

Once prepped, new canvas and leather is cut and applied. This is a two-person project: one person keeps the rag hot so that the glue stays activated for the other person, who  ensures that the canvas and leather belts are properly placed. Once re-leathered, the bellows sit overnight to dry and be tested in the morning. 

 

Windchests

The organ is highly unified, but takes advantage of an electro-pneumatic pouchboard and lead tube system. One of the more challenging aspects of the renovation was replacing lead tubing. Such was a hallmark of earlier 20th-century Schantz windchests. Prior to this, Schantz built tubular-pneumatic organs, with long runs of lead tubing from console to windchests. The photos show before and after their replacement. 

The original chest magnets, made of Bakelite, were replaced with new Reisner magnets. New runs of copper common line and escutcheon pins were also installed to ensure reliable operation. Finally, pouchboards were removed, stripped, and releathered. Our resident wood shop expert, Jeff, has designed a jig that ensures extremely reliable tolerances for the new leather pouches. Because of this, we never once had a cipher due to expanding and contracting of the leather, neither in testing prior to installation nor anytime thereafter.

 

Pipework

While the windchests were being rebuilt, pipes were also being cleaned and repaired, and voicing was corrected when needed. The Stopped Diapason pipes were checked for overturned screws, cracks, and loose stoppers. Given the age of the instrument, the stoppers for this rank were complete releathered to ensure that tuning would remain stable following the installation. The pipes were, in general, in good shape so that not much repair was necessary. 

 

Console and solid-state system

The two-manual console has a horseshoe-styled nameboard layout, which is typical of this vintage and builder. A brand-new solid-state control system was installed with compatible engraved stop keys. The rebuilt console is controlled by its own solid-state processor and has its own independent power supply. All console inputs are relayed to the pipes via a data cable linked to the organ chamber processor. This data cable contains only eight wires and replaces the bundles of hundreds of electrical conductors that were needed when the organ was built. 

New chrome toe pistons were installed and a ten-level memory control included. The pedalboard was re-felted and all worn pedal keys were recapped with maple. New wiring was installed in the keyboards and the pedal contacts and the stop keys were wired out to a fused wiring harness. A new music light was integrated into the music rack to blend with the style of casework and new bench blocks were made for organists with long legs. After that, the console was tested in the shop prior to re-installation in the church rear gallery. 

The console was returned to the church, hoisted back into the rear gallery with our convenient lift, and networked to a second solid-state system in the chamber. After wiring all of the windchests to the chamber planes, we completed an extensive testing and commissioning process to be sure that “all systems were go.” After all the components were reinstalled in the church organ chambers, the organ was prepared for a test drive by the organist and official completion of the project. 

The organ was rededicated with guest organist James Clouser during Sunday worship services on August 5, 2012. The service was filled with inspiring music and powerful preaching on community and the power of music. At the end of the homily, Pastor Mineo prayed an enthusiastic litany, which moved the congregation to respond, “All to the glory of God!” The pipe organ too was poised to add its sounds for the glory of God for many years to come.

—Natalie Leek, vice president 

James Clouser, organist/consultant

 

Leek Pipe Organ Company

14477 State Route 58

Oberlin, Ohio 44074

440/775-4111

www.leekpipeorgans.com

 

Originally from Mumbai, India, Natalie Leek moved to the United States in 1991. She has a graduate degree in Business Management from Case Western Reserve University and over 20 years of experience in Human Resource Management and Marketing. Until 2008 she worked full-time as a senior assistant director of admissions at Oberlin College of Arts and Sciences. Since her marriage to James Leek in 2002, she has apprenticed with him for a year and also worked part-time in the company, in addition to her job at Oberlin College. She has worked hands-on with the pipe organs the firm services. As a 30-year yoga practitioner, she integrates the best of the east and the west in her work and life. 

 

James Clouser attended Hiram College and the Cleveland Institute of Music, studying organ performance with Sandra Tittle and Todd Wilson, respectively. He is a member of the Cleveland AGO chapter and is currently serving a term on the chapter’s executive committee. He holds the Guild’s Colleague (CAGO) and Choir Master (ChM) certificates and won first prize in the 2003 AGO/Quimby Region V Competition for Young Organists. He has worked with the Leek Pipe Organ Company since 2007 in several different roles.

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