55th OHS National Convention, June 21–26, 2010, Pittsburgh

Seattle, Tacoma, Olympia, July 13–18, 2008

Frank Rippl

Frank Rippl is a graduate of Lawrence University Conservatory of Music, where he studied with Miriam Clapp Duncan and Wolfgang Rübsam. He is co-founder of the Appleton Boychoir, coordinator of the Lunchtime Organ Recital Series in the Appleton, Wisconsin area, and has been organist/choirmaster at All Saints’ Episcopal Church in Appleton since 1971.

On the day before I was to leave for the Organ Historical Society’s 53rd National Convention, I was eating a sandwich and reading the paper. I never read my horoscope, but for some reason I happened to glance at mine (Cancer) and was startled to read: “You’re being taken to beautiful places where there is great attention to detail and where you are enveloped in someone else’s grand vision. Sit back and enjoy the unfolding spectacle.” That got my attention. I had been to Seattle many times before and knew many of the instruments we were to hear, but OHS conventions always put a different spin on things and shine a spotlight on the instruments themselves. I couldn’t wait to experience “someone else’s grand vision” of those instruments and the buildings in which they stand, and, of course, the many outstanding players and builders in the Pacific Northwest. It is, as our handbook stated: “A Young Yet Vibrant History.” Each registrant had received the OHS Seattle 2008 Organ Atlas in the mail before we left on our respective journeys to the West Coast: 174 lavishly illustrated and painstakingly researched pages on the venues and instruments we would visit. The team that put this colorful document together is to be congratulated. So, thus armed, we were ready and eager to get started.

Sunday, July 13
We began with some pre-convention activities on Sunday night. The weather was perfect: a clear sky and temperatures in the low 70s as our buses climbed through the Capitol Hill neighborhood to St. Mark’s Episcopal Cathedral overlooking Puget Sound. St. Mark’s was to have been a grand Gothic structure, but the stock market crash of the late 1920s brought those dreams to a halt. They were left with what is now lovingly called “The Holy Box.” But it is still grand in its own way and with great acoustics.
Once inside, convention chair David Dahl welcomed us, calling it “a gathering of the family.” There were 310 of us greeting old friends and meeting new ones from all over the world with a common interest: love of the organ.

We came this night, of course, to hear the landmark 4-m 1965 Flentrop organ, with its spectacular and breathtaking 32′ copper façade, in a concert by Thomas Joyce, the assistant organist at St. Mark’s, followed by Compline. Joyce played Pictures at an Exhibition by Modest Mussorgsky (1870–1937) as transcribed by Keith Johns. He managed to make this very romantic score work quite well on this beautiful mid-20th century organ with all its neo-baroque accents. My favorite was “Bydlo,” the ever-nearing ox cart thundering past us with its great weight, and then disappearing over the hill; the snarling reeds were very effective. The humor in “The Ballet of the Unhatched Chicks” was most engaging. The organ sparkled as tiny beaks struggled to break through their encasing shells. The majesty of “The Great Gate of Kiev” brought the piece to an end. The sweeping acoustics of this great church and the underpinning of the mighty and blazing reeds and the 32′ stops lifted us from from our pews. It was a brilliant performance.
There was a 40-minute intermission of sorts between concert and Compline. Halfway through this interval, David Dahl invited us to enter into a spirit of silence prior to the beautiful and famous Compline service, sung each Sunday evening since 1955 at St. Mark’s by a volunteer choir of about fifteen men. It usually attracts anywhere from 500–1000 young people who stretch out on the floor or the pews, some bringing bedrolls. They absorb the simple beauty of the chants and the readings. It is broadcast live over KING-FM radio, and can be heard worldwide via the Internet.
We became silent as the hundreds of young people joined us. The sun set, the lights dimmed, candles were lit. There were no “praise” bands, no guitars, no drums. The choir entered wearing black cassocks and long white surplices. They stood in the back of the church in a corner. They were led by Peter Hallock, Canon Precentor Emeritus, who founded the choir and is composer of much of the music they sing. The chanting was elegant and refined but never precious. The tuning in the homophonic sections was perfect. The beautiful anthem was Canon Hallock’s If We Could Shut the Gate, scored for male voices, violin, and organ. It was a tranquil and quietly spiritual end to the first day.

Monday, July 14
Our hotel was the Holiday Inn at the airport, standing in a cluster of airport hotels, including one called “The Clarion Hotel.” My room had a great view of Mount Rainier rising majestically over the “Clarion.” We had a great rate of $82.00 per night, which included a lavish breakfast. Trouble was, we always had an 8:00 a.m. departure. So, if we wished to dine in what was a rather small dining area, we had to be down there by 6:00!

Monday morning took us into downtown Seattle to Benaroya Concert Hall to hear Carole Terry demonstrate the large 3-m concert hall organ by C. B. Fisk. The simple façade of this organ includes some of the open wood pipes of the 32′ Prestant. I’m not normally a big fan of wooden façade pipes, but these blended well with the browns and tans of the Benaroya complex; also in the 32′ department: Untersatz 32′, Tuba Profunda 32′, and Grosse Quinte 102⁄3′. The room is notorious for its poor bass response and generally dry acoustic, so all that 32′ tone proved to be necessary to fill out the bottom of the range.
David Dahl introduced Ms. Terry as “Seattle’s First Lady of the Organ.” She began her program with Dahl’s fine Fanfare Introduction: The National Anthem, which we then sang. She continued with three chorale preludes by Bach, putting various solo voices on display: the reeds, the cornet, and the flutes. Next was William Bolcom’s Sweet Hour of Prayer, in which we heard the Fisk’s strings and foundation stops. Then three pieces from François Couperin’s Messe pour les Convents: Plein Jeu, Premier Couplet du Gloria; Duo sur les Tierces, Troisième Couplet; and Chromorne sur la Taille, Cinquième Couplet, which showed that this versatile organ can speak French quite well. Sowerby’s beautiful Air with Variations showed off the Swell strings, the Solo Clarinet, and later the Flauto Mirabilis. These were full-throated and wonderful pipes! Carole Terry’s last piece was the opening Allegro Vivace from Widor’s Symphonie No. 5. This heavily land-mined piece caused her to stumble slightly a few times, but she managed to bring it off. Her melodic lines were nicely delineated. She chose her literature and registrations well. None of us could come away from this recital complaining that we didn’t hear a fine demonstration of this important instrument—part of a new generation of American concert hall organs.

We then crossed Lake Washington on the Pontoon Bridge and climbed quite high above Puget Sound through well-manicured properties to Holy Rosary Catholic Church in Edmonds, Washington, to hear the church’s 1887 Geo. Kilgen & Son organ, the only surviving 3-m Kilgen tracker. Christopher Marks, assistant professor of organ at the University of Nebraska, was our soloist. Holy Rosary is a modern church built in the round, with the organ standing to the right of the altar. The organ came from the First Baptist Church in Los Angeles, and was relocated to Holy Rosary in 1980 via the Organ Clearing House.
Marks opened with a toccata from Première Suite pour Grand-Orgue (1900) by Felix Borowski (1872–1956, a son of Polish immigrants), which began on the Swell with shades closed, and built to a fortissimo. Another piece by Borowski followed: Allegretto-Allegro leggiero from his Third Sonata (1924), which demonstrated some of the soft sounds of this lovely organ. Two andantes by American-trained organist George F. Bristow (1829–1898) from his Six Pieces for the Organ (1883) were followed by a hymn by Thomas Hastings: “Hail to the Brightness of Zion’s Glad Morning” to the tune Wesley by Lowell Mason. He closed with four selections from Seth Bingham’s Seven Preludes or Postludes on Lowell Mason Hymns (1945), which sounded just dandy on this organ. He played Nos. 1, 2, 4, & 5; the first was based on the hymn we had just sung. I especially liked #4: “Watchman, Tell Us of the Night.” He used the reeds to great effect. I recommend these pieces! Marks, a fine player, gave us a great OHS recital with well-chosen literature to demonstrate the many lovely sounds of this organ.
Our fleet of buses took us to the attractive Trinity Lutheran Church in Lynnwood, Washington, where we were served a tasty box lunch. At 1:00, the tireless convention chairman David Dahl gave a fascinating address: “Tracker Organbuilding in the Pacific Northwest.” He traced the arrival of American tracker organs from the East Coast in the late 19th and early 20th centuries. In the mid-20th century, European tracker organs were brought in. The famous Flentrop at St. Mark’s Cathedral in Seattle is a good example. There were others, too: St. Thomas Episcopal Church in Medina has a Metzler from 1971. But late in the 20th century, the Pacific Northwest began to get its own voice from builders such as John Brombaugh, Paul Fritts, and Martin Pasi.

We would hear many fine instruments by these gentlemen and others. In fact, one of them stood to Dahl’s right: Martin Pasi’s beautiful Opus 4 from 1995. This 2-m, 30-stop, mechanical action organ is in a freestanding black walnut case, with eight Italianate arches serving to frame the façade pipes. It was demonstrated by Julia Brown, who was born in Rio de Janeiro, Brazil, and received her graduate-level training in organ at Northwestern University studying with Wolfgang Rübsam. She opened with a jolly Noël by Jean-Francois Dandrieu, then two fantasias by Louis Couperin. A charming chorale prelude by Scheidemann was then played on the clear 4′ flutes. Next was a beautiful chorale prelude on Wie schön leuchet der Morgenstern by Niels Gade (1817–1890), leading into the hymn by the same name, which she and the organ led with great ease and grace. Another Noël followed, this one by José Jesus Estrada (1817–1890): Noel en estilo frances del siglo XVIII, which demonstrated more of this wonderful organ’s stops including the Zimbelstern. Brown closed her recital with Buxtehude’s Praeludium in F, BuxWV, in which we heard the fine influence of Professor Rübsam. This was another outstanding recital.
Our buses took us back on the road for a visit to Blessed Sacrament Church in Seattle. The huge building, with gorgeous gardens and a school across the street, loomed large in the neighborhood. The organ stood in the left transept. It came from St. Dominic’s Roman Catholic Church in San Francisco, and was installed in Blessed Sacrament in 2005. The organ began life as an instrument by Henry Erben for a church in Nyack, New York, and was rebuilt by Francis J. N. Tallman (1860–1950), who essentially made it a new instrument. It was rebuilt again in 1914 by Michael A. Clark, and then moved to San Francisco. St. Dominic’s decided after remodeling that the organ no longer met their needs, so it ended up at Blessed Sacrament.
We had arrived early, so Scott Huntington gave us an impromptu introduction to the history of this fascinating instrument as only he can. That, plus the first-rate account of this organ written in the convention atlas by Stephen Pinel, provided us with unusually thorough preparation for the concert.
Our performer was OHS favorite George Bozeman. He began his demonstration of this 2-m, 15-stop organ with
C. P. E. Bach’s Sonate in G Minor, Wq 70/6, perfectly suited to this fine organ. The hymn was “Love Divine, All Loves Excelling” (tune Beecher). He then played his own transcription of Four Sketches, op. 15, by Amy Beach (1867–1944), quite intoxicating and evocative: “In Autumn,” “Phantoms,” “Dreaming,” and “Fire-flies.” George, if you haven’t published these pieces, please do! The music and your performance were both great!

Our next stop was a happy return to St. Mark’s Episcopal Cathedral back on Capitol Hill. We had time to peruse the fine cathedral shop, where we were given a 10% discount. We also had a cocktail party with delicious snacks on the cathedral grounds, followed by a fine Bastille Day French meal in Bloedel Hall. We took turns entering the beautiful Thomsen Chapel, the only part of the cathedral that was finished in Gothic style (one can only imagine what the whole building would have looked like had it been finished), which now contains a jewel of an organ by Paul Fritts & Co., Opus 22, 2003. This 2-m and pedal, 18-stop organ sits in the west balcony and fills the room with its beauty. Thomas Joyce, assistant organist at the cathedral, played brief demonstrations for us. He is a charming young man with a great future.
But the major event of the evening was in the cathedral itself: a brilliant concert by J. Melvin Butler (who, I’m told, is also a superb violist!), canon organist and choirmaster of St. Mark’s. He opened with a dazzling performance of Bach’s Prelude and Fugue in G Minor, BWV 535. Mel Butler’s talented fingers and toes and the marvelous clarity of the Flentrop organ made the music sing. Two selections from Bach’s Leipzig Chorales followed: Nun komm, der Heiden Heiland, BWV 661, in which we heard the solo line on a small cornet with a gentle tremolo; and O Lamm Gottes unschuldig, BWV 656. In the middle section, the upperwork glimmered like light glancing off faceted gemstones. The majestic finale (with the cantus firmus in the pedal) was pure muscularity. The first half of the program ended with Buxtehude’s chorale fantasia on Nun freut euch, lieben Christen g’mein, BuxWV 210. It was first-rate playing by one of Seattle’s best organists on an organ that never fails to thrill.
The second half began with Fanfare for Organ by Richard Proulx, which ran a good circuit through the many trumpet stops, vertical and horizontal. It was followed by In Quiet Joy from a composer new to me: Mark Winges, b. 1951. Lovely flutes and deep-water pedal 16′ stops supported the occasional soft solo reed, then turned to quiet strings briefly, and went on as before. The strings returned supporting a solo flute. It is an exquisite piece. The hymn “When in our music God is glorified,” sung to the tune Kaytlyn by Joseph Downing (1982), was followed by Canon Butler’s Fantasy on “Kaytlyn,” a fine piece with moments of quiet and introspection, ending gently with two rings from a chime.
Butler rounded off his program with two pieces by the great 20th-century American organist and composer Leo Sowerby: Arioso and Toccata. Arioso, with its plaintive call from a quiet reed stop, gave us a sense of serenity tinged with longing. It is a masterpiece, and Butler brought out each poignant nuance. By way of contrast, Sowerby’s fiery Toccata drew the evening and first full day to a rousing and blazing close. Butler’s fleet fingers sent the notes flitting from pillar to pillar in this great “Holy Box.” We cheered!

Tuesday, June 15
Tuesday morning found us high atop our hotel in a circular ballroom with a splendid vista of Mt. Rainier. We had come to hear a loving tribute by Mark Brombaugh to his brother John, a seminal figure in American organ building. The lecture was entitled “Singing Pipes: The Artistic Legacy of Organbuilder John Brombaugh.” Mark explained how John’s early training with Fritz Noack, Charles Fisk and Rudolph von Beckerath influenced him. He then proceeded to trace John Brombaugh’s own ideas of voicing: the vocale style of sound—making pipes sing in a beautiful vocal manner. He went through each of John’s instruments, giving well-thought-out descriptions of each. I was especially interested in his Opus 33, which stands four blocks from my house, on the campus of Lawrence University in Appleton, Wisconsin. It was also fascinating to hear the list of men who had worked with John over the years and who have now gone on to be fine organ builders in their own right. The list reads like a who’s who of American organ building, and includes Fritts, Taylor & Boody, Pasi, Richards & Fowkes. Not bad! It was a most entertaining and informative summing up of a great career.

Our first concert of the day was at St. Matthew’s Episcopal Church in Auburn, Washington, by Carol Foster on the church’s E. & G. G. Hook & Hastings organ, Opus 591 from 1871. Its caramel-colored pipes and honey-like case gleamed in the modern, light-filled room. The program began with the presentation of the OHS Historic Organ Citation for the 2-m, 12-stop instrument—the 368th such citation the society has given to instruments of historic interest. The organ’s first home was in Philadelphia, then in Camden, New Jersey. St. Matthew’s acquired it from the Organ Clearing House.
Carol Foster, a woman with a long and distinguished career, is currently parish musician at St. Augustine’s Episcopal Church on Whidbey Island, Washington. Her first piece this day was a charming Andante & Gavotte from a sonata by Thomas Arne. That was followed by Craig Phillips’s (b. 1960) Prelude on “Divinum mysterium.” The room-filling sound of even the flute stops on this little organ let us know that this was indeed a Hook organ.
Next up was the early American tune “Restoration” from Sacred Sounds by George Shearing (b. 1919), in which Foster gave us a good hearing of the foundation stops. That was followed by Song of Happiness (1914), by Roland Diggle: a sweet, sentimental piece that brought many a smile. Then came Theodore Dubois’ Cantilène religieuse. Foster joked about the tremolo, which was a force unto itself. She used the Oboe (the organ’s only reed), but it sounded like there was a flute with the oboe. She ended with an energetic and jolly performance of Jacques Lemmens’s Fanfare. The hymn “Come, We That Love the Lord” (tune Vineyard Haven) closed this fine recital.
We drove to Olympia, paying a brief visit to handsome government buildings, then went downtown to eat lunch in the lobby of the Washington Center for the Performing Arts. After lunch, Andy Crow performed for us on the theater’s mighty Wurlitzer. He has several silent film scores to his credit. We were treated to his accompaniment to the Laurel and Hardy silent film “Double Whoopee,” which was hysterical. His expert accompaniment kept pace with craziness on the screen. He used the organ’s resources very well, and also played a number of classic American songs. It was a fun midday break.
Our next stop was Spanaway Lutheran Church in Spanaway, Washington, and its attractive 1905 Jesse Woodberry & Co. Opus 225 organ. Built in Boston, it was acquired by the Organ Clearing House. Its walnut case and white façade pipes with gold mouths make for a striking appearance, and its two manuals and 18 ranks work very well in this appealing space, standing as it does to the right of the altar. Much of the restoration work was lovingly done by members of the congregation under the leadership of organbuilder Stephen Cook. Carpeting was pulled up and a hardwood floor was installed.
We began with the presentation of the Historic Organ Citation by Stephen Schnurr. The recital was played by Kevin Birch from Bangor, Maine, where he teaches organ and harpsichord at the University of Maine’s School of the Performing Arts. He began with Arthur Foote’s Festival March, op. 29, no. 1 (1893), which demonstrated the foundation stops nicely—a good solid forte. An additional Foote piece followed: Allegretto, op. 29, no. 2 (1893), which walked us through this fine organ’s softer sounds. The Great Flute d’Amour 4′, played one octave lower, was particularly effective. The Swell shades created an incredible pp. The hymn was “Abide with Me” (Eventide). In a masterful bit of accompanying, he never dominated, he led.
The closing piece was Dudley Buck’s Variations on “The Last Rose of Summer.” Among other fine things, we got to hear the gentle Swell strings. I also liked the Swell Violin Diapason in its rich tenor range. I was struck thus far this week by the number of recitals that ended pianissimo. This was one of them. The magic swell shades on this organ really did their job!

We then went to the Chapel of Trinity Lutheran Church in Tacoma (Parkland). A brass trumpet bedecked with blue ribbons was suspended from a wrought iron stand outside the church’s door to greet us. We came to hear the Geo. Kilgen & Son organ from 1890. Now in its fifth home (!), this well-traveled 2-m and 12-stop organ seems quite happy in its present surroundings. Even though its façade pipes are new, it was given a well-deserved OHS Historic Organ Citation. Our recitalists were husband and wife Tim and Cheryl Drewes. This would be a recital of duet and solo literature, and they jumped right in with Horatio Parker’s Quick March (for two organists). It was played with plenty of brio! Next was Humoresque for organ and piano by Widor—that was new to me. If you are in the market for a good piano/organ duet, I can recommend this one.
Tim Drewes then played Sortie (from L’Organiste Moderne) by Louis James Alfred Lefébure-Wély, which sounded like theatre music—spirited with plenty of contrast. Ah, how different early 19th-century Parisian church music was from what it would become! He then led us in the hymn “All my hope on God is founded” to the tune Michael, written by Herbert Howells and dedicated to his young son Michael, who died of polio. I never fail to be moved by this hymn and tune.
Cheryl then played Rooster Rag by Muriel Pollock (1895–1971), a humorous little piece that would make a good encore. Hopping back on the bench, Tim Drewes played a cheerful Bergamasca by Samuel Scheidt, showing this organ’s versatility. Cheryl Drewes then ended this engaging concert with a fine reading of Mendelssohn’s Sonata in D Major (op. 65, no. 5).
Sometimes you can tell a great deal about an organ builder just by visiting his or her shop. The Paul Fritts & Co. organ shop in Tacoma (Parkland) is a thing of great beauty. The wooden building is stained with an almost amber color. The large main door rises twelve feet or so to a curved arch with faceted wooden insets. We were served wine and snacks and got to look at upcoming projects and parts of an early 19th-century case they are restoring. It was all very inspirational.
We then drove a few blocks to the campus of Pacific Lutheran University. Huge old growth Douglas fir trees towered over rich green lawns and beautiful landscaping. We were served a delicious dinner in the University Center: roast pork with lingonberry sauce! God bless those Swedish Lutherans! We then walked through the beautiful campus to Lagerquist Concert Hall. The building’s entrance windows were decorated in glass flower blossoms by the world-renowned Tacoma artist Dale Chihuly. Upon entering the hall, our eyes beheld the jaw-droppingly gorgeous Paul Fritts organ, Opus 18 from 1998, surely one of the most beautiful organs in North America. The high tin content of the façade pipes and the 250 square feet of basswood pipeshades and fanciful figures all done by Jude Fritts, Paul Fritts’s sister, made for a visual feast. The tall, honey-colored case is made of old-growth Douglas fir logs, which came from local forests including Mount Rainier National Park. The hall itself has adjustable acoustics from one to over four seconds of reverberation.
The recitalist was Paul Tegels, university organist at PLU, who opened his recital with a Toccata in G by Scheidemann. He gave it a grand sweeping sound that seemed to invite us into the world of this instrument. Next we heard two selections from the Netherlands of 1599: from the Susanne van Soldt Manuscript, Branle Champagne and Almande Brun Smeedelyn. Then it was on to four versions of the tune Von Gott will ich nicht lassen, the first a four-part harmonization by J. S. Bach, then three fantasies on Une Jeune Fillette by Eustache du Caurroy (1549–1609), which showed some of the reed stops; the next version of the chorale came from Johann Ludwig Krebs’s Clavierübung, showing us the beautiful flute stops; and the last was a Fantaisie sopra “Une Jeune Fillette” by Bert Matter (b. 1936), which had a variety of sounds rhythmic and pulsating. By the end it receded to quiet flutes, which restated the chorale. Tegels closed the first half of his program with the Praeludium in D Minor (originally E minor) by Nicolaus Bruhns. The small arpeggiated figures on the Positive were delicious. When he brought on the 32′s at the end we were transported. Thrilling playing!
After intermission, we sang the hymn “Ye Watchers and Ye Holy Ones” (Lasst uns erfreuen) with a fine introduction composed by David Dahl. Tegels then treated us to Bach’s Prelude and Fugue in G Major, BWV 541. The boastful, chest-thumping music bounced along with a sense of self satisfaction, the wind system giving us a lovely crescendo on the final chord. Next was a Suite, op. 34, no. 1, by Widor for organ and flute, in which Tegels was joined by flutist Jennifer Rhyne. It was very pretty music that seemed highly agreeable and accessible, although the Scherzo has challenges.
For his final work, Tegels chose Alexandre Guilmant’s Sonata I in D Minor. He invested a great deal of vitality into the Introduction and Allegro, followed by just the right amount of letting up before the da capo. I am so glad that in the last 25 years or so we are hearing Guilmant’s music once again. The wonderful Pastorale, which I like to use during communion or as a prelude, was very nicely played. There are so many fine 8′ sounds on this organ. The Vox Humana buzzed along nicely with the 32′ humming below. Tegels made the Finale burst forth like fireworks, timing it just right to catch us off guard. From start to finish, it was a virtuoso performance by builder, player and architect. We had ended a long day, but our spirits were quite high!

Wednesday July 16
For the most part, this would be “Episcopal Day.” Our first stop on this bright and sunny morning was Seattle’s St. Paul’s Episcopal Church, in the Space Needle area, nestled among several inviting Asian restaurants. The churchyard featured a labyrinth and imaginative landscaping. The organ we were about to hear is quite a remarkable instrument. It hangs by cables from the trusses of this A-frame structure—even the balcony is suspended. Marie-Claire Alain called it “a flying organ.” On paper, the organ, built by Gebr. Späth (Opus 753, 1963, 2-m, 15 stops), seems rather sparse. The only 8′ on the Great is a Koppelfloete. So we were curious to hear how it would do. Walter E. Krueger, from Portland, Oregon, was our performer. He opened with Buxtehude’s Praeludium in D Minor, Bux WV 140, which he played with great flourish. It was immediately clear that this little organ was not afraid to speak up for itself. Next were two of Bach’s Schübler Chorales. Wachet auf used the Great flutes 8′ and 2′, with the Swell Trumpet 8′. The pedal seemed to be Subbass 16′ and the Choralbass 4′. It worked well. Kommst du nun showed off the twinkle in the eye of this neo-baroque organ. Krueger followed that with a gentle reading of Krebs’s Herzlich lieb’ hab ich dich, o Herr, with the ornamented chorale melody on the Swell Cornet with a sweet tremolo. The hymn was “At the Lamb’s High Feast We Sing,” which was sung in alternatim with Pachelbel’s Partita on “Alle Menschen.” It gave us a fine tour of this instrument. Full organ, complete with zimbelstern, was surprisingly hearty. It was a good demonstration recital.
On a very high bridge, we crossed the ship canal that connects Lake Washington with Puget Sound and entered the University District in bright sunshine. We parked in front of our next venue, University Christian Church, a fine structure in English Gothic style. The interior is dark, with a horseshoe balcony. Great swaths of peach and white fabric were hung from the side balconies to the rear balcony to help relieve the darkness. The windows were attractive, and the ceiling was painted in rosettes of deep blue, pale blue, light green and a rich red. This would be our first electro-pneumatic organ: a large Casavant Frères, Ltée., Opus 1302, from 1929, 4-m, 60 stops. It was dedicated by Marcel Dupré on October 29, 1929, and stands in the front of the church, with the pipes in two chambers on either side of the chancel.
Peter Guy, organist and master of the choristers at Christ Church Cathedral, Newcastle, Australia, was our performer. He also serves as director of chapel music at St. Andrew’s College within the University of Sydney. He has concertized all over the world, and had just turned 27 when we heard him—a charming young man with a quick and ready smile. He opened his program with J. S. Bach’s Now Thank We All Our God as arranged by Virgil Fox, which featured the foundation stops and reeds. This is an intact organ—unchanged; it possesses a warm but somewhat brooding sound. Next up was from Bach’s Orgelbüchlein: Christ ist erstanden, BWV 627, which had plenty of energy. Then came a piece by Graham Koehne (b. 1956), “The Morning Star” from his suite To his servant Bach, God grants a final glimpse, which uses the chorale tune “How brightly shines the morning star.” It was written in a Mendelssohnian style, and Guy played it with great sensitivity. I’d like to hear more music by this composer.
Edouard Batiste (1820–1876) provided the next piece, Andante in G “Pilgrim’s Song of Hope”—a character piece of its era, to feature many of the softer sounds of this instrument. Then came a favorite of mine, Rorate Caeli by Jeanne Demessieux, played with great sensitivity. Peter Guy then played Samuel Sebastian Wesley’s Andante in E-flat, which came off quite well on this organ, which is in need of a thorough restoration. The hymn was another favorite of mine, “O Thou Who Camest from Above,” to the tune Hereford by S. S. Wesley. Our tenors had a grand time! He closed with Louis Vierne’s Hymne au soleil, played with lots of grandeur. If I had anything critical to say about this fine recital, it would be that we seemed to hear too much of the same tone quality: rarely a solo reed, for example. I suspect that the condition of the instrument had much to do with that.

St. Stephen’s Episcopal Church in Seattle was next, with a recital on its fine 2-m, 47-rank Bond organ, Opus 23 from 1994. Leslie Martin, organist and director of music at the church, was the performer. The church is an A-frame structure, and the organ stands behind the altar. Its mainly copper façade pipes are surrounded by a wall of panels that have lace-like carvings through which we could glimpse a chapel behind the organ. The church also owns a portative organ by John Brombaugh. It has carved figures on three sides of people playing instruments. Brombaugh himself explained many of the details. It came from a group of six instruments built in 1979 in his Eugene, Oregon shop.
Martin began his program with Toccata Quinta by Frescobaldi, followed by Ricercar Quinto Giovanni, by Paolo Cima (1570–1612). Next, Pange Lingua by Nicolas de Grigny: Plein Jeu en taille à 4, Fugue à 5, in which we heard the powerful Great Cornet V and the Swell Trompette, and finally, Récit du Chant de l’Hymne précédent, giving a good airing of the fine Swell Cornet in the tenor register with tremblant.
Next was Brahms’s O Gott, du frommer Gott, demonstrating the versatility of this organ’s foundation stops. He then played Messiaen’s Apparition de l’Eglise éternelle. I visited Messiaen’s church in Paris, Eglise de la Sainte-Trinité, one year ago. Even though I did not hear the organ, this music was in my head, and I wondered at all the glorious improvisations he must have created in that colorful space. Leslie Martin’s tempo and approach were faster and more robust than I would prefer, but in a room lacking reverberation like this one, it may have been a wise choice. He closed with the Adagio from Widor’s Symphony No. 2 in D Major, op. 13, no. 2. We heard the strings and the Great Harmonic Flute to which was added the Great Montre 8′. It was a good, rich sound! The hymn was “O Day of Peace That Dimly Shines” to Parry’s distinguished tune, Jerusalem. I like a more majestic pace for this tune, but it was good to hear it sung by the great voices of the OHS!
We were served a nice box lunch in the parish hall. On the way to the buses many of us were taking pictures of the beautiful flower gardens around the church and in the neighborhood—blue hydrangeas and giant roses of all colors!

We then crossed the attractive Lake Washington again and climbed up the steep bluff to St. John’s Episcopal Church in Kirkland to hear Derek Nickels, director of music at the Church of the Holy Comforter (Episcopal) in Kenilworth, Illinois. I recalled hearing him at the 2006 convention and was eager to hear him again. He did not disappoint—secure, solid rhythm and sensitive musicianship again were the order of the day. The organ was a 2-m, 17-stop Cole & Woodberry, Opus 225, built in Boston in 1892. The OHS Seattle 2008 Organ Atlas has two articles about this fascinating instrument. Tom Foster tells of its original home in Highland Congregational Church, Westford Street, Lowell, Massachusetts. When the church closed, the organ was put in storage, and St. John’s acquired it in 1974. Glenn White of Olympic Organ Builders, Seattle, installed it in St. John’s, and later on Richard Bond Organ Builders did major work on the action. Stephen Pinel also wrote a fascinating essay for the Atlas on William B. Goodwin, who designed the organ. The façade has three large false wood pipes followed by a row of some 27 pipes in a wide flat. Its appearance is unique! Scott Hamilton described some of the other unique features of this instrument—it really was designed to play transcriptions.
Nickels did just that. He made great use of the organ throughout the program, playing expressively in pieces like Meyerbeer’s “Coronation March” (Le Prophète) in an arrangement by Bryan Hesford, which showed contrasting sounds, and he built up to a wonderful ff. Next was John Knowles Paine’s Andante con Variazioni, op. 17. He began on a single string stop that filled the room nicely. The first variation used what sounded like the Doppelflute 8′ on the Swell—a full, rich sound; 8′ and 4′ flutes were up next. He arched the phrases nicely. The strings repeated the opening theme.
Next were two pieces by Schumann: Sketch in D-flat Major and Canon in B Minor, in which he made the most of the resources of this organ. The jolliness of the D-flat gave way to the jingle bell effect of the B-Minor. He brought his fine program to an end with Mendelssohn’s Fugue in E Minor, giving it a spirited performance. Organ and organist were well matched. He managed the wild ride that is the pedal part of this piece with great élan. His clean playing gave life to the music. A superb performance!

I was keen to get to our next church because I always enjoy Bruce Stevens’s concerts, but also because the church, St. Thomas Episcopal Church, Medina, has a 2-m and pedal, 22-stop Metzler Söhne organ, built in Dietekon, Switzerland in 1971. This would be my first Metzler, and I’m told it is the only Metzler in the United States. I have many recordings of Metzler organs, usually played by Stevens’s teacher, Anton Heiller, so I am familiar with their outstanding quality. The church is a cruciform pattern with transepts, and the altar stands at the crossing beneath a lantern tower. The organ and choir are behind the altar.
Bruce Stevens, a well-known and distinguished figure at OHS conventions, serves as organist at Second Presbyterian Church in downtown Richmond, Virginia. He is also adjunct instructor in organ at the University of Richmond, and leads OHS organ tours of Europe. I truly admire and respect his playing. He began with J. S. Bach’s Canonic Variations on “Vom Himmel hoch, da komm’ ich her,” BWV 769. After three variations, we sang the hymn “From Heaven Above to Earth I Come” (Vom Himmel hoch). The organ led us very well. Stevens then played the final two variations, delineating the parts of the canons with clarity and grace.
There followed yet another canonic piece: Schumann’s Piece in Canonic Form, op. 56, no. 5; again we had a clear idea of where the music was going. He ended with Schumann’s Fugue on the Name of B-A-C-H, op. 60, no. 6. Stevens used this wonderful organ very well, letting us hear its fine colors and refined voicing. The glorious ff finale was spine-tingling!
Our next event was a dinner cruise aboard the elegant “Spirit of Seattle.” The relaxing evening took us on a cruise of the beautiful waters of Puget Sound. The food was bountiful, the conversation was friendly and stimulating, and the scenery was magnificent. The huge skyscrapers of downtown Seattle and the graceful Space Needle slowly began to shrink as the natural landscape took center stage. A full moon appeared as mist clung to the shores of islands and peninsulas, while the Cascade Mountains rose behind. Dominating all was Mount Rainier, gazing down like an Old Testament prophet. We began the cruise in the bright sunshine of the late afternoon, returning to shore at dusk just as the lights of the downtown buildings and the Space Needle were beginning to twinkle magically. It was a perfect evening.

Thursday, July 17
Thursday began at Calvary Lutheran Church in Federal Way, Washington, with a recital by Sharon Porter Shull, minister of music at Agnus Dei Lutheran Church in Gig Harbor, Washington, on the church’s Kenneth Coulter organ, Opus 6, built in Eugene, Oregon. Its two manuals, pedal, and 19 stops stand in the rear balcony. Roger Meers’s essay in the Atlas points out that the church’s low ceiling necessitated a Rückpositive. As the church’s music program expanded, the balcony was enlarged, bringing it forward on each side of the Rückpositive.
Shull opened with the Allegro from Vivaldi’s Concerto del Sigr. Meck (sic) as arranged by Johann Gottfried Walther—a most engaging piece, which she played in a most entertaining way. The organ has very sweet tones that were evident in the next piece, Partita on “Wer nur den lieben Gott lässt walten” by Georg Böhm, which would be the hymn we would sing at the end of the program. We moved forward to the end of the 19th century for Brahms’s O Welt, ich muss dich lassen, and then heard Bach’s Herr Gott, nun schleuss den Himmel auf, BWV 617. The ornamented chorale tune was played on the organ’s Schalmei 8′, but it did not seem to be alone. She then played a gentle little Trio in C by Krebs, followed by Bach’s Liebster Jesu, wir sind hier, BWV 751, for which she used the Rückpositive Cornet with tremolo. We heard the Trumpet on Bach’s Der Tag, der ist so freudenreich, BWV 605, and she closed with Fuga in C (“The Fanfare”) attributed to Bach. Shull gave it a wonderful sense of momentum and joy—fine playing all around!
Our last stop of the morning was Kilworth Chapel at the University of Puget Sound in Tacoma, with its elegant Paul Fritts & Co. organ, Opus 8, from 1989. We had gotten ahead of schedule, however, so they gave us a brief tour of downtown Tacoma’s invitingly attractive area. Dale Chihuly’s glass workshop is there, as well as three grand old theaters that have been mercifully spared the indignities of the wrecking ball.
We soon arrived at the University of Puget Sound’s campus and its New England-style chapel. The Fritts organ stands on the stage. Its case is white with accents of gold leaf and panels of pale green. Elaborate gold pipe shades stand guard above and below the dark façade pipes, heavy with lead. The organ is essentially North German, but the Swell Oboe 8′ is a copy of a Cavaillé-Coll stop. It was the first Fritts organ to have a Swell division, and Paul Fritts is a graduate of this school.
Our recitalist was Paul Thornock, an alumnus currently serving as director of music at St. Joseph’s Cathedral, Columbus, Ohio, where he presides over a large and magnificently red 2006 Fritts organ. His personality and his playing can best be described as ebullient. Thornock opened with Buxtehude’s Praeludium in E Minor, BuxWV 142. This organ has power and a rich tone, and his playing possessed the power and richness to match it. Next, in a partita by Walther on Jesu, meine Freude, we heard a good variety of the tonal features of this fine 2-m, 34-stop organ. The Great Rohrflöte was very pleasing. The Swell 8′ Principal with tremulant accompaniment by that Great Rohrflöte was a truly beautiful effect. Next, the Cantabile from Louis Vierne’s Symphonie No. 2 demonstrated this organ’s romantic possibilities, including its Cavaillé-Coll-style Oboe.
More romantic literature followed: the brilliant Toccata and Fugue in D Minor, op. 59, nos. 5 and 6 by Max Reger. Thornock’s keen sense of proportion and architecture was evident, and he has a huge technique. The hymn was “Lo, He Comes with Clouds Descending” (Helmsley). This was another outstanding recital at this outstanding convention. And we weren’t done yet! For lunch, we were treated to a midsummer cookout on the grounds of the campus beneath the Douglas fir trees that towered over an incredibly lush green lawn.
Our first recital of the afternoon was given by Rodney Gehrke, director of music and liturgy at St. Mark’s Lutheran Church, San Francisco, and at the city’s Temple Emanu-El. He also teaches undergraduate organ at the University of California, Berkeley. He had the good fortune to be assigned the organ by John Brombaugh & Associates, Opus 22, 1979 (2-m, 23 stops) in the modern and strikingly beautiful Christ Church, Episcopal, Tacoma. David Dahl has been organist there for 38 years and told us that while the style is affectionately called “Brutalism” because it is all concrete and heavy wood, the acoustics are great and people can hear each other pray and sing. The organ resounds nicely, too!
The sun had just come out after a cloudy morning, so it was appropriate that we sang as our hymn “Now that the Daylight fills the skies” (Herr Jesu Christ, dich zu uns wend). Living as I do just four blocks from John Brombaugh’s Opus 33 (49 ranks) in the chapel at Lawrence University in Appleton, Wisconsin, I heard many familiar sounds in Gehrke’s first selection, Magnificat on the Third Tone by Lebègue. Brombaugh’s vocale voicing of the principals and flutes, and the rich and full-throated reeds were his trademarks on display. The recently added Erzähler 8′ and Celeste 8′ made for a wondrous sound in Langlais’ “Chant de Paix” from Neuf Pièces. Written at the end of WWII, we can only wonder at the relief the French felt in those days. This music takes us there, and Messrs. Gehrke, Langlais and Brombaugh transported us to that eternal song of peace with their gifts of skill, art, and grace.
The Harfenregal 8′ on the Great (a stop also on the LU organ and a favorite of mine) began Hugo Distler’s Variations on “Frisch auf, gut Gsell, laß rummer gahn” from 30 Spielstücke. It was well played and demonstrated many more of the beautiful sounds of this landmark instrument. Gehrke’s
final selection was Bach’s Partita on “Sei gegrüsset, Jesu Gütig.” The chorale, played on the Great 8′ Principal, was a thing of beauty. Each variation revealed more of this truly great organ. The final variation, with full organ, was powerful, intense, and moving.

Our next stop was the First Presbyterian Church, Tacoma, for a recital by Lorenz Maycher. Whenever I see that Maycher is playing for the OHS, I know I’m in for a treat, especially when he is seated at a big romantic organ like this large Reuter, Opus 138 from 1925 (4-m, six divisions, 80 stops, 55 ranks, 121 registers). He led off with the hymn “Over the Chaos” to a tune by Russell Jackson (b. 1962). Next was a piece by Richard Purvis, “Supplication” from Four Poems in Tone. It was inclusive of all manner of supplication from quiet to intense. Then a work by Jaromir Weinberger (1896–1994), The Way to Emmaus (A Solo Cantata for High Voice with Organ) for which he was joined by gifted soprano Anneliese von Goerken, who sang marvelously. Maycher made great use of the instrument’s many gorgeous solo stops. If you have such an organ and a good soprano, you might find this a useful piece.
I was glad to see that Maycher was playing Sowerby. He is a Sowerby expert, as anyone will tell you after listening to his recordings. Today’s offering, ending the program, was Sowerby’s Prelude on “Non Nobis, Domine,” which was played with great expression and strength.
The evening event began with a blissful late afternoon non-scheduled free hour in downtown Seattle, followed by a delicious meal in Hildebrandt Hall of Plymouth Congregational Church. We then made our way upstairs to the oval-shaped church with its white/ivory walls and small stained glass windows to attend Choral Evensong as sung by the Choir of St. Paul’s Episcopal Church, Seattle, Gary James, choirmaster. Thomas Foster was the conductor, and Craig Phillips was the organist. The Rev. Ralph Carskadden, from St. Mark’s Cathedral, was the officiant. It was a beautiful service. The choir did very well, the music was well chosen and conducted with grace. Craig Phillips played very well on the church’s 3-m Schlicker, with 53 stops and 63 ranks. All the pipes are behind a screen that stands in back of the altar. Phillips wrote quite a bit of the music performed at this service, including a very nice Prelude from Triptych for Organ, and Serenade for Horn and Organ, for which he was ably joined by Maxwell Burdick. Psalm 150 was sung to an Anglican chant by Charles Fisk (Menlo Park)—a nice touch! Phillips also supplied the anthem, Teach Me, My God and King, that I liked quite a lot, and the postlude, Toccata on “Hyfrydol,” which is a terrific piece.

Friday, July 18
The last day of the convention—some really fine events were coming our way, and we were eager to plunge right in. We began at the large St. Alphonsus Roman Catholic Church in Seattle, which has a fantastic organ by Fritts-Richards, Opus 4 from 1985. With 2-m, 33 stops in a fabulous acoustic, and a drop-dead gorgeous case in the rear gallery featuring a Rückpositive, it is a thing to behold. The case is of painted poplar. The carved and gilded pipe shades were made by David Dahl’s late father. This very German organ was built by two young men still in their twenties who had never been to Europe.
Our recitalist was Dana Robinson, who is on the faculty of the School of Music at the University of Illinois. Those of us fortunate enough to have been at the OHS convention in 2006 heard him give the closing recital on the amazing 19th-century organ in the Troy Savings Bank Auditorium, and will not soon forget his brilliant concert that warm night. So we looked forward to hearing him again—this time on a bright cool morning and on another amazing organ. Robinson began his program with Modus ludendi pro organo pleno by Samuel Scheidt. He used the full plenum, which has a surprisingly powerful sound. Next up were two verses of Durch Adams Fall ist ganz verderbt by Heinrich Scheidemann. The first featured the warm Principal and a quiet reed. The second utilized a 4′ flute, beautifully and expressively played. He then went back for more Scheidemann: Es ist das Heil uns kommen her (two verses)—well played and using more of the instrument.
Up next was Buxtehude’s setting of Nun bitten wir den heiligen Geist, BuxWV 209. I believe we heard the Rückpositiv Sesquialtera II playing the ornamented chorale tune against the Great Violdigamba 8′ (sic)—gorgeous, clear sounds. That was also the hymn, which followed immediately. It was quite an experience to sing this hymn with this very North German organ in the resonant space of St. Alphonsus Church. Then came Buxtehude’s Ciacona in E Minor, BuxWV 160. Robinson began with the 8′ Principal and built from there. Organ, organist, literature and room were superb. Finally, we came to Buxtehude’s great setting of Te Deum Laudamus, BuxWV 218. I especially enjoyed the Great Trommet 8′. This organ has big-scaled pedal reeds, which he used well, including a full-length 32′ Posaunen. We were given a most thoughtful demonstration of this instrument by one of America’s finest players.
After a windy ride through the city, we found ourselves in the beautiful “First Hill” neighborhood overlooking downtown Seattle. We arrived at First Baptist Church and its newly acquired 3-m, 35-rank Aeolian-Skinner from 1953, which came from First Methodist Church in Tacoma, and was meticulously restored by Bond Organ Builders. Stephen Schnurr presented the OHS Historic Organ Citation. The organ is in two chambers on either side of the altar and baptistry.
Our recitalist was Douglas Cleveland, who opened his program with Handel’s Concerto in B-flat Major, a piece played on this organ 50 years ago by David Craighead. The middle section featured what I believe was the English Horn, a lovely stop. Next was Virgil Fox’s famous arrangement of Bach’s Come Sweet Death. Cleveland played it with great tenderness and expressivity. The hymn, “O for a Thousand Tongues” to the tune Azmon, was followed by a charming Scherzetto by Joseph Jongen and the lovely Woodland Flute Call by Fannie Dillon (1881–1897), which I believe was soloed on the Great 4′ Flute Harmonique.
Cleveland closed his program with the brilliant and dashing Four Concert Etudes by David Briggs (b. 1964). Following an introduction, it charged into the toccata-like “Octaves.” The next movement, “Chordes Alternées,” featured the Choir flutes alternating chords in various octaves with a melody in the pedal. Then a “Sarabande,” featuring the lush Aeolian-Skinner strings. The final movement entitled “Tierces” uses many of the motives of the earlier movements: octaves, alternating chords, etc. Cleveland gave a first-rate performance.
We then enjoyed a tasty box lunch in the labyrinthian but cozy basement of the First Baptist Church. After lunch, we returned to the sanctuary for the OHS annual meeting. Orpha Ochse was feted for all her work on behalf of the organ and the OHS. Joseph McCabe, chairman of the 2009 convention in Cleveland, gave us a tantalizing peek at all the good things it promises.
Following the meeting, we had a choice of spending some free time at the Seattle Center, which includes the Space Needle, or attending a recital by Gregory Crowell at German United Church of Christ in Seattle. Since I had been to the Seattle Center before, I chose the recital. True to form, we were early by about a half hour. The little church, in a quiet neighborhood and with a small congregation, has a rare treasure in these parts: a 1917 Hinners organ, Opus 2324. It was built in 1917 for St. Jakobi Lutheran Church in Allison, Iowa, and, after a few moves, it wound up in the safe hands of the Organ Clearing House. Legendary OHSer Randall Jay McCarty, organist of this church, installed the organ in 1976, replacing an electronic substitute. It has one divided keyboard and pedal and is a sweet charmer. Since we were so early, our distinguished recitalist Gregory Crowell, a favorite OHS performer (this would be his sixth convention appearance), agreed to begin 30 minutes early.
It was amazing how much he managed to get out of this six-rank instrument. He began with Huit Fugues pour le Clavecin ou l’Orgue by Johann Philipp Kirnberger: Preludium I & Fuga [1], which worked quite well. The organ was hand pumped. Then, using the electric blower, Crowell played Contrapunctus I from Kunst der Fuga, BWV 1080, by Bach—something I never thought I’d hear on a 1917 Hinners. But the organ held its own, and Crowell played it very well. Next came music by Max Drischner (1891–1971): Choralvorspiele für Dorforganisten; “Wie schön leuchtet der Morgenstern” was played on the pleasing little 4′ flute; “Die Sonn’ hat sich mit ihrem Glanz gewendet” used the strings; and “In dir ist Freude” employed the full sound. These are very nice and accessible pieces.
Next was the hymn In dir ist Freude, which we sang in German. Again the organ was hand pumped. The next piece was a bonbon: Träumerei, op. 15, no. 7 by Robert Schumann, in an arrangement by Clarence Eddy. Then came a Pastorale by Bossi, which seemed to use every register on the organ—an amazing array of sound and color. Next up was a Capriccio by one A. Pedro Zuazo (fl. 1890) that he played in a cheerfully agreeable manner. Crowell closed his program with Church Sonata I, III. Allegro, by James Woodman (b. 1957). I never cease to enjoy hearing music by composers of our time on old instruments. These instruments are never out of date. This one played music from a wide spectrum and handled all of it with ease. Good organ building is timeless.
We then returned to the hotel for our elegant buffet dinner in the twelfth floor ballroom. Then it was off to St. James Roman Catholic Cathedral, which is perched dramatically on First Hill overlooking the southern end of downtown Seattle, with its mixture of industrial loading cranes for the ships of Puget Sound, office towers, and huge sports venues. We were at St. James for the closing event of the convention: a recital by the cathedral’s organist, Joseph Adam. This magnificent Romanesque church has been remodeled/restored so that the altar stands at the crossing. There is a large oculus above the altar, which, in photographs I’ve seen, sends a dramatic shaft of light into the building from the sun above—like the hand of God reaching in. At the west end, in a beautiful case, stands the historic musical treasure we had come to hear: the great Hutchings-Votey organ of 1906. It had escaped unharmed when the great dome of the cathedral collapsed under the weight of a massive snowstorm in 1916. In 1926 a Casavant sanctuary organ was installed in the east apse. While it had only 21 stops, it had a 4-m console that connected the two organs. The 4-m Hutchings-Votey organ has 48 stops. In 2000, the Casavant was replaced by a new organ by Rosales Organ Builders, retaining five ranks from the Casavant. It totals 48 ranks on four manuals. The Rosales pedal includes a Bombarde 64′, which is unlabeled. Only the BBBB sounds, but it is most impressive. The Rosales case wraps around the wall of the apse in a series of Romanesque arches. Like the Casavant, its console can play both organs.
An ancestor of the cathedral’s first organist, Franklin Sawyer Palmer, was introduced to the audience. The director of music, Clint Kraus, spoke of the last visit by the OHS to the cathedral in 1982, when an historic citation was presented. Kraus said that that presentation was the impetus to restore the Hutchings-Votey organ.
Joseph Adam opened his program on the Hutchings-Votey organ playing Bach’s Chaconne in D Minor as transcribed by Wilhelm Middelschulte. We were all transfixed by the amazing flutes on this magnificent organ. Then came the foundation stops, which were followed by the trumpets. The kaleidoscope of tones being flung into the vast reverberant space was quite wonderful. It calmed down to a pp with rapid repeated notes on the flutes. A big crescendo briefly included the 32′ reeds, followed by a lessening of tone as we heard more and more of this instrument.
The oculus let in the last light of day as we awaited the next selections, three well-known and loved pieces by Louis Vierne: Naïades, op. 55, no. 4; Claire de lune, op. 53, no. 5; and Carillon de Westminster, op. 54, no. 6. In Naïades, his fingers flew over the keys, flutes and strings seeming to race up and down the Romanesque arches of the cathedral. Claire de lune was all tranquility—our thoughts could wander slowly as they do in moonlight. This was heartfelt organ playing. Who could not love the organ hearing such a beautiful solo flute singing to us—lost in beauty, awe and wonder. He played the Carillon de Westminster brilliantly: controlling and holding the reins together until just the right moment when he allowed the music to explode. I’ve never heard it played better.
We then sang the hymn: “Of the Father’s Love Begotten” (Divinum Mysterium), followed by a piece commissioned for this convention, Divinum Mysterium: Solemn Meditation by Timothy Tikker (b. 1958). It is a lovely work, very quiet at first, almost brooding, the music leading into a surrender to faith. It soon brightened, the manuals reflecting the stepwise melody in fast notes while the pedal sounded out the theme in long notes. All the while a crescendo grew. It is a fine piece and a good addition to the repertoire.
After intermission, Adam appeared at the east end of the cathedral, and played the Rosales organ. He began with another piece by Timothy Tikker, Variations sur un vieux Noël. The Rosales organ makes sounds that complement rather than compete with the room’s elder statesman in the west end gallery. We heard bell sounds against strings, reeds creating open fifths, tierces sounding against trumpets. A fugue broke out that was quite lively and grew to full organ. I really liked this piece, and I like this organ. We then sang “Come Down, O Love Divine” (Down Ampney) to his marvelous accompaniment.
Joseph Adam closed this fantastic recital (the cathedral, by the way, was packed—we OHSers only occupied the transepts!) with Maurice Duruflé’s Suite, op. 5. The Prelude used both organs, creating a sonic spectacle that is possible in only a handful of buildings. The Sicilienne featured a solo reed that filled the church. Sweet strings and a bubbling flute lightly danced for us. Adam is an alert and wise musician—able to address composers’ thoughts and bring them to us in an astonishing array of color. Clearly, he knows and understands these remarkable organs completely.
The great and fiendishly difficult Toccata brought the Suite and convention to a dramatic conclusion. Adam’s performance was as magnificent as the organs he was playing. We were all swept away by his powerful strength and energy. The air above and around us was charged with his utter mastery of this music. With the huge 32′ stops giving us ground, it was at times almost gloriously terrifying—a fantastic experience! There was an encore: Dupre’s Prelude in G Minor, a somewhat palate-cleansing feeling to calm and give rest to our spirits. I did not want to leave this building. It was a transforming recital, one none of us will forget anytime soon.

Closing thoughts
This was an unusual OHS convention. While we heard plenty of old instruments, they were transplants from the east or elsewhere. We were witness to a new, more youthful voice on the national and international stage, the emerging influence of the modern organ world in the Pacific Northwest. Two names came up again and again: John Brombaugh and David Dahl. These two gentlemen have led this movement and deserve our admiration. Martin Pasi, Paul Fritts, Richards & Fowlkes, Taylor & Boody, and others got their start here.
I had a great time at this well-organized convention, seeing old friends, making new ones, eating good food, and getting to know the organ world in this part of the country. Much more will come from this school of organ building. Let us enjoy watching it unfold. The Organ Historical Society will be observing it all with great curiosity, and interest. See you next summer in Cleveland, July 5–10! Oh, and my horoscope was dead on!

 

Frank Rippl

Frank Rippl is a graduate of Lawrence University Conservatory of Music, where he studied with Miriam Clapp Duncan and Wolfgang Rübsam. He is co-founder of the Appleton Boychoir, coordinator of the Lunchtime Organ Recital Series in the Appleton, Wisconsin area, and has been organist/choirmaster at All Saints’ Episcopal Church in Appleton since 1971.

I arrived in Cleveland on July 5th with a mixture of emotions. I was glad to revisit a city I enjoyed many years ago when I took a summer course in Orff Schulwerk at Case Western Reserve University, but I was in a bit of a funk after my flight that was supposed to leave the day before was canceled. United’s friendly skies were shut down by a computer glitch. But I finally found myself in this beautiful city with its elegant buildings on Lake Erie. I give extra snaps to any city that has light rail service from its airport to the center of downtown. At the Marriott, I had a corner room with lots of windows and a great view of the famous Terminal Tower. I felt better. I was reminded of the quote our brochure had printed from an ad published by Cleveland organbuilder Walter Holtkamp, Sr. (1894–1962): “A town of good organs, a profitable place to visit.” After I registered, I looked over the 284-page convention Atlas, which contained extraordinary amounts of information on the organs, venues, and towns we were to visit. It began with a fascinating monograph by Stephen Pinel entitled “The Early Organ Culture of Cleveland,” loads of colorful pictures, and ads (including a reprinted one from long ago that featured Jesse Crawford promoting “Barbasol”).

Pre-convention concert
After greeting lots of old OHS friends, I boarded a bus for Trinity Episcopal Cathedral and a pre-convention event. The cathedral grew out of Cleveland’s oldest congregation, Trinity Church, founded in 1816. They built Cleveland’s first church in 1829. The present Indiana limestone building, designed by Cleveland architect Charles F. Schweinfurth in the English perpendicular Gothic design, was completed in 1907, and contains several bits of historic beauty: a 1457 cross beam from Southwark Cathedral, London, some windows from the 14th and 15th centuries as well as some by Tiffany, plus Oberammergau carvings. If that weren’t enough, they have two organs by Dirk Flentrop: a 2-manual, 13-stop organ from 1976 in the choir, and the 1977 3-manual, 39-stop instrument in a small gallery above the rear entrance. Horst Buchholz, cathedral organist, greeted us, as did Michael Barone, who would serve as an unofficial host throughout the week. He introduced convention chairperson Joseph McCabe, half of his former self. His weight loss was the envy of all of us. We then sang “O Beautiful for Spacious Skies,” it being July 5.

Both organs were used—Dr. Buchholz played the smaller choir organ and Alison Luedecke the larger organ at the other end of the building. Most of the concert was played by Dr. Luedecke, who began with a spirited reading of Bruhns’s well-known Praeludium in E minor—a great demonstration piece. Then came Pachelbel’s Variations on “Freu dich sehr, o meine Seele,” featuring one of the organ’s lovely cornets, and the clear 4′ flutes. Next was the Bach/Vivaldi Concerto in A Minor, listed in the program as Prelude and Fugue in A Minor—J. S. Bach. This cheery music was just right for an opening concert of the convention and was well suited to the instrument at hand. She next played Irish Jig for the Feet by Mary Beth Bennett, a charmer of a piece—airy and graceful. Buchholz and Luedecke then added some pieces by Melchior Franck and Hermann Schein, using both organs to show off stops we had not heard—kromhoorns and the like. Luedecke ended with the Doppel Fugue über ‘Heil dir im Siegeskranz’ (God Save the King) by John Knowles Paine. She played it well—untangling both fugue subjects with ease.

Opening concert
The official opening concert was that evening at the Cleveland Masonic and Performance Arts Center, with a recital by Peter Richard Conte on the 4-manual, 41-rank Austin organ, Opus 823, from 1919. The building is an enormous weathered brick structure, and the large auditorium has steep stadium seating. Its former elegance is somewhat faded, but the acoustics are good and the room is still used for recordings by the Cleveland Orchestra. To the left of the stage is a 4-manual Wurlitzer console awaiting its pipes; work is ongoing. The Austin console is in a somewhat cramped nest above and to the right of the stage; the pipes are in a chamber above the console. A large movie screen center stage projected a close-up of Conte’s hands. Technical difficulties with the camera or the projector provided more distraction than necessary, but it was still good fun to see those famous hands at work. This recital was both the closing concert of the ATOS convention and the opening concert of the OHS convention—it was a treat to share a common bond. There were a surprisingly large number of people present who belonged to neither organization.
The concert was vintage Conte. He began with his own transcription of Bernstein’s Overture to Candide, then an assured and strong reading of Guilmant’s Marche Religieuse, op. 15, no 2, and two transcriptions from Widor’s Bach’s Memento: Pastorale, in which we heard the beautiful Clarinet and Oboe stops, and Mattheus-Final. Conte then played his own transcription of Fritz Kreisler’s Variations on a Theme of Arcangelo Corelli. His right hand bounced effortlessly between Swell and Choir without missing a beat—when you are used to the six-manual Wanamaker console, a four-manual instrument must be mere child’s play.
Robert Elmore’s Fantasy on Nursery Tunes followed, a charming piece, great for introducing the organ to children—if they still know the old nursery tunes! Conte brought the program to a close with the Final by Franck. Throughout the evening he spoke to his large audience with humor and grace. It was a brilliant and virtuoso performance.

Monday, 6 July 2009
After a pleasant drive out in the green countryside on a sunny, cloudless morning, we arrived at St. Martin of Tours Roman Catholic Church in Valley City, Ohio, to hear Andrew Scanlon demonstrate the tonally intact 1881 Odenbrett & Abler organ, built in Milwaukee, Wisconsin. The 2-manual, 19-stop organ stands in the rear balcony of the church, which dates from 1861, and is now used as a chapel for a larger structure next door, built in 2002. A handsome organ, with polished tin façade and butternut case, it is believed to be the last extant instrument by this builder. Paul Marchesano announced that this organ will receive an OHS Historic Citation.
Andrew Scanlon, recently appointed to East Carolina University and to St. Paul’s Episcopal Church in Greenville, South Carolina, opened with Marche Romaine by Gounod. He played it with fine breadth, giving a good demonstration of the warm chorus sounds of each manual. Next were two pieces by Langlais: Prière from 24 Preludes, in which we heard a clear and lovely Oboe; and Elévation, from Suite médiévale, which features the tune Adoro te devote. Everyone loved this organ!
Mendelssohn’s Prelude in C Minor followed. It was registered boldly, creating a good contrast to the Langlais. Scanlon played it with great vigor using this fine organ’s resources nicely. He then played Folk Tune, from Percy Whitlock’s Five Short Pieces. I loved the solo Open Diapason 8′ with its warm, room-filling sound in the tenor register.
The hymn was “Christ the Lord is risen again” (Orientis partibus); the French Medieval tune was most appropriate for this church. Next was Everett Titcomb’s Regina Coeli, in which we heard a goodly variety of this fine organ’s stops. Scanlon closed with Bach’s Fugue in E-flat, BWV 552 (St. Anne). Every line was clearly delineated in this great piece on an organ with no mixtures. We heard refined voicing and first-rate playing!
We then proceeded to Berea and St. Adalbert’s Roman Catholic Church, the oldest Polish church in Ohio, and its 1904 organ by Cleveland organbuilder Votteler-Hettche (2 manuals, 9 stops). The performers were Dennis Northway and his student and former Biggs Fellow Adam Gruber. The parish priest reported that the organ cost $6,000, and was just restored for $25,000! Attractive white and gold altars with statues stood beneath a half dome in the apse, which featured a painting of the ascending Christ. Pink marble lined the sanctuary.
Northway began with Pachelbel’s Ciacona in D Minor, making each voice of this lovely organ shine in the 16 variations; the flutes were especially nice. Sixteen-year-old Adam Gruber gave us some Rheinberger: Three Trios, op. 49. During the hymn, “Come, Labor On,” Ora Labora, teacher and student shared the bench, playing with four hands—this added “upperwork” to the sound. Northway inserted a piece not in the program, In a Quiet Mood, a gentle reflection by Arkansas composer Florence Price. Gruber ended with the Toccata in D Minor by Gordon Balch Nevin.

We then went to the grand old Masonic Temple in Lakewood for a hearty lunch in its basement. We worked off our lunch by climbing several flights of stairs to the grand old lodge room, where we heard a concert by OHS favorite William Aylesworth, playing the 2-manual, 13-stop Votteler-Holtkamp-Sparling organ, Opus 1287, from 1916; it stands in a balcony opposite the stage in this elegant room, which is decorated in an Egyptian motif all around.
Aylesworth began, appropriately enough, with Masonic March by Theo Bonheur (Charles A. Rawlings, 1857–ca. 1930), which bounced along in good fashion. Next were Frederick Archer’s (1838–1901) Prelude, which demonstrated the lovely strings, and Motivo, a quiet little piece, followed by Summer Fancies, op. 38, no. 2, by Rossetter G. Cole (1866–1952).
Next was Choral Hymn by William Spark (1823–1897), in which the warm-throated Great Diapason alternated with the Swell Vox Humana. Guilmant’s Mélodie, op. 46, no. 4, followed. The last piece was Under the Double Eagle by Josef Franz Wagner (1856–1908). Bill got us all clapping in unison to the irresistible pulse of this music. This was another fine demonstration of a historic organ by a player with a keen insight into instruments from this period, and who always chooses literature appropriate to the instrument and the culture of its time.
I daresay that the next venue was a big reason many of us came to this particular convention: the opportunity to hear the famous 1957 4-manual, 44-stop Beckerath organ in Cleveland’s Trinity Evangelical Lutheran Church in an all-Bach recital by Joan Lippincott. When we pulled up to the church, it seemed somehow strange that such a fine and famous organ could be standing in a church that had clearly fallen on hard times. The 1874 structure was in a rather ordinary neighborhood. Its interior was in sad shape, with peeling paint and water stains, but up in the balcony, sure enough, was the Beckerath—its case painted in various shades of blue with gold trim. The church’s warm and positive young minister has brought the parish back from the brink of closing. The organ is being restored, and has brought in many new members, who come from other parts of the city to hear it played and to enjoy his fine preaching. The significance of this organ cannot be overstated. Our Atlas had this to say about it and other European tracker organs imported in the late 1950s: “ . . . these instruments provided fuel for the first chapter of America’s own tracker revival, for player and builder alike.”
We began with the hymn Nun Danket, and sang a verse in German and then repeated the first verse in English, singing in parts. Two selections from the Leipzig Chorales followed. In Nun Danket alle Gott, BWV 657, Lippincott used the powerful Cornet from the Rückpositiv. In Schmücke dich, o liebe Seele, BWV 654, she used that Great 8′ Principal to accompany the Cornet on the Kronpositiv. Next came the Prelude and Fugue in C Major (9/8), BWV 547. Pure exultant joy permeated every note. The phenomenal fugue has four voices on the manuals, saving the pedal for the end, when it presents the subject in augmentation. The full organ sound is magnificent: grand and yet transparent.
Lippincott then played the E-flat Trio Sonata, BWV 525. The third movement was taken perhaps a bit too fast, and got a little shaky, but she brought it along nicely. She ended with a first-rate performance of the Passacaglia and Fugue in C minor, BWV 582. Lippincott clearly has great affection for each piece and for this wonderful organ.
Late in the afternoon, we returned downtown to our hotel for a lecture given by John Ferguson on “The Life of Walter Holtkamp, Sr.” It was a fascinating walk through the career of this pivotal figure in American organ building. Professor Ferguson pointed out Mr. Holtkamp’s desire to learn from but not copy the old masters. His organs were on low wind pressure, and he used slider chests, but they were not encased; the pipes were displayed. Those visual designs were stunning to mid-20th-century Americans, and he would build the first mid-20th-century American trackers. Holtkamp was a strong-willed man, but was a colleague to his fellow organ builders, and went on to form APOBA in 1941.
After another superb dinner at the Marriott (the chef was amazing!), I walked the few blocks to St. John the Evangelist Catholic Cathedral for the evening concert by Ken Cowan, playing the Votteler-Holtkamp-Sparling organ from 1948. There are actually two organs: one in the gallery, and one in the chancel, with two duplicate 3-manual stopkey consoles, each controlling both organs. The gallery organ has its Great division mounted on the railing in a kind of case with pipework unenclosed. The Swell and Choir divisions are enclosed in chambers on either side of the rear window, with the Pedal spread out between the manual divisions. The chancel organ is behind a gorgeous, hand-carved wooden screen that stands behind the altar. With a generous amount of reverberation, beautiful and even voicing, this is a very nice organ. Cowan was joined by trumpeter Jack Sutte of the Cleveland Orchestra. (On a personal note, I would learn that evening that Mr. Sutte’s father, the late John Sutte, was a classmate of mine at Lawrence University in Appleton, Wisconsin. Meeting this brilliant young trumpeter was very moving for me.) The fading evening sun faintly lit the stained glass windows from Munich as we eagerly awaited the concert.
Cowan opened with Mendelssohn’s Overture to A Midsummer Night’s Dream, transcribed by Samuel P. Warren. The sounds were marvelous in the splendid acoustics of the cathedral. Cowan is a master colorist, registering his pieces with uncommon sensitivity. Elegant use of the Swell and Choir shades are Cowan trademarks. His second piece, Stimmen der Nacht, op. 142, no. 1, by Sigfrid Karg-Elert, demonstrated the beautiful strings and the Vox Humana. A warm and wonderful piece, it grew to a full sound, then pulled back to a bubbling flute on the Choir and the Vox Humana—beautiful sounds.
After a brief crash of the solid-state combination system, they managed to repair it and were able to move on to what I found to be the most interesting piece of the evening, Okna Fenster: Windows, after Marc Chagall, a four-movement work by Petr Eben for organ and trumpet. I. Blue Window dashed all over the place leaving splashes of color in every corner of the cathedral. II. Green Window was more serene, with muted trumpet and Messiaen-like sounds. The serenity gave way to darker images and louder organ tone with a growling 16′ pedal reed. A more playful section followed, and we returned to sounds heard at the beginning. III. Red Window began ff in the organ. The Swell closed a bit as the trumpet joined. The music was reminiscent of “Night on Bald Mountain.” Things calmed down a bit, but that darker imagery was never far away, and it returned. IV. Gold Window began with the theme (a Russian Orthodox chant many of us knew from the Episcopal Hymnal 1982 in a setting of “The Beatitudes”) played on the foundation stops. There was dialogue material between trumpet and organ, ending with a toccata-like section. Fantastic music!
After intermission, Cowan began the second half with Reger’s Introduction and Passacaglia in F Minor, op. 63. It rolled through the gothic arches of this splendid building. He played it masterfully, using the expression pedals to create wonders of shading. For the first time that evening, we heard the full magnificence of this organ. He next played Elegy by George Thalben-Ball. They inserted a piece by Tomassi entitled Holy Week at Cusco. Sutte joined Cowan, alternating between piccolo trumpet and regular trumpet, which was muted at times. We then sang that glorious hymn “I Vow to Thee My Country,” whose tune comes from Holst’s The Planets—Jupiter. It made every Anglophile’s spine tingle!
Ken Cowan closed the program with Variations on ‘The Star Spangled Banner’ by Dudley Buck. It was played at the request of convention chairperson Joseph McCabe, and was just the right dessert following the dense music that preceded it. We all sang along on the last variation. Cowan played with total abandon and clarity—he makes everything he plays sound so easy. Thus ended the first full day.

Tuesday, 7 July 2009
Our first stop on Monday took us to Cleveland’s Pilgrim Congregational Church UCC, a massive Richardsonian Romanesque structure, to hear their 3-manual, 36-stop Farrand & Votey organ, Opus 719, from 1894. The organ was rebuilt several times; in 1992 it was restored by the Holtkamp Organ Company. (Our Atlas told us that Walter Holtkamp, Sr. attended this church as a boy.) It stands proudly right up front in this Akron-plan building. The pipes are handsomely stenciled, and the case is crowned with a wooden statue of an angel blowing a trumpet.

The concert was given by Stephen Schnurr, his student Micah Raebel, whom we heard at the 2007 convention in Indiana, and young tenor Nathan Leath. We began with the hymn “All hail the pow’r of Jesus’ Name” (Coronation), using both piano (Raebel) and organ (Schnurr). They then launched into a surprisingly effective piano-organ arrangement of Franck’s Prelude, Fugue and Variation, op. 18. Next, Schnurr played a lovely Berceuse (1911) by James H. Rogers (1857–1940). We heard many attractive sounds of this beautiful organ, especially the strings, flutes, and the Concert Flute. The next piece was also by Rogers, Theme and Variations, ‘Second Suite’ (1915), which showed off the fine Doppel Floete and Oboe.
Two more pieces by Rogers followed: Two Offertory Songs: 1. Today if ye will hear his voice, and 2. Out of the Depths. Leath sang and Raebel accompanied him on the organ. Both young men did very well with this literature, which was well-suited to this grand old building and organ. Micah Raebel then ended the concert with a dashing performance of the splendid Toccata (from Dix Pièces) by Eugène Gigout. I give Steven Schnurr and Dennis Northway much credit for sharing the spotlight of a national convention recital with their students.

Our second stop of the day took us to a sad yet proud place: the beautiful St. Procop’s (short for Procopius) Catholic Church in Cleveland, founded as a Czech parish in the late 19th century. I admired the beautiful marble altars and statuary, the windows, and wall decoration. I found myself seated next to a very old man, well into his late 80s. I asked him if he was a member of this church, and he said that he was, but added, “it’s a dirty shame, though. The bishop is going to close it on October 30. He is closing 50 churches in the diocese.” His voice was bitter and sad. He told me that he and his wife were married there many years ago. A nun who was in charge of the parish proudly touted the fact that she had brought the parish into the black—all bills were paid; but it was still closing on October 30. We presented her with an album of photographs our superb OHS photographers had taken of this beautiful church. She was deeply touched.
The organ was in the rear balcony: a 2-manual, 22-stop, 1913 instrument by Votteler-Hettche, originally tubular-pneumatic, now changed to electric action. The organ had not been heard in many years, but was made playable for this concert by several OHS volunteers. Many members of the parish had joined us, eager to hear the organ once again.
The recitalist was Randy Bourne, who began with Wagner’s Friedensmarsch from Rienzi. With the first sound emanating from the organ, the dear old man next to me jumped slightly; he then leaned forward. After a moment, I noted a tear fall from his eyes to the floor. It broke my heart. Such is the power a pipe organ and its history in the building in which it stands has over our hearts and emotions. The piece was a grand gesture to this gracious old building and the people who worshiped there.
Beethoven’s Minuet in G major, WoO 10, no. 6, was next, smartly played on a variety of 8-foot stops. A cipher, unfortunately, began on the Swell, and many hands attempted to repair it. Soon enough, it was just fine again, and we went on to the third piece, Mélodie in E-flat Major (Souvenir d’un lieu cher, op. 42, no. 3) by Tchaikovsky. (The Wagner, Beethoven and Tchaikovsky pieces were all played by Edwin Arthur Kraft at the dedication of this organ.) We all admired the sweet tones of an instrument whose fate is unknown after the church closes. We then sang the hymn “Sing praise to God, our highest good” (Mit Freuden Zart). It was very moving for all the St. Procop’s parishioners to hear the fine OHS singing. I suspect that there were few dry eyes all around. It was like being at a funeral.
Bourne ended with Mendelssohn’s Sonata in C Minor, op. 65, no. 2. It was well played and a good chance to hear the power of this fine organ. With heavy hearts, we left this sad and beautiful church wishing there was something we could do to help their circumstances.
Our buses took us to Holy Angels R.C. Church in Sandusky for a hymn sing accompanied by some of our members on the 9-stop, 2-manual Carl Barckhoff organ (1885) that had stood silently in the corner of the balcony for decades. The church got it working for us. It was a great moment! Let’s hope it continues to be used. Sandusky is an attractive town on the shore of Lake Erie, with countless churches. At one intersection, I saw three churches!

After lunch, we went to Sandusky’s First Congregational UCC to hear Christopher Marks demonstrate the fine 1875 Johnson & Son organ, Opus 462, 2 manuals, 26 ranks—an organ with a wild history of countless moves, finally finding its way to its present location in 1982 in a restoration with additions and replacement of two missing ranks by my friend James C. Taylor, of Kaukauna, Wisconsin. It stands in an alcove to the right of the altar area in an Akron-style Richardsonian Romanesque building with a beautiful stained glass window in the ceiling. Marks began with Spring Greeting (1896) by Nathan Hale Allen (1948–1925), a charming celebration of spring. Next was Night: A Meditation (1907) by Arthur Foote—lovely, evocative music, which he played with great sensitivity, using the organ’s sweet, soft sounds very well. After the hymn “Now, on land and sea descending” (Vesper Hymn), came a chorale prelude on that same tune by Samuel B. Whitney (1842–1914)—another charmer of a piece, followed by Horatio Parker’s Scherzino, op. 66, no. 3 (1910). Marks closed with a muscular reading of Dudley Buck’s Allegro vivace non troppo from Second Sonata, op. 77 (1877). This was a fine and entertaining program with Christopher Marks’s usual brilliant playing.
Our buses took us to Toledo and the elegant Toledo Museum of Art. We were to have heard a demonstration by Robert Barney of the 1785 Johannes Strumphler 1-manual cabinet organ. Alas, it was not to be, as we had gotten behind schedule. So we made our way into the large 1750-seat auditorium known as “The Peristyle” to hear the 4-manual Skinner organ from 1926 in a recital by Stephen Tharp. First, however, we were granted a fascinating lecture by Joseph Dzeda and Nicholas Thompson-Allen, two of America’s organ restoration experts. Dzeda told us that the organ had been dead—it took two years to restore it. It features an automatic player mechanism, and they told of a recently discovered collection of organ rolls. We heard one that was 80 years old by a Mr. Snow, a New York City organist, playing Saint-Saëns’ My Heart at Thy Sweet Voice. The effect was pure magic. It should be pointed out that the ushers and security staff had agreed to stay late so that we could hear Tharp’s recital on their treasured organ, a recital that was now two hours late—the only scheduling glitch of the week. We were all very grateful.
Stephen Tharp, looking quite snappy in his black and tan Captain Kirk-like attire, came out to the console, located center stage. He began with Mendelssohn’s Overture to St. Paul, which opened with the intoning of “Wachet auf” on the Tuba Mirabilis. This W. T. Best transcription makes one think that the piece was written for the organ, it’s that idiomatic. Tharp played it brilliantly.
Next came the Adagio from Widor’s Symphony VIII. Its mysterious and melancholic sonorities worked wonderfully on this organ’s strings and foundations. Tharp then played Elgar’s Larghetto, Serenade for Strings, op. 20, in a transcription by C. H. Trevor. Quiet strings accompanied a soft solo stop. He used the tremolo to great effect, turning it on and off as a singer would use vibrato, and used the shades very well, too. The last piece was the Fantasy and Fugue on ‘How Brightly Shines The Morning Star’, op. 40, no. 1, by Max Reger. It was marvelously played. Tharp managed to untangle all of Reger’s intense and driving lines and bring them into focus. On the way, we got to hear more of the very beautiful solo stops that Skinner left as his legacy. By the time he got to that amazing fugue, we were in awe once again of E. M. Skinner’s genius and the orchestral style of organ building. And we were, most assuredly, in awe of Stephen Tharp.
We then bused to Toledo’s great Cathedral of Our Lady, Queen of the Most Holy Rosary, easily the largest church building we would enter during the convention—it is absolutely spectacular. We were fed dinner in the cathedral parish hall, but many of us could not resist a peek into the massive church before we ate. It is truly one of America’s great cathedrals, with marble, elegantly carved wood, glorious frescoes, huge soaring stained glass windows, and a ceiling that towers over the grand baldacchino and altar. The Skinner organ, installed in 1931, has 4 manuals, 59 stops, and 75 ranks. The console is on the floor of the sanctuary, and the pipes are in a chamber above and to the left of the altar.
Stephen Schnurr presented the cathedral with an OHS Historic Organ Citation for its magnificent 1931 Skinner organ. Our Atlas told us that it is tonally and technologically intact, “with not only the pipework but all original console and relay mechanism intact.” Todd Wilson was our performer. He grew up in Toledo, and this instrument was a great source of inspiration to him. He began with Dupré’s Cortège et Litanie, op. 19, no. 2, as transcribed by Lynnwood Farnam, which made for a great program opener—a moving and powerful introduction to this organ.
Next came three English miniatures. The first was John Stanley’s Voluntary in F, which he played on the diapasons, then on the flutes as a quiet echo. A chirpy cornet-like sound danced about. The acoustic favored the music pleasantly. The next “miniature” was C. S. Lang’s wonderful Tuba Tune in D, one of my favorite Easter preludes. The huge scale of the solo reed was thrilling. The third English miniature was the beautiful Londonderry Air, as transcribed by Edwin H. Lemare. Wilson called forth gorgeous lush sounds from the organ and played it with great sensitivity. Near the end we heard the warm Vox Humana, the 32′ flue, and the celestes. He reduced the organ to a whisper and gave us one last pluck from the 32′. It was truly lovely.
Wilson ended the first half with Franck’s Choral No 1. in E—a marvelous choice for this organ and this room. The organ has all the right stops, and he used them in just the right way. His tempo was consistent throughout, which held everything together.
The second half began with Gerre Hancock’s Variations on ‘Ora Labora’. The tune was written by T. T. Noble upon the occasion of the founding of St. Thomas’ Choir School in New York. We then sang the hymn “Come, labor on.” The Hancock variations were quite good, showing lots of variety. Soprano Nancy Canfield joined Wilson in Les Angélus, op. 57, three songs by Louis Vierne evoking the three hours of prayer in a day: Au Matin, a gentle rocking piece; A Midi, noon, a bit heartier and more robust; and Au Soir, a quiet piece introduced by the ringing of a handbell three times. It ended very softly.
Wilson then performed Prelude on “Iam sol recedit” (1924) by Bruce Simonds (1895–1989), demonstrating the classic Skinner soft solo reeds on this extraordinary organ. He concluded with the well-known jaunty Allegro vivace from Widor’s Symphonie V, played masterfully. The organ fills this great marble and stone space with tones high and low, laughing reeds, and rumbling basses. Wilson plays with fantastic but controlled drive. The ending at fff was astonishing. Reluctantly, we left this great cathedral and boarded our buses for the drive back to Cleveland.

Wednesday, 8 July 2009
We began the day with a lecture at the hotel by Sebastian M. Glück on “The Grand Romantic Organs of Jewish Synagogues,” a fascinating lecture on a little-known subject. I’ve long admired Glück’s fine writing, and his lecture did not disappoint. We saw many historical photographs of temple organs, and learned how they went in and out of fashion.
Our first stop of the day was at Plymouth Church UCC in Shaker Heights, a prosperous and leafy suburb of Cleveland. The church itself has a 3-manual Holtkamp, but we were to hear the organ in their chapel: an 1844 George Stevens organ that has bounced all over the country from Boston to the west coast and back east to Plymouth Church. Many things have changed on the organ in its various moves, but it remains a nice instrument with two manuals, 27 stops, and 22 ranks. It was first heard by the OHS convention in San Francisco in 1988. The organ stands in a rear balcony. It has an ivory-colored case, with robin’s egg blue façade pipes and gold pipe shades.
We were pleased to have Bruce Stevens demonstrate this organ for us. He began what was to be another of his stellar OHS recitals with Pachelbel’s Partita on ‘Was Gott tut das ist wohlgetan’, a great choice for an organ demonstration. We sat in chairs already turned round facing the organ in the rear gallery. The room is in a New England meetinghouse style, with clear glass windows that brought in abundant morning sunshine. The wood floor and rounded ceiling gave much resonance to the room as we sang the hymn “What e’er my God ordains is right” (Was Gott tut).
Stevens then played O Clemens! O pia! from Five Invocations by Henri Dallier (1849–1934), in which we heard the Swell Dulciana with tremulant accompanying a Great flute playing in the tenor register. He ended with the ever-popular Dubois Toccata from Twelve Pieces, in which we heard the Great Trumpet used as a chorus reed. Stevens played very well, giving us much to enjoy. His usual refinement, shaping of phrase, and delicacy of articulation were all on display. This very old organ is robust yet gentle, and it was a great start to the day!

Next was another fine Votteler-Holtkamp-Sparling organ, Opus 1602, from 1938, in St. James Anglican-Catholic Church. The rector greeted us in cassock and surplice, carrying his beretta. The church is a small gem, with many pretty things. The organ is in the back on the main floor, with a sort of fence dividing its place from the nave. The organ is really the work of Walter Holtkamp, and was a great chance for him to work out his own ideas on organ building. The Positiv division is mounted on the wall, unenclosed. The organ has 3 manuals, 20 stops, and 25 ranks.
The program, played by John Ferguson, was to be a hymn-sing with chorale preludes. It was abbreviated, however, causing some confusion. He opened with Bach’s Prelude and Fugue in C, BWV 545, which was nicely played. Next was Herbert Howells’ Psalm Prelude, Set I, No. 2. It worked well, but seemed to want a celeste. Then came three settings of Es ist ein Ros’, by Praetorius, Dennis Lovinfosse, and Brahms, after which we sang the hymn “Earth and all stars.” Ferguson’s clever introduction and verses assigned to voice types, plus a rather cheeky verse for the organ on verse four that included references to “The Stars and Stripes Forever,” made for much fun. I was happy to surrender that verse to the organ because I can’t sing about “loud boiling test tubes” with a straight face. The hymn “Now thank we all our God” ended the program. He improvised a fitting postlude on Nun danket.
After lunch at the hotel, we had the annual meeting, and then walked across the large civic mall to the Cleveland Public Auditorium, a vast structure. Built in the Italian Renaissance-style and spanning two city blocks, it was completed in 1922. We found ourselves on a great stage somewhat awed by the place, curtains drawn on both sides of us. All 500 OHSers were completely silent as we stood there looking up into the wings, on one side, at the massive E. M. Skinner organ with its 5-manual console. The pipes were on the second story of the wings, and, we were told, went back some 45 feet. We had all seen the photos of what was to come next once the curtains would part, and the anticipation was building. Finally the curtains on our left opened revealing a large, 2,700-seat theatre—red and gold done up in Spanish motifs. And then the curtains on our right parted, and we saw the vast interior of the convention hall, which seats 15,500. At 300′ long, 215′ wide and 80′ high, with no supporting columns, it is quite a sight. And there we stood on this stage made to serve both venues, beneath this enormous Skinner organ. The location, in the wings, was not great for the projection of the organ’s sound, but the architects would not have it any other way. So, we were told, the organ did its best work in radio broadcasts. It has now fallen into disuse and only a few sounds could be heard that day.
Convention chair Joe McCabe gave a good talk on the building and the organ. Young Jonathan Ortloff played the parts of the organ that worked and then crawled around in the chamber making some of the large pipes speak. He was like a monkey swinging fearlessly from tree to tree. It was left to our imaginations to wonder at the instrument’s potential. In fact, the fate of the organ and its building is uncertain—what a pity. It is truly a stupendous place. You can view a video of the organ at <www.organsociety.org/2009/welcome.html&gt;.
Our next visit was to the great Shrine Church of St. Stanislaus in Cleveland. It is a large building, beautifully decorated in 19th-century style, with statues and elegant carvings everywhere. It was built to serve the Polish immigrants who flocked to the city at the end of the 1800s. The good-sized 2-manual, 39-stop, 33-rank William Schuelke organ was built in Milwaukee ca. 1909; it got rather beat up in a tornado that toppled the church’s enormous 232-foot steeples. The organ was rebuilt by Votteler-Holtkamp-Sparling as Opus 1579 in 1933. Work was done in 1988 that left the organ unplayable. James P. Leek Organ Company of Oberlin, Ohio releathered it, and installed solid-state switching. It stands today in the rear gallery.
Our recitalist was Rhonda Sider Edgington, making her fourth OHS convention appearance. She began with two of Schumann’s Four Sketches for Pedal Piano, op. 58, numbers 1 and 4, which gave a good hearing of the foundation stops. Next came two selections from Karg-Elert’s Choral Improvisations, op. 65: Aus tiefer Not schrei ich zu dir and O daß ich tausend Zungen hätte, which showed off several of the beautiful solo stops on this fine organ and the generous acoustic of the church. I especially liked the Doppel Flute—but then I always like Doppel Flutes! Cantilène (1900) by David Fleuret (1869–1915) followed—very nice music, which floated blithely through the church, gently moving along without a care in the world. Next came Mendelssohn’s Fugue in E Minor, played with snap and polish.

The evening recital was at Cleveland’s First United Methodist Church, which was founded in 1839. The present 1300-seat building, of Indiana limestone, was completed in March 1905. The exterior is English Gothic, with a huge lantern tower over the crossing. The interior, however, is a delightful surprise. It appears Byzantine in color and design, with elaborate stenciling. The vast space under the lantern tower floats over the altar area behind which the organ rises. The Geo. H. Ryder organ, built for an earlier church, was brought to the new location by the Votteler-Hettche Organ Co. of Cleveland. W. B. McAllister Co. of Cleveland created the truly remarkable golden organ screen, which wraps around the back of the chancel, measuring 40′ by 60′. The pipe flats are separated by four life-sized reproductions of Fra Angelico’s angels from his Linaiuoli Triptych. The present organ uses that case. It is a Casavant, built in 1943, with numerous subsequent additions; a 4-manual console from 1998 by the Kegg Pipe Organ Company features terraced jambs and is movable.
Our recitalist for the evening was Nathan Laube, who, we learned from Michael Barone, was celebrating his 21st birthday that night; we sang “Happy Birthday” to him! He had just graduated from Curtis. He began his recital with a joyous and almost giddy performance of his own transcription of the Overture to Die Fledermaus by Johann Strauss, Jr. His sense of color, touch, contrast, tempo, and dynamics is of the highest order. Next, he played Karg-Elert’s Symphonischer Choral: ‘Jesu, meine Freude’, op. 87, no. 2. In the first movement, Introduzione (Inferno), the full-length 32′ Contra Bombarde was most effective. The second movement, Canzone, had a beautiful solo from the Oboe; the strings are especially lovely. The final movement, Fuga con choral, woke the instrument from its peaceful slumber. The first half ended with the singing of the hymn Jesu, meine Freude.
The second half began with movement four (Variations on ‘Puer Nobis’) from Widor’s Symphonie Gothique, op. 70. We heard a blizzard of notes in the manuals, with the full pedal thundering forth the mighty tune. Laube ended with the 94th Psalm by Reubke. Now it should be said that this entire recital was played from memory. He had some difficulty with the combination action and had to stop to reset some things, but he managed to get back on track completely unruffled. For an encore, he played Andante sostenuto from Widor’s Symphonie Gothique, op. 70.

Thursday, 9 July 2009
The day began with a panel discussion and virtual organ crawl through the Cleveland Public Auditorium organ, built by Ernest M. Skinner. Our panelists and presenters were Joseph Dzeda and Nicholas Thompson-Allen. It was a fascinating talk, with photos showing the building in its various uses over the years, as well as the virtual organ tour. They touched on preservation of the organ, concern for its relocation, and, as the Atlas said, “practical issues surrounding instruments in public venues.”
Our first recital of the morning took place at St. Andrew’s Episcopal Church, built in 1917, in Elyria. A stone church on a leafy corner with a well-proportioned steeple, it has a 3-manual, 32-stop Skinner organ, Opus 398 (1923), in a chamber to the right of the altar. Anne Wilson began with the hymn “Joyful, joyful, we adore Thee” (Ode to Joy). Her introduction used elements from Beethoven’s Ninth Symphony—nicely done. Then, a Sortie by Lefébure-Wély (1817–1869), written at a time when French organ music for the church resembled that of the music hall or even a circus. This was no exception—great fun with plenty of reeds and foundations making splendid oom-pahs. Next was Brahms’s setting of Schmücke dich, o liebe Seele, using the 4′ flute. Wilson then played The Musical Snuffbox by Anatol Liadov (1885–1914), which demonstrated the Celesta (Harp). Next Vierne’s Impromptu, from Pièces de Fantaisie, op. 54, no. 2, which she tossed off with great ease—I liked her use of the Clarabella and the fine Vox Humana. Wilson continued with Lemare’s Irish Air from County Derry, which featured the strings and harp. She ended with a cracking good performance of Rossini’s Overture to William Tell. Great fun, and a fine demonstration recital.
The next stop in Elyria was kitty-corner from St. Andrew’s: St. Mary Catholic Church, an 1886 red brick building with a charming Victorian Gothic portico. Stepping inside, however, revealed a church stripped of all decoration; it was as if it had been sacked. But it still had its 1865 William A. Johnson organ, rebuilt and enlarged by Philipp Wirsching ca. 1900, and later by Homer Blanchard. In 1987 James Leek gave the organ a new Trumpet, replacing one that had disappeared. Originally one manual and pedal, the organ now has two manuals, pedal, and 12 stops.
Yun Kyong Kim, making her second OHS appearance, began with Prélude (from Trois Pièces, op. 29, no. 1) by Gabriel Pierné. The hymn came from The Hymnal 1940 (Episcopal): “I heard the voice of Jesus say” (Vox dilecti)—a fine choice for this place and organ; I liked the Great Trumpet. Next, she played a partita on Ach wie nichtig, ach wie flüchtig by Georg Böhm that gave a fine survey of the stops. The last variation used the Principal chorus and the Trumpet to good effect. Her next piece was Dudley Buck’s Home, Sweet Home, op. 30 (1868), dedicated to “his friend W. H. Johnson,” the original builder of this organ—great choice! One of the things I admire so much about OHS recitals is the pleasure we take in music of this sort played straightforwardly—no winking. The dignity of the instruments and composers is preserved, and we are transported back in time, to another aesthetic—like hearing Bach on a Silbermann. Yun Kyong Kim ended her program with Etude in D Minor from Four Concert Etudes, op. 51, no. 4 (1904) by George Elbridge Whiting. This was a brilliant performance, with wonderful and varied colors from this 12-stop organ.
After a box lunch, buses took us to Wellington to hear the 1916 2-manual, 13-stop J. W. Steere organ, Opus 417, in the First Congregational Church UCC—OHS charter member Randall Wagner’s home church. The organ sits in a niche to the right of the altar in this octagonal Gothic structure. The interior is crowned with a lantern tower at the peak—a Tiffany-like dome. The manuals and stop action are mechanical, while the pedal is tubular-pneumatic.
Recitalist Grant Edwards began with John Stanley’s Voluntary in G Major, op. 7, no. 9, which worked quite well on this organ. I liked the Oboe, the only reed on the organ, which functioned well as a solo voice and a chorus reed. We heard it as a solo in the next piece, Denis Bédard’s Récit (Suite du premier ton). The slow movement from Mendelssohn’s Third Sonata was next. John and James Leek had restored the hand-pumping mechanism in 1983, and the present organist at the church hand-pumped the organ for this piece. Edwards played a Fughetta on “Austria,” after which we sang that tune to the hymn “God whose giving knows no ending,” then, Brahms’s Schmücke dich, O liebe Seele on a very beautiful flute. Arthur Foote’s Canzonetta, op. 71, no. 4 was next—a captivating piece. The last work was Noël Goemanne’s Partita on “Simple Gifts”—fine playing, and an all-around good demonstration of a beautiful organ.
This beautiful, sunny afternoon, we went to the attractive city of Oberlin, its downtown festooned with large hanging baskets of flowers—right to a church on the green at Oberlin College: the First Church in Oberlin UCC, established in 1834. The red brick building would look right at home in New England. The interior is like a New England meetinghouse, with horseshoe balcony and clear glass rectangular windows. The choir area and organ rise above the altar and pulpit. The organ reposes today in a neo-classical case retained from an Estey organ built for the church in 1908. A Skinner organ from Second Congregational Church replaced the Estey when the two churches merged in the 1920s. The Gober organ company from Elora, Ontario, and now of Oberlin, built the present organ, retaining the white Estey case and seven ranks from the Skinner. It is a large 2-manual and pedal organ of 40 stops and 47 ranks, mechanical key action and electric stop action, with solid-state combination action. Halbert Gober is curator of organs (and there are a lot of them!) at Oberlin College.
The performer was Jack Mitchener, appointed in 2008 as associate professor of organ at Oberlin. Dr. Mitchener opened with Frank Bridge’s marvelous Three Pieces, the Adagio of which has become quite a favorite. We admired the solo flutes and the Clarinet. The fascinating fugue subject is soft at first, but builds to a rolling boil complete with 32′ Contrabourdon; he brought it down gently at the end. The third movement, Allegro con spirito, was indeed fast and spirited, and the playing was well paced and articulated. The organ has a few rough edges, but the overall sound is rich in tone and powerful. Since it is right on campus, it is used regularly as a teaching and practice instrument. Saint-Saëns’ Fantaisie in D-flat Major, op. 101 came next, and was played very well. Spring Song by Harry Rowe Shelley (1858–1947) was an engaging romp—a bonbon. The hymn was “All my hope on God is founded,” with its awe-inspiring tune Michael by Herbert Howells. Mitchener’s final work was Mendelssohn’s Sonata No. 1 in F Minor, op 65. His playing possesses great power and solidity. This was a very impressive performance in every way.
The convention group was divided in half, with some taking a self-guided tour of the Julas Organ Center, featuring Oberlin’s 14 practice organs by builders including Holtkamp, Noack, and Flentrop, then attending another fine recital by Dr. Mitchener in the beautiful Fairchild Chapel designed by New York architect Cass Gilbert (Woolworth Building, George Washington Bridge) and completed in 1931. Seating just 200, it was a perfect place to hear the beautiful 2-manual and pedal organ by John Brombaugh (Opus 25), from 1981, one of the earliest examples of a modern instrument tuned in quarter-comma meantone. This gothic chapel also contains a small 1957 Flentrop (one manual with pedal pulldowns). Mitchener played a varied program—Bach: Komm, Gott, Schöpfer, heiliger Geist, BWV 667; Andrea Antico: Chi non crede; Giovanni Paolo Cima: Canzon quarta, La Pace; William Byrd: The Carmans Whistle; and Buxtehude: Praeludium in C Major, BuxWV 137. All of this sounded marvelous on this unique instrument—a revelation.
After dinner under a white tent in a park, we headed to Oberlin’s Finney Chapel, a sort of Spanish Romanesque structure, for the evening recital by Diane Meredith Belcher on the C. B. Fisk organ, Opus 116, from 2001. The 3-manual organ has 57 registers, built in the French Romantic style, taking its inspiration from the instruments of Aristide Cavaillé-Coll. The Pedal has three 32′ stops. The tone is robust and colorful. It sits in a dark walnut-colored case on a balcony above the back of the stage.
Belcher began with Three Preludes and Fugues, op. 37 by Mendelssohn. In the C-minor, she attacked the music with a confident stride. I found the room to be resonant, but not reverberant—a pity. All that money spent on this classy organ, and the room is relatively dead. The G-major began with what I assumed to be the Flûte harmonique, which sang out into the room with a rich, noble sound. The fugue grew out of 8′ 4′ 2′ principal sounds, which sparkled well and were nicely colored with the addition of a reed. The D-minor used mixtures for the first time. We also heard 16′ manual tone and the 32′ Bourdon in the Pedal. Quieter sounds on the Récit grew to a ff as the piece wound itself around. Her performance was fantastic. The full power of the pedal came out in the fugue.
Next came another visit to Lefébure-Wély land, with his Élévation ou communion en la mineur, followed by Pifferari (a piffaro is a type of Italian bagpipe). Belcher used the Fisk organ’s Effet d’Orage stop, which creates the sound of thunder by sounding about seven pedal keys at once, as a drone went on the left hand while the right hand had dialogue between trumpets and flutes. Quite a piece! Then, Guilmant’s Prière en fa majeur, op. 16, no. 2, which was a nice airing of the Vox Humana. The first half ended with Gigout’s Pièce jubilaire, which begins quietly and builds to full organ. The full organ was thrilling. After the intermission, Michael Barone, a graduate of Oberlin, read a list of his classmates there in the late 1960s. It read like a who’s who of renowned American organists, teachers, and, of course, one very famous radio personality!
The second half of the program comprised a single work: Maurice Duruflé’s Suite, op. 5. The expression “hair-raising” cannot be overused here. The Prelude was full of thunder in the bass, with the flash of manual reeds and mixtures. The Sicilienne featured a solo on the Récit’s Basson-hautbois, followed by the beautiful strings accompanying the Flûte Harmonique—things of loveliness. The Toccata was played with an incredible fury. Pure joy and elation radiated forth from Belcher and this fantastic instrument.

Friday, 10 July 2009
Our first concert of the day was at Temple Tifereth Israel, a most impressive landmark on University Circle. The architecture was described in our atlas as “Romanesque and Byzantine.” Dedicated in 1924, it features a vast dome rising 85 feet over the sanctuary, which seats 1,227 on the main floor and another 659 in the mezzanine. The original organ was a Kimball with four manuals and a horseshoe console. The console was rebuilt by Ruhland Organs of Cleveland in 1967, and is now a Holtkamp-style 3-manual with stop keys. They retained much of the Kimball pipework, including diaphones and tibias. The organ is in the front of the building in chambers to the left and right of the choir gallery.
Justin Hartz played a wonderful recital of period pieces on this unusual instrument. He began with A Song of the Sea by English composer H. Alexander Matthews (1879–1973), which featured the Diaphone. Next was Caressing Butterfly by Richard Barthélemy (1869–1937) in a transcription by Firmin Swinnen. This was a tour of the grand old organ’s solo stops—there were many enchanting Kimball sounds.
Then we heard three pieces in theatre organ style: Forgotten Melody by Gus Kahn and Jesse Crawford, arranged by Rosa Rio who just turned 107; Hartz’s transcription of The Whistler and His Dog by Arthur Pryor; and Trees by Otto Rasbach, based on the poem by Joyce Kilmer. The hymn was “May He who kept us” by James H. Rogers. Hartz ended his concert with a good reading of Franck’s Pièce héroïque.

We then drove to the tony and very beautiful neighborhood of Cleveland Heights for a recital at St. Paul’s Episcopal Church, a large English Gothic structure of Indiana limestone. The 1951 building was designed by J. Beyers Hays of Walker & Weeks, Cleveland. Our Atlas states that the same firm also designed the Public Auditorium in 1922 and Severance Hall in 1930. Karel Paukert is the organist at St. Paul’s and presides over three pipe organs, the most famous being the large organ by Walter Holtkamp built in 1952. It rises behind the altar screen, and has three manuals and pedal, with 44 stops. John Ferguson wrote in the atlas: “St. Paul’s Episcopal organ can be taken as a good example of the mature style of Walter Holtkamp. It was his favorite instrument. Many consider it to be his masterpiece.” But we’ll come to this organ later.
David Schrader began his program on the smallest of the three organs in this church: a one-manual portative organ from 2002 by Czech builder Vladimir Slajch. It stood in the side aisle to our right. Its bright red case with blue and gold trim really made a statement in this mostly white room. Schrader stood as he played some pieces from Frescobaldi’s Fiori Musicali (1635). In the Bergamasca, the gentle flute, Copula, filled the large room easily. He then made his way to the rear balcony, where a second organ awaited him: a 2-manual and pedal, 21-stop Hradetzky from 1986. The pipes are mounted on the railing, and the console is behind the case. The organ is in 17th-century Northern Italian style. It can be hand pumped, and has all manner of toys: drums, bells and whistles. The Toccata per l’Elevazione used the organ’s Voce umana. That was followed by the Ricercar cromatico dopo il credo. Then the fun began with the toy counter as he moved from Frescobaldi to Claude-Benigne Balbastre’s Variations on the Marseillaise and Ça Ira—it was a hoot from start to finish.
Schrader then moved to the Holtkamp behind the altar. The hymn we sang was not well chosen for our group or for the instrument: “God of our fathers, whose almighty hand” (National Hymn). We sing with great gusto, and with this hymn you need powerful solo reeds for the fanfares. The fanfares were written in our music, but he chose not to play them. So that was confusing right from the start. He also played it in a lower key, C major, I think. Then, between the third and fourth verses he played an extended interlude that seemed to wander through the circle of fifths for so long, as he modulated upward, that we were left uncertain as to when we should enter for the last verse. When he played a quasi-fanfare, half of us began to sing, and half waited for two measures. It was quite a rubble. The last piece was Trois Danses by Jehan Alain. I love this work and had been looking forward to it. The organ seemed well suited for it, but Schrader seemed to lose his way. The music lacked an inner pulse, which holds the musical line together.
We then went to the huge Church of the Covenant, another grand English Gothic building made of Indiana limestone. It features a large tower over the crossing containing a 47-bell carillon of Dutch bells. The first thing we did was gather in the church to sing the hymn “All Creatures of Our God and King” (Lasst uns erfreuen), with Jonathan Moyer playing the 5-manual Aeolian-Skinner rebuild of a Skinner organ. The pipes of this organ are placed all over the room, so the effect is rather overwhelming. He played it well and gave us a good demonstration of the instrument. We then ate a box lunch on the beautiful grounds as we listened to carillonneur John Gouwens, who played with fine shading and color music from many periods including an improvisation on a submitted theme.

We then walked over to the beautiful Cleveland Museum of Art. Unfortunately, the large Holtkamp organ was in storage due to renovations in the auditorium. But we did get to hear the Holtkamp Art Deco Portativ from 1935 in a recital by organist Gregory Crowell and soprano Kathryn Stieler. The organ’s case, designed by architect Richard Rychtarik, looks like something that stepped out of a 1930s Fred Astaire movie. The organ marked a return to tracker action in American organ building—a thing that would not be seen again until the 1960s. The recital was held in a reverberant gallery. Dr. Crowell began with Partite sopra La Romanesca by Michelangelo Rossi (1601–1656). Ms. Stieler began with Amarilli, mia bella by Caccini. Her even tone was rich and pure, filling the gallery with sound. Giovanni Legrenzi’s Che fiero costume was next, sung with great fire and freedom. Crowell’s accompaniment was superb.
Then we heard two movements from OHS member David Dahl’s An Italian Suite. Dahl’s writing is quite fine, and Crowell played this music very well, beginning with Pavana and ending with Gagliarda. Ms. Stieler returned for two more songs: the gracious Intorno all’idol mio by Antonio Cesti, followed by the well-known and joyous Già il sole dal Gange by Alessandro Scarlatti. It was an elegant program beautifully performed by two gifted musicians.
We returned to the Marriott to have dinner and get ready for the evening concert, the closing event of what had been a truly great convention. A record 530 registrants took part, even in the difficult economy we were having. The convention sold itself, with stunning photos on display at last summer’s convention in Seattle, in a gorgeous calendar we all received before Christmas, and, of course in the brilliant convention issue of The Tracker magazine, with more photos and tantalizing prose.
And now we found ourselves entering the grand and famous home of the Cleveland Orchestra: Severance Hall in the beautiful University Circle neighborhood. The classical exterior of the 1931 building includes organ pipes in the pediment above the main entry. The interior is pure Art Deco splendor. The big 4-manual Skinner organ from 1931, Opus 816, with 86 stops and 94 ranks, was originally in chambers 41 feet above the stage, speaking downward. Eventually it fell into disuse, and was walled up, thus preserving it. The hall was renovated in 2000, and the organ was moved to new chambers at the back of the stage. Jack M. Bethards was the consultant, and the Schantz organ company renovated the instrument, giving it modern solenoid drawknobs and a multi-level combination action. A façade of 43 non-speaking pipes graces the organ’s front. The console, painted a deep blue, with ivory and walnut colored Art Deco trim, was front and center on the stage.
The recitalist was Thomas Murray, university organist and professor of music at Yale University. He opened with Toccata in F Major, BWV 540, by J. S. Bach, slowly allowing the organ’s sound to grow and blossom. His flawless sense of rhythmic pulse and immaculate technique propelled every phrase. He made the most of those marvelous deceptive cadences. The powerful 32′ reeds came on at the end, leaving us breathless. We had all fallen in love with this organ, and the concert could have ended right there. But we were grateful that there would be more.
Next came Hindemith’s Sonata I (1937), written six years after this organ’s debut. Murray made the most out of this organ’s many fine solo voices. His approach was more orchestral, more dynamic than the usual. The Sehr langsam, for example, began with a plaintive cry from the Choir organ’s Contra Fagotto 16′ played one octave higher. Some of the softer foundation stops were heard, then the Orchestral Oboe—beautiful
E. M. Skinner sounds. Phantasie, frei featured good contrasting sounds. It ends, of course, with Ruhig bewegt, softly reminding us of the first movement. Murray’s pace and choice of color were perfect. The ppp ending on the Choir strings was deeply moving.
Regina Pacis from Guy Weitz’s (1883–1970) Symphony I on Gregorian Themes (1932), a good period piece for this organ, contained the Gregorian Ave Maria. I loved the soft 16′ pedal stops, Dulciana and Gamba, speaking with precision and presence. It grew to a loud dynamic. Instead of a sacred hymn, we sang a hymn to music: Schubert’s An die Musik, a practice they have at Yale graduations. It was a fine touch. For a brief moment we were all Yalies!
After intermission, Murray played Mouvement by Jean Berveiller (1904–1976). Only a few minutes in length, it packs a lot of music with a truly riotous pedal part. He concluded with Calvin Hampton’s transcription of Franck’s Symphony in D Minor. It sounded wonderful in this room, which has just enough reverberation to make the detached chords ring. Murray’s legendary console technique and registration skill were on full display. One also had the sense that this instrument clearly inspired him. The strings and soft reeds are to die for. The Oboe, English Horn, French Horn, and so forth are the stuff of genius. Thank God we still have this instrument’s voices intact as Skinner left them. This symphony, written for orchestra, makes a great organ piece; the transcription was excellent. Thomas Murray played it magnificently. His playing on this glorious and historic masterpiece of an organ—brought back from near extinction—is what the Organ Historical Society is all about. We were all deeply moved by that realization.
My hat is off to the planners of this convention. It ran like a clock. Endlessly fascinating instruments and venues kept us constantly entertained. The hotel was terrific, as was the food. The performers outdid themselves. The Atlas is a great document: kudos to Rollin Smith, Jonathan Ambrosino, Stephen Pinel, Stephen Schnurr, Scot Huntington, and Joseph McCabe for an outstanding job. The photography of William Van Pelt, Victor Hoyt, and Len Levasseur will provide inspiration for years to come. Next summer is Pittsburgh (information: <www.organsociety.org&gt;). I can’t wait! 

Photo credit: William T. Van Pelt, III

Frank Rippl

Frank Rippl is a graduate of Lawrence University Conservatory of Music, where he studied with Miriam Clapp Duncan and Wolfgang Rübsam. He is co-founder of The Appleton Boychoir, coordinator of the Lunchtime Organ Recital Series in the Appleton, Wisconsin area, and has been organist/choirmaster at All Saints’ Episcopal Church in Appleton since 1971.

When an organist thinks of Indiana, many things come to mind: the long history of fine organ teaching at Indiana University; the famous Fort Wayne Competition; the large Schlicker/Dobson organ in the Chapel at Valparaiso University; the three modern tracker organs in Christ Church Episcopal Cathedral in Indianapolis; plus two new organs at Goshen College (Taylor & Boody) and at Notre Dame University (Fritts); and the list goes on.
So it was with that abundance of riches in mind that the Organ Historical Society gathered at the Sheraton Hotel in Indianapolis for its 52nd annual convention to seek out the historical roots of such a strong heritage and affection for the pipe organ. It was a “Hoosier Holiday” on the banks of the Wabash with a wealth of music, organs, beautiful venues, corn and soybean fields, and gracious hospitality!

This year’s pre-convention event was a festive concert at Broadway United Methodist Church in Indianapolis with the Broadway Festival Chorus and Orchestra led by Jack L. Fox, minister of music at the church, and organist Christopher Schroeder, who presided over the 2001 Reynolds Associates Inc. organ. The evening began with Mr. Schroeder’s fine arrangement of the hymn O God Beyond All Praising, sung to the tune thaxted by Gustav Holst (from: The Planets—“Jupiter”). The church is a very attractive English Gothic building completed in 1927 with a high ceiling and resonant acoustics. The combined forces performed Rheinberger’s Mass in C Major, op. 169, and Widor’s Symphonie pour orgue et orchestre, op. 42. The choir and orchestra were adequate to the task and Fox led with sure command. The music is lovely, and it was a real treat to hear it live. Mr. Schroeder played the many fast passages of the Widor with great confidence.

Thursday, July 12
The actual start of the convention was Thursday July 12 with an ambitious program by Marko Petricic, who teaches organ at the University of Indianapolis. The venue was the elegant Second Presbyterian Church, founded in 1838 in Indianapolis. The present building, completed in 1959 in French Gothic style complete with an intricate flèche, has very fine windows including, above the altar, a Tiffany window brought from their previous building showing the Ascension of Christ. The organ is a large 4-manual, 80-rank Aeolian-Skinner from 1968, renovated in 2002 by the Schantz Organ Company.
Petricic began with the second movement of Messiaen’s L’Ascension, “Alléluias sereins.” The effect was pure magic as we all silently enjoyed the serene beauty of the gorgeous Tiffany window rising in front of us into the bright clear sunshine during Petricic’s beautiful playing. An OHS tradition is to sing a hymn or song at each concert facing the organ. So we rose, turned round and were bathed in the pastel light of the high clerestory windows as we sang Lobe den Herren to Petricic’s masterful accompaniment.
Then Soliloquy by David Conte gave us a good tour of this fine organ, while a video projection of the performer provided a helpful visual image. Petricic is a brilliant player with a great sense of color. He next played Petr Eben’s “Moto ostinato” from Nedělní hudba, and then ended his recital with the Prélude et fugue sur le nom d’Alain, op. 7, by Maurice Duruflé. It was electrifying. I hope we can have him do a full evening recital some year!

Our next concert was on the famous 1987 Holtkamp tracker organ (3m, 44rks) at Sweeney Chapel of the Christian Theological Seminary in Indianapolis. We were to have heard Marilyn Keiser, of Indiana University and the consultant for this instrument. She, sadly, had been in an automobile accident ten days earlier, and while not seriously injured, was unable to play. Edie Johnson, organist at the chapel, filled in with an interesting and well-played program. The visually stunning chapel, designed by Edward Barnes, was completed in 1987. It is essentially a concrete cube with five seconds of reverberation when empty, and 2.8 seconds when full. The organ rises along the wall to the right of the altar.
Johnson opened with Bach’s Fantasy and Fugue in C Minor, BWV 537. She gently unfolded the Fantasy on the beautiful Principal stops, and used the fine plenum on the Fugue. We next heard the organ’s Cornet in Buxtehude’s chorale prelude on Ein feste Burg ist unser Gott. Then came the second movement of Pamela Decker’s Río abajo Río (1999), “Diferencias,” showing us the strings and what I think was the Krumhorn. This is gorgeous music that I highly recommend.
The hymn was the rousing Torah Song, introduced on the fine Trumpet stop. Ms. Johnson closed her program with a superb performance of Mendelssohn’s Sonata in F Minor. The audience gave loud and sustained applause to this talented performer! Following a tasty boxed lunch from Wolfgang Puck, we had the opportunity to tour the Indiana Museum of Art and its extensive collection.

OHS favorite MaryAnn Crugher Balduf gave the first recital of the afternoon, playing the 1905 Felgemaker organ (2m, 16rks) at Bethel A. M. E. Church in Indianapolis. Steven Schnurr, chair of the Historic Organ Citations Committee, presented the church with an OHS citation in recognition of the historic merit of their organ. The altar table stands at the center of a long wall of this rectangular-shaped room, and the organ is in a balcony above the altar. MaryAnn began with “Allegro Agitato” from Fifteen Inventions, op. 1, by Joseph Callaerts (1838–1901), and followed with Offertoire by Theodore Dubois. She was then joined by her daughter, Sara Balduf Adams, soprano, in five beautiful early art songs by Alban Berg. We heard several combinations of the softer sounds of the organ as MaryAnn demonstrated her strong accompaniment skills. Sara has a lovely voice, and it was a treat to hear something besides just the organ at one of our recitals. Next up was Arietta by Horatio Parker. I love Felgemaker flutes: their sweet, round, ringing quality is unique. Next, in Frederick Newell Shackley’s Prelude in F, the variety of registrations gave us a good aural tour of the organ. MaryAnn ended with a charming March by John S. Camp, which she played in memory of a recently departed friend who was to have played a duet with her on this recital.
Stepping outside we had the chance to admire Indianapolis’s beautiful Venetian-style canal that flows past this church and through downtown. It must be seen to be truly appreciated—gondolas and all! We next paid a visit to the shop of organbuilders Goulding & Wood, who gave us an opportunity to view a large Aeolian-Skinner they were in the process of rebuilding for East Liberty Presbyterian Church in Pittsburgh—a fascinating operation.
The afternoon’s last concert was at Old Centrum, formerly the Central Avenue Methodist Episcopal Church, a grand old 1892 auditorium plan building. It ceased being a church in 2000, and is called today The Old Centrum. Sixteen nonprofit organizations are housed there or offer services there. The organ stands front and center behind the altar table. This had been the home church of Senator Richard Lugar. Thaddeus B. Reynolds, Indiana organbuilder, did restoration work on this historic 1892 instrument and discovered that it was built by 19th-century Indiana organbuilder Thomas Prentice Sanborn & Son. There being no proper identification on the organ case, Reynolds ceremoniously attached a Sanborn nameplate to the organ case before the concert began. Sanborn had studied with the Hook brothers. This organ shows that influence with its bold, powerful and rich tone.
Our recitalist, Charles Manning, began with Louis Couperin’s Chaconne in G Minor demonstrating the organ’s full plenum. By way of contrast, he followed with Brahms’s Schmücke dich on a perfectly lovely flute that sang out with uncommon sweetness. He followed with the always-welcome Berceuse of Louis Vierne, a haunting evocative work. We then took a leap into the late 20th century with a piece by Arvo Pärt, Trivium for Organ: II (1988). I always love to hear new music on an old instrument. Quality organ building is a timeless art. I’ve become a big fan of Pärt’s music and was so glad to hear this piece. The old organ held its own against the mighty blast of OHS hymn singing with the hymn Praise, My Soul, the King of Heaven (Lauda Anima). Manning ended his concert with Intrada in E-flat Major by Grayston Ives, b. 1948. He played very well for us, and gave us an interesting and varied program!

The afternoon ended with the only lecture of the convention, Michael D. Friesen on 19th-century Indiana organbuilders William Horatio Clarke and Thomas P. Sanborn, held at Roberts Park United Methodist Church. This was a perfect example of Friesen’s detailed research complete with photographs of the two men’s boyhood homes, early shops, and the ways in which they connected with the organ building world in the Midwest of the late 19th century. In addition to Michael’s fine commentary, we had the added pleasure of gazing upon a glorious black walnut organ case built by W. H. Clarke topped by two carved angels blowing on horns. The instrument was rebuilt by E. M. Skinner and then by Reuter, but the Clarke case remains.

The big evening event was a concert by Carol Williams, civic organist and artistic director of the Spreckels Organ Society, Balboa Park, San Diego—the first female ever to hold that position or any other similar position in the country. It was held at North United Methodist Church, Indianapolis, on the church’s large 4m Kimball organ from 1931, enlarged and rebuilt by E. H. Holloway Corp., Reynolds Associates, and Goulding & Wood. There are many beautiful and ravishing sounds on this big organ, most of which is at the front of the church in chambers on opposing sides of the altar area, and Dr. Williams made good use of them. I’m sure most of us showed up that night expecting to be entertained, and we certainly were. She presented a varied program that included Louis Marchand, Purcell, and a very romantic interpretation of Bach’s Fantasia in c, Lefébure-Wély, Rachmaninoff (!), and Mozart Changes by Zsolt Gárdonyi, with sections that sounded like Hammond organ jazz. She also played her own arrangement of Roller Coaster. The hymn was Amazing Grace, which she played from an arrangement by George Shearing. The final selection was her arrangement of Sabre Dance by Aram Khachaturian. Williams has good rapport with the audience and I’m sure her audiences at Balboa Park are very entertained as we were. However, her playing that night had a number of rhythmic instabilities that lessened the impact of what she had hoped to present. The organ has a thrilling set of horizontal fanfare trumpets in the rear gallery, and she fell prey to the temptation of using them too often. Another case of less is more.

Friday, July 13
This very lucky Friday the 13th saw us take our longest bus ride of the convention—two hours through the beautiful countryside of Indiana to our first stop: the sweet little town of Lagro, and St. Patrick’s Church, dedicated in 1873. Today it exists as an oratory, or place of prayer, as it lost its status as a parish in 1997. Mass is celebrated once a month by a priest from a nearby town.
The organ is a beauty, believed to be an Erben from 1845. The 1m, 5-stop organ with pull-down pedal was in two other Indiana churches before it arrived at St. Patrick’s between 1884–1888. It was restored by Hal Gober of Elora, Ontario, Canada, in 2004. It was one of my favorite organs at the convention!
Our recitalist was Gregory Crowell, director of publications for the OHS, and university organist of Grand Valley State University in Allendale, Michigan, who played a sprightly program for us on this tiny organ. One could easily discern his pedigree: Heiller students Yuko Hayashi, Bernard and Mireille Lagacé, and Harald Vogel. His playing was clear, clean and very musical. He opened with Handel’s Overture to Ottone. We then heard the lovely 8′ Principal play a Voluntarie from My Ladye Neville’s Booke, by William Byrd. A charming 4′ flute was used for Krebs’s Praeludium: Jesu, meine Freude. Other small pieces followed, giving us a fine tour. We sang the hymn Hail Glorious St. Patrick to the tune Hemy.
Three little Mozart pieces followed including Adagio for Glass Harmonica, K. 356, which again featured the extraordinary flutes on this organ. Crowell closed with C. P. E. Bach’s Organ Sonata in F Major, Wq 70, 3. I loved this organ. The pride the people who worship at St. Patrick’s have in their organ and lovely church was evident at every turn. We then had the treat of a tasty hog roast at the nearby Methodist church.
Our buses then took us to Peru, Indiana (hometown of Cole Porter!) and the wedding cake-like Catholic Church of St. Charles Borromeo (1863) and its commanding 183-foot steeple, for an outstanding recital by the young and very talented Karen Schneider Kirner, assistant organist for the Basilica of the Sacred Heart at the University of Notre Dame. The organ is an 1893 Louis H. Van Dinter with 2m and 19rks, and was given an OHS Historic Merit plaque before the program began.
Kirner began with the stately Processional by César Franck, and then played Praeambulum Festivum, op. 64, by Sigfrid Karg-Elert, another fine demonstration. Next up was Liszt’s arrangement of Arcadelt’s Ave Maria, which took me back to my youth. It was followed by Bach’s French Suite No. 5 in G Major, BWV 816, which worked quite well on this organ as a demonstration. Kirner is a very fine player. Her sure and nimble fingers carried us along in the final Gigue such that one wanted to dance! Her final selection on this historic instrument was the Passacaglia from Rheinberger’s Sonata 8 in E Minor, op. 132, which she played with effortless expertise!

On we went to Logansport, Indiana, to hear the 1883 Barckhoff organ at St. James Lutheran Church. The church was dedicated in 1868, but was largely destroyed by fire in 1883. It was rebuilt that same year along with the new Barckhoff organ. Various things were done to it over the years as the result of water damage. John-Paul Buzard Pipe Organ Builders restored it to its original condition as much as possible, adding an 8′ Great Trumpet, which had been prepared for but never added. Buzard copied a Barckhoff Trumpet from an organ in Lancaster, Pennsylvania. The 2m, 23-stop organ stands in the rear gallery.
Following a mayoral proclamation by the mayor of Logansport, and a peal of the three tower bells, we heard a fine recital by organist John Gouwens, organist and carillonneur of the Culver Academies. He began with Allegretto grazioso by Frank Bridge, demonstrating a range of sounds from mf to pp—lovely quality to those sounds! He next played Pachelbel’s Chaconne in D Minor starting on the Dulciana and building from there. He continued with Three Chorale Improvisations by Karg-Elert—nice pieces. I especially enjoyed hearing the very beautiful 8′ Oboe & Bassoon with tremolo. The hymn was “A mighty fortress”—the last verse was sung a cappella, which was fun for us! There followed the only improvisation of the convention—on Ein’ feste Burg. We finally got to hear the new Buzard Trumpet, but only coupled to the Pedal. The improvisation started with strong sounds, and then drifted nicely into quietness at the end. I had hoped to hear more of the Trumpet, but Gouwens may have wished only to show the Barckhoff bits.
The final recital of the afternoon was in Frankfort at the First Presbyterian Church (est. 1831). Mary Gifford, director of music at St. Mary Catholic Church in Des Plaines, Illinois, performed for us on the 1959 E. H. Holloway Corporation rebuild of a 1901 Lancashire-Marshall opus 131: 3m, 36rks. It now has electric key and stop action. She played several character studies from the early 20th century beginning with “Sunrise” from A Pastoral Suite (1913) by Clifford Demarest, which built up a healthy crescendo. Then Bells in the Distance by Camil Van Hulse, which featured the chimes. (If you have chimes on your organ, this is not a bad piece.) Next came The Tragedy of a Tin Soldier by Gordon Balch Nevin, which induced many a smile with its melodramatic four movements. I love these old gems. When she finished, she stepped away from the console drying her “tears” with a white hanky. Following that was a chorale prelude on What a Friend We Have in Jesus by Van Denman Thompson, which featured the lovely Doppel Flute in an obbligato section and the Clarinet in the tenor at the end. Nice sounds all around! The hymn that followed was, of course, “What a friend.” Gifford had the tenors sing the soprano part and the sopranos sing the tenor line in their own range. It was a nice touch and just the thing to keep us on our toes at the end of a long day.
Gifford closed her very entertaining concert with two movements from Edward Shippen Barnes’s Symphony No. 2: III. Intermezzo, and V. Final. The Final used several devices Vierne used in the famous Final to his First Symphony. It was a real rouser, and she played it straight, giving it integrity.

Following dinner at our hotel, we bused to the relatively nearby St. Luke’s United Methodist Church for our grand evening recital by Thomas Murray, university organist and professor of music at Yale University. He of course is widely known as a concert organist and recording artist specializing in the Romantic repertoire and his own astonishing orchestral transcriptions. St. Luke’s is a huge new church with a narthex bigger than most of the churches we would visit at this convention. The choir room alone seats 130 people. The organ is a large 4m, 80rk Goulding & Wood from 1999.
Murray began with his own transcription of a piano work by Mendelssohn: Prelude and Fugue in E Minor (no opus no., 1841). We all marveled at Murray’s seamless transitions between keyboards and effective use of the expression pedals. The work has a fascinating fugue subject that begins with a descending major 7th. Next we heard Summer Sketches, op. 73, by Edwin H. Lemare: “Dawn,” “The Bee,” “The Cuckoo,” “Twilight,” and “Evening”—charming pieces. Murray used all the resources of this large organ to lift these pieces off the page. I especially enjoyed the bee buzzing away on the Vox Humana! The Great, Swell, Choir and Pedal divisions are spread out horizontally across the front of the church, while the Antiphonal is on the side wall to the left of the congregation. High overhead, and I do mean high (!), is the very powerful Trompette en Chamade, which is available on all manuals. The surround sound was magic with birds and bees twittering and buzzing away all over the place.
Murray then played one of Seth Bingham’s most famous pieces, Roulade. It does indeed roll over the place, and this was a masterful performance. Between numbers, he spoke to the audience in a direct, humorous, and engaging manner. He crowned the first half with Liszt’s Prelude and Fugue on B-A-C-H, with all of his spectacular skill of orchestration, pacing, musical architecture, color and nuance in full play! The organ was ablaze with drama! The hymn preceding the intermission was, I blush to admit, new to me: Ken Naylor’s marvelous setting (Coe Fen) of John Mason’s hymn How shall I sing that majesty. Murray accompanied it in grand Anglican style. After intermission we returned to our seats to hear him play an astonishing piece by Jean Berveiller (1904–1976), Mouvement, which has a virtuoso pedal part punctuated by syncopated rhythms in the hands. After working up all that steam, it then ends rather gently.
Murray closed his recital with the Suite, op. 5, by Maurice Duruflé. The very fine Goulding & Wood organ was a good match for his program and style of playing. The Prelude was replete with dark foreboding sounds, while the Sicilienne was all flowing liquid grace that poured out of this fine and colorful pipe organ. The formidable Toccata was played with pure fire and splendid energy. Thomas Murray’s approach to the organ is like that of a composer or conductor leading an orchestra. Melodic lines come in and out and are given uncommon shadings and nuance. Whenever I hear him play, I am reminded that he gets to preside over the huge, magnificent E. M. Skinner organ in Woolsey Hall at Yale. I wonder to what degree that instrument informs his playing when he is on the road. What does his inner ear hear? His playing takes us on journeys filled with wonder and astonishment!

Saturday, July 14
Another bright sunny morning took us to Acton, Indiana, not far from Indianapolis, to Acton United Methodist Church and Robert Schilling’s demonstration of a relocated 1895 Hook & Hastings organ, 2m, 11rks, Opus 1671. It came from Fletcher United Methodist Church in Indianapolis after that church closed. The Acton church is a simple modern structure along the highway. This organ has its original stenciling and looked right at home in its new surroundings. The church had banners and pulpit hangings that matched the colors of the pipes. The organ has a bold, room-filling sound that Schilling used very well. Its commanding presence at the front of the church allows it to speak clearly into the nave.
Schilling had played the rededication recital on this organ after it was moved to Acton, so he was quite familiar with it. He opened with Brahms’s Mein Jesu, der du mich, op. 122, no. 1. It was very well played and allowed us to hear many shadings of color. The hymn was by Charles Wesley: And Can It Be That I Should Gain (Sagina). His next piece was S. S. Wesley’s An Air Composed for Holsworthy Church Bells, which demonstrated the lovely Stopped Diapason with tremolo. He then played Theme, Arabesques [7 variations] and Fughetta by Van Denman Thompson, giving us a fine sampling of what can be done with eleven good ranks! The program closed with Postludium in C by Helmut Walcha, a former teacher of Mr. Schilling’s.

Our bright green buses took us to Rushville and Trinity Presbyterian Church located in a very attractive neighborhood of 19th-century brick Italianate houses. Yun Kyong Kim demonstrated another great Felgemaker organ: Opus 908, 2m, 10rks. The church is a charming old Akron-plan building with large, colorful windows. This sweet, mint-condition Felgemaker still has its original leathers. Kim began her recital with the organ’s gentle sounds playing Vierne’s “Méditation” from Trois improvisations pour grand orgue (1929), which she played very well with great sensitivity. The hymn was We Thank you, Lord of Heaven (Shining Day). It was followed by Sarabanda con Partite, BWV 990, parts 1, 2, 3, 6, 7, 10, and 12, by J. S. Bach. I especially enjoyed her use of the 4′ Harmonic Flute. Yun Kyong Kim performs with great élan.
She followed that with a piece I’d not heard in years and was sure I’d never hear again: Indiana composer Joseph Clokey’s “Jagged Peaks in the Starlight” from Mountain Sketches. But times have changed and what was once corny, darn it, sounded rather pretty! Perhaps it was the Felgemaker’s warm Dulciana that got to me! This led us to Horatio Parker’s Festival Prelude, op. 66, no. 1. The Diapasons had their day to shine surrounding a middle section on the flute stops. But she saved a fun surprise for last. Indiana native Wendell Willkie ran his 1940 election campaign for president from Rushville, Indiana. So, led by the organ, we sang his campaign song: “We Want Willkie.” It was loads of fun and a real period piece.
After a fine fried chicken luncheon, we continued on down the road to East Germantown and Zion Lutheran Church, where longtime OHSer Karl Moyer demonstrated an 1898 M. P. Möller tracker, Opus 188, 2m, 16rks. It stands in the front of the church on the right side. He opened with a Beethoven Scherzo (no opus no.), using the Doppel Flute with echoes on the swell Stopped Diapason—nice sounds; I’m a real sucker for Doppel Flutes! Then came a chorale prelude by Parry on the tune Martyrdom, for which he managed the buildup of sounds nicely!
The hymn was Valet will ich dir geben (“All Glory Laud and Honor”). We sang the first two verses in German (When in Germantown . . . ). There followed three chorale preludes on that tune by Drischner, Guilmant, and Reger. The Aeoline stop on the Swell was especially nice—barely a whisper it seemed. The Manz Chorale Improvisation on “Wie schön leuchtet der Morgenstern” used the 4′ Harmonic Flute in the hands with the Great 15th coupled to the Pedal, producing a very agreeable sound. His final selection was Bach’s well known Fugue in G (“a la Gigue”). In spite of a few dead notes, he was able to give us a fine, controlled and cheerful performance of this tricky work.
David Kevin Lamb performed for us at St. Paul’s Episcopal Church in Richmond, Indiana. We completely filled this smallish church, which has a Tiffany style window that I liked. The organ is a 1966 Holloway, Opus 12, 3m, 31rks, E-P action. Ernest White was working with Holloway, and this organ bears his imprint at the time (heavy on the top, light on the bottom).
Dr. Lamb began with Guilmant’s Marche Réligieuse in F, op. 15, no. 2. The bright mixtures were a bit of an aural shock after a day of more restrained sounds. He moved next to four pieces by Denis Bédard. First was Andantino (1993), parts of which reminded me of Vierne’s Berceuse. It is a surprisingly tonal work that Lamb played quite nicely. Next were Variations on Sine Nomine (1998), which, among other things, featured a lovely Gemshorn Celeste. The next Bédard pieces were “Ode” (2001) and “Grand Jeu” from Suite du premier ton (1993), all in a neo-romantic style that worked quite well on this organ, which is spread horizontally, wall to wall across the rear balcony. It is quite a loud sound. The hymn was O Praise Ye the Lord (Laudate Dominum) in an arrangement by Michael Burkhardt.
Lamb closed with an old favorite of mine, Dubois’ Grand choeur in B-flat. He seemed to use full organ a bit more than necessary. Organists would do well, sometimes, to parcel out those fff sounds more conservatively. Otherwise they lose their effectiveness.
A short stroll down the street in Richmond took us to Reid Memorial United Presbyterian Church. As we made the two and a half block trek, we were treated to Reid’s tower chimes playing a series of hymn tunes. And that was just the start of the treasures to be found here. The building is a very attractive Gothic structure made of Indiana limestone. We entered a large stone porch with two mighty gothic arches and a mosaic tile floor. The interior was filled with light from 62 Tiffany windows. The somewhat fan-vaulted white ceiling gave a wonderful lightness to the space, which was dominated by the gorgeous Hook organ standing in two matching, solid mahogany cases on either side of the altar area, “plus,” in the immortal words of Madame Arnfeldt, “a tiny Titian” (!) that hangs in the back of this remarkable church. The 1906 Hook organ comprises three manuals and 66 stops. It was rebuilt by the Henry Pilcher company in 1937, and in 1958 the Wicks company did further work. Most of what remains is Hook, however. It has my favorite stop name of the convention, however, that would appear to have been added by Wicks to the pedal: “Voce de Tomba” a 32′ resultant (“Voice of the Tomb”).
Bruce Stevens, a longtime favorite of OHS conventions, was our recitalist. He began with a brief chorale prelude by Max Reger, Ach bleib mit deiner Gnade, op. 135a, no. 1, which was also the hymn that followed, after which we heard another setting, this one by Karg-Elert, which featured the celestes and the beautiful Clarinet stop, now named Krumhorn. Stevens always plays with the musical line carefully in mind, fingers and toes. The composer, the music and the instrument all shine through him, and not the other way around. I highly recommend his recording on the large Hook organ in St. Mary’s Church, New Haven, Connecticut! He thanked the women of the church who carefully dusted and polished all the tall gorgeous and elaborate casework—no small feat!
The next selection was Buxtehude’s: (“Jig”), BuxWV 174, in which the strong pulse was tossed to and fro with ease and style. Then came a perfectly splendid performance of Bach’s great Prelude and Fugue in B Minor, BWV 544, in which his Anton Heiller pedigree showed through with every note! Then we visited with the flutes of this organ in Mozart’s Adagio and Allegro in F Minor, K. 594, in which he displayed a marvelous poetic delicacy. His final selection was the great Sonata 7 in F Minor, op. 127, by Josef Rheinberger. It was a first-rate performance with broad and spacious sounds.
After a delicious and bountiful dinner at Guy Welliver’s Smorgasbord in Hagerstown, Indiana, we returned to Indianapolis for a most entertaining event: a theatre organ concert! It was held in the Warren Center for the Performing Arts, which is part of Warren Central High School. The organ came from the huge 3200-seat Indiana Theatre; it has 3m, 17rks on 19″ of wind pressure, and a 15-horsepower blower! I feel a real affinity for Barton organs as they were made in Oshkosh, Wisconsin, just 15 miles from where I live.
Our soloist on this fine instrument was young Mark Herman, who at age 19 is well known in ATOS circles. He gave us a wonderful evening of music from “The Great American Song Book”: Gershwin, Cole Porter, and the like. He plays with an infectious, enthusiastic style and has a fine understanding of jazz harmonies. I especially liked his version of Cole Porter’s My Heart Belongs to Daddy. It was saucy and sassy—full of humor punctuated by the kettledrums and the huge English Post Horn. He also played pieces he wrote that displayed that same playfulness, charm and humor.
Herman possess a great color sense—using all the resources of this very elegant instrument mounted in chambers on either side of the auditorium, the console rose out of the pit on the orchestra lift. Lighting effects were used with colorful projections on the chambers. His “If I Loved You” from Carousel was drop-dead gorgeous: lush colors and harmonies that belied his youth. Throughout the evening, he was witty and engaging in his remarks. He ended with a riotous performance of Roller Coaster. We were happy folk as we filed out to our buses.

Sunday, July 15
We were given a blessed free morning. Many people chose to worship at some the churches we’d visited. I slept in and enjoyed my pleasant room, with newspaper and coffee, and Sunday talk shows: an indulgence I can never enjoy back home—church musician that I am. A fine luncheon was served at the hotel, followed by the annual meeting of the OHS.
At 2:10 pm we boarded our buses and went to the rather spectacular 1929 R.C. church of St. Joan of Arc, a grand Italianate building made of Indiana limestone. It is striking for its 140-foot campanile and a 90-feet wide portico with five huge arches. The monumental interior has a flat ceiling. The side aisles are separated from the nave by 22 single-piece stone Corinthian columns that support the clerestory windows. Six marble columns support the baldacchino over the altar. Mosaics abound, especially St. Joan of Arc in the baldacchino, and St. Mary and St. Joseph above their respective side altars.
The organ, a 1929 Kilgen, Opus 4367, 3m, 33 stops, sits in a balcony to the left side of the altar, and speaks through a carved wooden screen. It enjoys a sumptuous acoustic! Basic repairs were made over the years and the Great Tuba was changed to a Trumpet, but otherwise it is as it was in 1929.
Rosalind Mohnsen, director of music and organist at Immaculate Conception Church in Malden/Medford, Massachusetts, and another OHS favorite, played a very fine concert. Organ, acoustics, player, and program all fit together perfectly. She began with the great “Choral varié” from Duruflé’s Prélude, adagio et choral varié sur le thème du “Veni creator,” op. 4, which swept over us like a warm blanket. Her own arrangement of Saint-Saëns’ “O Salutaris” from his Messe, op. 4, was next, with the huge Doppel Flute gurgling away beneath the melody on the Vox Humana, Stopped Diapason and Flute with tremolo. It was a wonderful effect. It was followed by the “Prelude” from Charpentier’s Te Deum and her own arrangement of Verdi’s “Marcia funebre” from his opera Giovanna d’Arco (Joan of Arc), a nod to this parish and its glorious building. The piece is quite good and very idiomatic for the organ.
The hymn she chose was also appropriate for the setting, The Maid of France, with Visioned Eyes (Noël Provençal), which came out of the old St. Gregory Hymnal. Nice touch, Rosalind! There followed a Krebs Trio, which nicely featured the Choir Corno di Bassetto. Next came a quiet bit of whimsy: Indiana composer Joseph Clokey’s “The Wind in the Chimney” from Fireside Fancies, op. 29, a charming display of the soft sides of this organ. She closed her exceptional recital with “Canticle of the Sun” by Richard Purvis from his Saint Francis Suite. The warm and powerful sounds of this fine organ were a joy to listen to on a sunny Sunday afternoon.
The only other musical event of the day was a glorious one: Choral Evensong sung by the Christ Church Cathedral (Episcopal) Choir of Men and Boys. Many of us would have liked to have heard them in their home setting, but the cathedral was having renovation work done. Therefore we did not get to hear any of the fine organs they have there. However, all was not lost because they relocated the event to the Church of St. John the Evangelist a few blocks away. St. John’s is the oldest Roman Catholic parish in Indianapolis (founded in 1837), and their building boasts very fine acoustics. The organ is a hybrid of sorts. It started out as a 1894 J. G. Pfeffer & Son with a Gothic case standing 26 feet high in the rear gallery. (Anyone who had the good fortune to be at the Iowa convention back in the 1980s will remember those wonderful Pfeffer organs we heard.) In 1923 a hailstorm damaged the organ and rose window. The Wicks company rebuilt the old organ in 1935 retaining many of the old Pfeffer pipes and adding four new ranks. Goulding & Wood rebuilt the Wicks organ as its opus 14 in 1989, retaining eight old ranks and the case. It now has 2m, 36rks of pipes plus nine digital ranks.
Choirmaster Frederick Burgomaster led the men and boys with all that marvelously understated yet dynamic style of the English Cathedral choir. All was in exquisite taste and control. The literature was first-rate: Stanford, Near, Josquin Desprez, Gibbons, Stainer, Bruckner, Sowerby, Grayston Ives, and Jonathan Dove. The Preces and Responses were by Philip Moore. The Magnificat and Nunc Dimittis were by Herbert Howells (St. John’s Service).
The choir was very well prepared and sang with clarity, conviction, and all the appropriate drama and color. Organist David Sinden provided masterful accompaniment for the choir—shading all the crevices, plumbing the depths, and exalting the peaks. The hymn singing in that exceptional space was among our best. My only complaint was that at times the organ and the men slightly overpowered the boys. But, it being summer, I expect that the boys may not have been able to gather their full number. Kudos to those young men who gave of their summer time in order that we might have such an inspiring, spiritual, and musically uplifting experience. Mr. Sinden sent us out with his postlude: Kyrie, Gott, heiliger Geist, BWV 671 by J. S. Bach. It was an afternoon of indescribable beauty and stimulation for all the senses!
We then enjoyed a free evening in downtown Indianapolis. Many of us ganged up to find some of the many fine eating establishments in that most attractive city, and had a grand time talking of what we had just heard!

Monday, July 16
Monday morning our buses took us to the First Presbyterian Church, Franklin, Indiana, where we attended a hymn-sing. The Akron-style building has large side windows through which the morning light poured in. They helped enhance the title of the service: “Christ, the Light of the World: Yesterday, Today, and Forever.” It was led by organist Robert Hobby, director of music at Trinity English Lutheran Church, Fort Wayne, Indiana, and Rev. Robert A. Schilling, AAGO, a distinguished clergyman and organist who performed at this convention in Acton, Indiana. The nicely designed service featured reflections, hymns and organ voluntaries all focusing on God’s light. The reflections were well chosen, and the hymns were all beloved tunes and texts. Mr. Hobby played with a fine energetic style but was often louder than necessary—I believe it was Tom Murray who, at his own recital, referred to that kind of hymn playing as being in “attack mode.” We OHSers love to sing hymns and are pretty loud. When WE are drowned out, then the organ is too loud. The organ is a 1912 Steere, 3m 38rks, rebuilt in 1988 by Goulding & Wood. Rev. Schilling delivered the non-scriptural readings, tracing the concept of light as it is manifested throughout the church year. Hobby played several of his own compositions, which I thought were very effective. His improvisation teacher was the legendary Paul Manz.
We then drove down to Columbus, Indiana, a city renowned for its stunning collection of buildings designed by some of the finest architects of the 20th century. Our concert was at the First (Tabernacle) Christian Church, Disciples of Christ, to hear Daniel Jay McKinley, who had been organist at this church from 1978–1998, but who now is organist/choirmaster of Christ Church, Hamilton and Wenham, Hamilton, Massachusetts. The building was designed by Eliel Saarinen, and ground was broken in 1940. The tapestry that hangs to the right of the altar that Saarinen designed was woven by his wife, Loja. It is thought to be the largest tapestry with a religious theme woven in the United States. Lighting fixtures and some of the liturgical furnishings were designed by Charles Eames and Eliel’s son, Eero Saarinen. One could easily discern how this building, essentially a long rectangular box, has influenced mid 20th-century church architecture all across America.
The organ was built by Aeolian-Skinner (4m, 80rks) as their opus 993. It would be the last, large A/S completed before WWII shut down organ building in America. There were problems and some criticism of the instrument as being too shrill, so it was softened a bit, but by 1969 it had deteriorated and was in need of an updated electrical system. To the rescue in 1980 came Goulding & Wood, who had done some tonal improvements on the instrument in the 1970s. It sounds quite grand today, and is admired throughout Indiana—a blending of the best of English, German and American organ building.
A projected image allowed us to watch Mr. McKinley play, as he was not visible to us. The organ is in the front of the church with the pipes in a chamber to the left of the altar. The acoustics are excellent. He opened with Wagner’s Prelude to Die Meistersinger von Nürnberg, a marvelous and entertaining exploration of this large and colorful instrument. It was brilliantly played, inspiring awe! Following was a series of 16th-century dances by Tielman Susato and Pierre Phalèse. The first showed us the fine chorus reeds, while the second used the various 8′ principals ending with the chimes (!). Flutes, salicional, harp, soft reeds, even strings were used. Not correct stylistically, but fun to hear. Fine sounds all around.
Bach’s great Fantasy and Fugue in G Minor, BWV 542, came next. I felt that the louder portions of the fantasy seemed a bit hurried, but he made it work. The fugue was well played with lots of dash and energy. The hymn, O God who brought the light to birth, by Timothy Dudley-Smith (b. 1926), was commissioned for this church in memory of an infant daughter of choir members (husband and wife), and was sung to Sussex Carol. It was quite touching.
McKinley closed his program with Franck’s Grande pièce symphonique, op. 17. He made the most out of this church’s generous acoustics. In the fifth section (Andante) he used all the string stops to great effect. It was a first-rate performance of this difficult-to-hold-together piece. The church’s elegant simplicity is almost startling. It should be a place of pilgrimage for anyone interested in church architecture and in fine organs.
After lunch our caravan of buses took us west to the outskirts of Bloomington and a large A-frame church, St. Mark’s United Methodist Church, to hear the very talented Christopher Young, assistant professor of music at Indiana University School of Music in Bloomington. He performed on the church’s 1883 Thomas Sanborn organ, 2m, 14rks, which came from the Lockerbie Central United Methodist Church of Indianapolis. St. Mark’s is its fourth home. Interestingly enough, it is owned by the UI School of Music and placed in St. Mark’s with the agreement that it is to be shared by the church and the university students and faculty. The Convention Atlas states that the organ “is believed to be the only virtually tonally and mechanically intact example of this builder.” It is a beauty, sitting all shiny and buffed to the right side of the altar and pulpit.
This concert was unique in its use of visual media. As we entered, a PowerPoint presentation was giving information and photos about the organ’s restoration and installation. When the concert began the presentation went further, showing us pictures of each composer and the registration being used—changing as the performer changed them. It was a really helpful and riveting feature!
Dr. Young played very well, opening with S. S. Wesley’s “Choral Song” from Three Pieces for a Chamber Organ. It was followed with a Horatio Parker Scherzo, and then two Hoosier composers: Ned Rorem’s There Is a Spirit That Delights to Do No Evil . . . and William Albright’s charming “The Flues Blues” from The King of Instruments. The Albright piece was played with clever winks, nudges and wit. The hymn by William Albrecht, Father, We Thank Thee (Albrecht), was very effectively played, with loads of sonority. Next up was Vierne’s virtuosic “Impromptu” from Pièces de fantaisie, 3rd suite, op. 55, which he tossed off with great ease, grace and élan. The Oboe blended very well as a chorus reed. He closed his stimulating concert with Dudley Buck’s Variations for Organ on Foster’s Melody “Old Folks at Home.” The Oboe with tremolo was sweet and sentimental, accompanied by the Dulciana, which had a warm presence. The third variation featured some brilliant pedal solos. Hearty congratulations to Michael Rathke, organbuilder of Greens Fork, Indiana, for his superb job in restoring this fine instrument.

We then headed east to Indianapolis and Sacred Heart Church for a recital by Tom Nichols, music director at St. John the Evangelist Catholic Church in Indianapolis (where we attended Choral Evensong the night before). The 19th-century gothic church is a feast for the eyes, with a nave and two side aisles.There are five beautifully carved altars across the front, a communion rail and a pulpit complete with winding staircase, and elaborate canopy. Imagine our surprise when we read our atlas carefully and learned that the interior had been destroyed by fire on April 27, 2001, and had been completely restored to its former appearance! Amazing dedication of numerous artisans, and a wisely chosen diocesan insurance policy, plus a great deal of love and dedication of the parishioners made it possible. The organ was built in 1899 by Milwaukee, Wisconsin’s William Schuelke, Opus 146. It was also worked on by Pilcher and Wicks. The fire destroyed all but seven ranks, and caused partial destruction of a few others. Wicks has rebuilt the instrument salvaging what they could. The sound in that resonant acoustic is very good.
Nichols began with the hymn The King of Love My Shepherd Is (St. Columba), which soared and rang through this gorgeous church with its wall-to-wall terrazzo floor. He then played two movements from Dupré’s Fifteen Pieces for Organ Founded on Antiphons, op. 18, nos. 5 and 7. That was followed by the G-major Prelude from “Bach’s” Eight Little Preludes and Fugues. Eight little gems!
Next came a great demo of the flutes in Dan Locklair’s beautiful “Silence may be kept” from Rubrics, which he played with great sensitivity. Then came an old favorite of mine, Cantilène by Gabriel Pierné. The Cornopean and Doppel Flute were quite wonderful, as were the lush strings. Emma Lou Diemer’s setting of the Battle Hymn of the Republic gave us another chance to enjoy the strings and Doppel Flute. Nichols performed his own set of variations on the tune Slane (Make Us True Servants) that was quite a good piece. His final selection was by Matthew Dickerson, a lively, dance-like setting of Lasst uns erfreuen that showed the organ well. As we left we enjoyed looking again at the twin 165-foot steeples of this venerable building.
But the day was not done. More wonders awaited us at one of Indianapolis’s most magnificent buildings: the Scottish Rite Cathedral, an immense Gothic structure built with Indiana limestone and looking, for all the world, like Riverside Church in New York City. It is believed to be the largest building in the world dedicated to Freemasonry. We stepped out of the buses into the late afternoon sunshine and took up benches in a huge park across the street and listened to a concert played for us on the cathedral’s 63-bell carillon housed in the 212-foot central tower. The carillon was cast by the Taylor Bell Foundry, Loughborough, England. The concert was expertly played for us by John Gouwens, whom we had heard in an organ recital on Friday—a man of many talents, he. His program included Pealing Fire by Libby Larsen, Impromptu by Léon Henry, Stephen Foster’s Beautiful Dreamer, a piano piece, Charmes by Federico Mompou, which Gouwens transcribed, and his own Sicilienne ronde. It was a very agreeable change of pace for us to sit in that beautiful park, which is an urban mall, containing numerous huge monuments to honor war dead. If you’ve never been to Indianapolis, I highly recommend a visit!
We then entered the cathedral, passing through one stunning room after another, finally making our way to the large ballroom where we enjoyed a bountiful buffet. We then went upstairs to the 1300-seat auditorium, where we heard a great recital by Martin Ellis playing the glorious 1929 Skinner organ (5m, 71rks), Opus 696. The auditorium is a step back in time to an opulent world of deep reds and a forest of dark and gleaming walnut. Huge carved angels act as brackets supporting the ceiling. The seating is horseshoe shaped around a platform that leads to a stage. The organ console is placed in and among the seats at the opposite side of the room from the stage. The pipes are all in the ceiling and speak through a grille. There are Antiphonal and Stage divisions in a separate locations. Originally the organ had a four-manual console. The Reisner company provided a new five-manual console in 1969. The sound is powerful and has an amazing presence in the room.
Ellis opened with the hymn God of Grace and God of Glory (Cwm Rhondda), which was followed by a grandiose arrangement by Richard Ellsasser of a Frescobaldi Introduction and Toccata. Bach’s Toccata in F Major, BWV 540, worked surprisingly well on this very orchestral organ. He followed that with Seven Sketches of Utrillo by Robert Hebble, in which we could hear many of the beautiful solo stops on this huge instrument as it evokes Parisian scenes. Next up was his own arrangement of Manuel de Falla’s Ritual Fire Dance; coming out the ceiling as it was made the colors and rhythms very intoxicating. Mr. Ellis is a very youthful, energetic performer, who is organist and assistant director of music for North United Methodist Church in Indianapolis.
After intermission we again heard Vierne’s Berceuse, a piece I never tire of hearing, followed by Ellis’s arrangement of Louis Adler’s novelty tune High Hat. He played it in pure theatre organ style, which was delightfully refreshing. His talented fingers and musicianship ruled the day! He also played a piece by Indiana composer Janet Louise Mauzi entitled Momento. As it happened, the composer (b. 1916) was present at this recital. The ever gallant Mr. Ellis paid tribute to her. The work was a sweet-cup-of-tea sort of piece—utterly beguiling. Ellis closed with Elgar’s famous Pomp and Circumstance in D Major, which he tore into with bold, muscular energy, performing it with great style, spaciousness and nobility. His encore was the late Welsh composer William Mathias’s Recessional—a strong and lively piece that made a nice aperitif. It was an altogether thrilling concert—a perfect ending to a long but pleasant day.

Tuesday, July 17
The convention, on its final day, was joined by the first rainfall we’d seen all week. It was most welcome as grass everywhere was going dormant from lack of rain. Our first stop was Calvary United Methodist Church in Brownsburg, Indiana, a suburban area of Indianapolis. The congregation was begun in 1828, but the building we entered was built in 2006. From their previous building, they brought with them their organ built by Charles Ruggles in 1994: three manuals, although the Rückpositif is prepared for. It has a commanding position on a platform behind and about eight feet above the altar, and has a fine North German tonal palette. The handsome stop knobs are of brass.
Our soloist was Carla Edwards, professor of organ and associate dean of the School of Music at DePauw University in Greencastle, Indiana. She began with Brahms’s Praeludium in G Major. It was well played and, among other things, gave us a good hearing of the elegantly voiced 8′ Principal. The mixtures are quite good. I especially enjoyed the pedal’s full-length, deep-throated 16′ Trombone. She next gave us Daniel Pinkham’s Variations on Wondrous Love, followed by Gerald Near’s A Triptych of Fugues. The second fugue, marked “Slowly, expressively,” nicely demonstrated the rich, full flutes of this fine organ. The hymn was another Wesley hymn, Praise the Lord Who Reigns Above (Amsterdam). We sounded grand singing in the resonant acoustics of this attractive worship space.

The next stop was a unique experience for most of us: a visit to a Quaker Yearly Meetinghouse. Upon entering we were immediately struck by the peaceful simplicity of the place. Smooth wooden floors and pews stretched out along the width of this rectangular structure with simple tables at the front. On the left side stood an attractive 1899 August Prante organ, 2m, 16rks, which had been relocated by the Organ Clearing House in 1999 from the former Assumption of the Blessed Virgin Mary Church in Indianapolis. It was restored and installed by Goulding & Wood. The case has honey-colored wood and the façade pipes are in shades of cream and maroon.
William Aylesworth, distinguished organist from Chicago, and longtime OHSer, was the performer. We began with the singing of My Country, ’tis of Thee, but from then on all the music was by Chicago composers. His first selection was by Robert John Lind (b. 1940), Festludium in C, a fine contrapuntal piece. The next pieces, also by Lind, were a smart set of variations on Nun danket alle Gott, newly composed for Mr. Aylesworth to use at this concert.
Next came a sweet and gentle piece, In Summer by Charles Albert Stebbins (1874–1958). After a pp beginning, it grew into a larger, expansive sound, coming back down to an Oboe solo with tremolo and to the softest sounds again. Meditation by Rosseter G. Cole (1866–1952) was one of those dreamy, wandering little pieces that I found to be charming. He closed this program of good music unknown to most of us with another Cole piece, A Song of Gratitude, a joyous work. We were then served cookies and lemonade at which time we could enjoy the beauty of the grounds with large, lush, well-shaped trees. It was a refreshing pause for all of us.
After lunch at DePauw University in Greencastle, we gathered at St. Andrew’s Episcopal Church, a small building with a lively acoustic, that is adjacent to the campus. Kirby Koriath performed on the 2002 Zamberlan organ (2m, 23rk), Opus 1. Mr. Koriath is coordinator of graduate programs and professor of organ, church music and harpsichord at Ball State University, Muncie, Indiana. The organ stands in a rear balcony in a modern case. Nearly all the pipework was vintage pipework obtained from the Organ Clearing House. Some of the old pipes came from the 1870 E. & G. G. Hook Opus 555 built for the Methodist Episcopal Church of Jamaica Plain, Massachusetts, and from a ca. 1855 George Stevens or Stevens & Jewett organ.
Koriath began with Simon Preston’s Alleluyas. It was clear that this is not a shy organ and a bit on the strong side for such a small room. Next he played Pachelbel’s Wie schön leuchtet der Morgenstern in which we heard the beautiful Stopped Diapason (Hook) with the cantus in the Pedal on the Hautboy. Then more Pachelbel, his Toccata in D Minor. The loudness of this organ was particularly apparent in this piece and the hymn Es sungen drei Engel, a carol I fondly remember from my study of Orff-Schulwerk many years ago. He ended with a three-movement work on the hymn we had just sung: Orgelkonzert über die Weise “Es sungen drei Engel” by Hans Friedrich Micheelsen (1902–1973). I enjoyed the second movement’s use of the flute stops. Mr. Koriath played very well, and I enjoyed the pieces he chose. More variety and restraint in dynamics would have left a better impression.
Our next event was back on the DePauw campus in a large room on the second floor of the oldest building on campus, Meharry Hall. The rectangular room has a horseshoe balcony. Large portraits of past presidents line the walls above and below the balcony. The organ was at the rear in the balcony—an Aeolian-Skinner that was originally built as an antiphonal division for a large Kimball and was probably one of the last instruments Aeolian-Skinner built before the Second World War. All the pipework for the 2m, 13rk instrument was exposed.
The organist was Kristi Koriath (wife of Kirby Koriath whom we had just heard!), organist at Grace Episcopal Church in Muncie, Indiana. She began her program with a Partita on “Auf, auf, mein Herz, mit Freuden” by Flor Peeters, in which we could hear the fine voicing of this Aeolian-Skinner: it was clear, refined, and never forced. Next we heard a fine performance of Vierne’s “Scherzetto” from 24 Pièces en style libre, op. 31, which worked very well on this attractive little organ.
Ms. Koriath introduced our hymn Ein’ feste Burg ist unser Gott (rhythmic) with a chorale prelude by Buxtehude. Verse three was an organ solo: a chorale prelude by Jan Bender that used a 4′ reed in the Pedal. On verse four we joined her, but her accompaniment did not work so well as it had in the other verses. I’m not sure what happened, but we never got back on track. Hymns are funny things. Next came a Bach chorale prelude, Mit Fried’ und Freud’ ich fahr’ dahin, BWV 616, which was very enjoyable. She closed with a lively reading of Bach’s Prelude in G Major, BWV 541. We left with happy faces—not the easiest thing to summon up on the last day.
We then bused to Wabash College in Crawfordsville, one of the few remaining all-male undergraduate colleges in the country (850 students), to hear the 3m Aeolian-Skinner organ in the college’s chapel. Our soloist was the tireless Stephen Schnurr, director of music for St. Paul Catholic Church, Valparaiso, Indiana, secretary of the OHS National Council, and chair of the Historic Organ Citations Committee, and who, with Dennis Northway, is author/publisher of the book Pipe Organs of Chicago. As if that weren’t enough, Dr. Schnurr also wrote all the convention venue histories for the 300-page Organ Atlas 2007, which is an extraordinary and invaluable resource. Oh, and he is an excellent organist and teacher!
He opened with the hymn Love Divine, All Loves Excelling (Beecher) because of Henry Beecher’s connections to this chapel. The chapel is in New England Meeting House style with horseshoe balcony and clear Palladian windows. The colors blue and white predominate. The barrel-vaulted ceiling gave our singing much resonance. The console, rebuilt by Goulding & Wood, was moved front and center on the stage. The pipes are in chambers on either side of the stage. The auditorium’s walls are lined with portraits of past presidents. Schnurr continued with Mendelssohn’s Sonata in B-flat Major, op. 65, no. 4, which he played with great energy. He generously shared the program with his student, Micah Raebel, who will be a senior at Kankakee Valley High School, Wheatfield, Indiana. Micah performed the second and third movements of the Mendelssohn with great clarity—a talented young man, he! He used the Oboe stop to great effect. Dr. Schnurr played the final movement.
Next up was Indiana composer Joseph Clokey’s Jagged Peaks in the Starlight, which sounded very well on this organ—the Clarinet is a dream of purity. That was followed by another Indiana composer, H. Leroy Baumgartner (1891–1969), with his Prelude and Fugue on the Tune “Laudes Domine,” op. 42, no. 7. Dr. Schnurr and young Mr. Raebel sat down together on the bench for a 4-hand, 4-foot piece by Gustav Merkel (1827–1885), Sonata in D Minor, op. 30: Allegro moderato. This is a good duet if you are looking for such a thing. They played it very well. A fine and interesting recital with which to end the afternoon!
Back in Indianapolis, we all looked forward to dinner at The Rathskeller, a great old building that looked like a German Rathaus, with an interior decked out in all things Germanic. The food, served buffet style, was very good, but alas, none of it was German! Nevertheless, no one went away hungry. We then walked two blocks, passing a huge Shriner temple, to Zion Evangelical UCC Church for the closing recital of the convention by Ken Cowan on the church’s 1933, 4m, 63rk Kimball, with an antiphonal division added by Casavant in 1955. The organ stands in a chamber to the left side of the front of the church, speaking into the church at an angle. Renovated by Reynolds Associates in 1999, it is quite a beautiful-sounding instrument and a favorite of Indianapolis area organists.
It is difficult to find enough adjectives to describe Ken Cowan’s playing. He is simply one of the best anywhere! He began with Mendelssohn’s Sonata in F Minor, op. 65, no. 1. I especially enjoyed the soft whispering sounds of the sweet Erzähler and Swell strings. In the third movement he used the fine Clarinet, and the final movement moved along with great momentum with its arpeggios and chromatic passages. The hymn was All Things Bright and Beautiful (Royal Oak), which bubbled along merrily under his care. He spoke before each piece he played; his charming, boyish manner belied the blazing musicianship that streams out of the pipes at every turn.
His next piece was Fugue, Canzone, and Epilog by Karg-Elert. Now, Cowan is a master colorist, but he had a surprise for us when suddenly we heard a real violin begin to play from within the organ chamber. It was soon joined by a trio of women’s voices. The magical effect was enchanting. When it was over, he brought out the trio, and the violinist, Lisa Shihoten, whom he introduced as his wife. We cheered. Before intermission, Ken and his wife played a great violin/organ duet, Chaconne in G Minor for Violin and Organ by Tommaso Antonio Vitali (1663–1745) in an arrangement by Leopold Auer. This is a very good piece and Mr. Cowan gave it the full romantic orchestral treatment. Ms. Shihoten is a superb player who brought great passion to the music.
Following intermission, Mr. Cowan and Ms. Shihoten returned for two more pieces together: Caprice for Violin and Organ by Naji Hakim, and the second movement of Violin Concerto in D Minor, op. 47, by Jan Sables. The Hakim piece was commissioned by the AGO, and Cowan described it as being “light hearted.” It is that in spades, sounding like an audience of laughing people. In places it reminded me of Puccini’s Gianni Schicchi, with the occasional Cuban or Latin American rhythm. The organ part seems not for the faint of heart, but it sure sounds like fun. The music sparkles. I don’t think the audience stopped smiling once from beginning to end. The Sibelius movement was quite a contrast—all warm and low in the violin with luscious string tone in a bit more movement supporting, building to a climactic forte then pulling back for the violin entrance. The Kimball’s gorgeous tone embraced the violin and all of us. It is a marvelous instrument.
For the next item on the program, Ken came out alone to play Vierne’s Naïades. But, before he could start he had to fetch his wife who he had “engaged as a page turner.” They came back out and she had her violin bow in hand because she could not reach all the way across the wide pages on the wide music rack. She demonstrated her technique much to the merriment of all of us. Naïades, a difficult work, was played effortlessly. Cowan closed with his arrangement of Franz Liszt’s Mephisto Waltz No. 1. Needless to say it was utterly fantastic! I’ve heard him play many times and each time I come away wondering how he could ever “top this,” and every time he manages to do it! We leapt to our feet amid shouts of “Bravo!” He came back and gave us a charming bonbon of an encore, Gigue by Bossi.
It was a stunning end to a convention that was well run, on time, gracious, and friendly. Many of us come each year, finding that it is always a pleasure to be among our own kind—people who love the organ, instruments old and new. People who love history, love to get a feel for a particular area of the country and to learn about how pipe organs, and the buildings in which they stand, are a part of the fabric of communities large and small. Being fans of architecture plays a key role as does curiosity about local cuisine. On the bus rides, we like to sit with different people each time we board. It is fascinating to discover all their backgrounds. We find professors, cathedral organists, parish organists, organ builders, organ historians, and some who don’t play at all, but just like to listen to organ music. With 25 concerts one certainly has an opportunity for that! We come from all over the world to experience the American organ. There is much to be proud of here, and it was on fine display in the long history of superb organs in the Central Indiana region at this summer’s convention. Bravo to the committee and to the Organ Historical Society!■

 

Frank Rippl

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 8′ Octave in the tenor register; I believe we heard the 4′ Open 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 8′ as a chorus reed. The Great Prestant 16′ in 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 4′ Violina, 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 8′ flute. 

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 8′ and 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, 3^ème 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 4′ Gedeckt, 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

June 27-July 2, 2011, Washington, D.C.

Frank Rippl

Frank Rippl holds a BM degree from Lawrence University in Appleton, Wisconsin, where he was a student of Miriam Clapp Duncan and Wolfgang Rübsam, and an MA degree from the University of Denver. He has been organist/choirmaster at All Saints Episcopal Church in Appleton since 1971, is co-founder of the Appleton Boychoir, and coordinator of the Lunchtime Organ Recital Series. Photos by Len Levasseur

 

In the immortal words of Charles  Dickens, “It was the best of times, it was the worst of times.” Now, please don’t be alarmed by those words, because the convention itself was really wonderful: terrific organs, organists, many and varied venues displaying the remarkable depth available in and around our nation’s capital—from the National Cathedral to a former convent chapel. The hotel, the food, the displays and the well-researched Atlas were just fine and highly commendable.

The only bad thing, that “worst of times,” which nearly brought the convention to its knees, was an inept bus situation that seemed to conspire against us each day by being hours late, not showing up at all, sending buses with not enough seats, or by being utterly confused as to how to get from point A to point B. It was frustrating, and many an oath was uttered. But we still had a good time in spite of the craziness. Because of the buses, I did miss one of the recitals on the last day, and I truly apologize to the performer. But enough of that. Let’s get on to the good things and the music!

The convention headquarters was at the Holiday Inn at Reagan National Airport—not far from Crystal City and Old Town Alexandria, and near the Pentagon. Coming in for a landing at Reagan Airport gives one a stunning view of the National Mall with the Capitol, the White House, and all the famous monuments. But, for organists, it is probably the sight of the National Cathedral that causes the heart to skip a beat or two. Checking in at the hotel, greeting old friends, and visiting the displays are familiar rituals of these conventions. It made it all seem very comfortable.

 

Opening event 

The first event of the convention was the recital that Monday night at the National Cathedral by Nathan Laube. The buses were hopelessly late with inadequate seating, so some of us jumped into cars and raced across town to the cathedral, which stands on the city’s highest hill, Mount St. Alban, making it easy to find. It never fails to impress. I sat in the Great Choir just in front of the console and enjoyed the view in this massive Gothic church. I was surrounded by pipes on three sides. Cathedral organist Scott Dettra greeted us and introduced the performer. Laube began with Cathedrals from Vierne’s Pièces de Fantaisie, op. 55, no. 4. He plumbed the depths of the huge stone space and the massive
E. M. Skinner foundation stops in a wonderful piece well suited to the occasion. Next was Pierre Cochereau’s Berceuse à la mémoire de Louis Vierne, transcribed by Frédéric Blanc. Like the first piece, it moved through the vast room at a majestic pace—quietly at first, then bringing in the gorgeous Skinner strings. Laube slowly added the reeds, culminating in a solo on the Tuba Mirabilis. He pulled back to the strings, along with what I believe was an 8′ flute and a nazard in the right hand, and clarinet in the pedal. It was a brilliant demonstration of this organ’s huge range of orchestral color.

Laube then explored the neo-classic sounds of this instrument with Two Fantasies by Jehan Alain. He closed the first half of the program with a wild, neo-classic-style piece Dupré wrote in memory of his father—a Tutti that was astonishing in its power. Following intermission he offered salutes to two gentlemen associated with this cathedral: Leo Sowerby and Richard Wayne Dirksen. Sowerby’s Requiescat in Pace used the “subtle colors” of Skinner’s “Sowerby Swell”—lovely strings, solo stops, and chimes. The hymn was Rejoice, ye pure in heart to the tune Vineyard Haven by Richard Wayne Dirksen. Our “Hosannas” made a joyous roar that matched the organ. 

Laube ended with his own transcription of Liszt’s Les Préludes. Great salvos of sound were hurled through the arches of the cathedral. The familiar melodies, both loud and soft, fell on our ears like the voices of old and dear friends. We heard the Trumpet-en-Chamade (which is mounted above the reredos) and the 32′ Bombarde for the first time. At other times, the Harp “plucked” away. For an encore he played Messiaen’s L’Ascension: II – Alléluias sereins—a perfect end to a truly extraordinary recital.

 

Tuesday, June 28, 2011

The first full day of the convention dawned bright and sunny with an amazing blue sky, making the sight of our first stop in Alexandria, Virginia, even more outstanding than it might have been. Standing atop Shuter’s Hill was the George Washington Masonic Memorial—a massive, tall, white stone structure, designed to resemble the ancient lighthouse of Alexandria, Egypt. The tower, completed in 1932, is capped with a pyramid. Inside was a great semi-circular hall lined with columns behind amphitheater-style seating. A large portrait of George Washington, dressed in his Masonic apron, hangs at the back of the stage. The three-manual Möller, Opus 8540 from 1953, was designed by Ernest White and Richard O. Whitelegg. The Atlas stated that White’s contribution was a Choir division with independent mutations and a Cromorne. The console was on the floor and against the stage, while the pipes were in the ceiling, speaking through an elaborate Art Deco grille.

Charles Miller, organist at National City Christian Church in Washington, D.C., opened with Marche aux Flambeaux by Frederick Scotson Clark, complete with trumpet fanfares. Next came Introduction and Fugue in D Minor by John Zundel. The introduction had alternating ff and mp sections, and the fugue moved along with zeal. I was struck by this organ’s strong bass sounds. Then Sowerby’s Chorale Prelude on Picardy showed off the softer side of this organ, especially the lovely Möller strings and flutes, and a rather thin Cromorne. 

Miller then played Mendelssohn’s Sonata II in C Minor. He drew dark and ponderous sounds for the Grave section, and the Adagio featured many opportunities for solo stops. The Allegro maestoso was brought off with just the right amount of style, as was the fugue. Dudley Buck’s Scherzo (from the Grand Sonata in E-flat) worked very well on this organ, as did Buck’s Variations on the Star Spangled Banner. The hymn was O Beautiful for Spacious Skies, a very moving song to sing in our nation’s capital. 

We were divided into two groups because the next venues were small. My group went to Holy Trinity Episcopal Church in Collington, Maryland, where we heard Phillip L. Stimmel, an authority on Estey organs, play an Estey: Opus 655 (1908), two manuals, eight ranks, with tubular-pneumatic action. The Praeludium in A Minor by Clarence Eddy was a nice demonstration of the warm foundation stops. Ballade in D Minor by Joseph Clokey began on the Swell Stopped Diapason plus tremolo, with alternating passages on a particularly sweet Great Dulciana. An agreeable solo on the Swell reedless Oboe preceded a buildup to full organ; it then came back down to the opening sounds. In Beach’s Prelude on an Old Folk Tune, “The Fair Hills Of Eire, O,” Stimmel explored all the colors and registrations of this eight-rank organ, making it seem like a much larger instrument. Next was a favorite, Will o’ the Wisp by Gordon Balch Nevin. The hymn was O holy city, seen of John (Morning Song). Stimmel closed with Gardner Reed’s Once more, my soul, the rising day (Consolation, same tune as Morning Song), another good choice for this organ.

 

My group then went to St. Paul Moravian Church in Upper Marlboro, Maryland, to hear the church’s E. & G. G.
Hook & Hastings Opus 702 (1873), which has been enlarged and rebuilt by David M. Storey, Inc. between 1985 and 2010. Built for the temporary home of Trinity Episcopal Church in Boston, it was used until the present sanctuary was constructed. At some point it was moved down to the D.C. area. St. Paul’s first church was dedicated in 1972, and a second in 1985. The Hook organ was purchased in 1986. It sits in a transept of sorts to the right of the altar in this smallish modern red brick church, whose proud members welcomed us warmly.

Kevin Clemens, of Aberdeen, Maryland, opened with Tone Poem in F, op. 22, no. 1, by Niels Gade. Next was Arioso in the Ancient Style by James H. Rogers, which used the Oboe with tremolo. Then came Caprice by Cuthbert Harris, charming and well played, and Elevation from Messe Basse by Louis Vierne, in which we heard the rather nice Celeste, which was actually the former Great Dulciana. Next, The Cuckoo (Scherzino) by Powell Weaver, which featured the Oboe and the Melodia. The hymn was Sing praise to God who reigns above (Mit Freuden Zart). We were asked to sing harmony on the middle verse, but alas, our printed harmony was not what was played; we sang out with gusto, nonetheless. Clemens closed his program with Sousa’s Liberty Bell March. 

 

The next stop was St. John’s Episcopal Church, Broad Creek, King George Parish, Fort Washington, Maryland to hear Peter Crisafulli play the beautiful little Jacob Hilbus organ from 1819. Hilbus, born in Westphalia, Germany, was the first organbuilder in Washington. I would encourage the reader to see Michael Friesen’s excellent article in this convention’s Atlas on Hilbus’s work, and on this particular organ, as well as the fine article by convention chair Carl Schwartz. It is a lovely instrument to behold, with delicately carved pipe shades, one manual and no pedal. The sound was sweet and gentle. Crisafulli began with General Washington’s March by an anonymous composer. Cornet Voluntary by John Travers followed. We heard the Principal 4′ (played an octave lower) for the first time. Crisafulli is also an excellent composer, as we heard in his next selection: Greensleeves (from In Sweet Jubilee—A Suite of Carols for Harpsichord), played on the lovely 8′ Stopped Diapason. He next played Adagio by Mozart on the Flute 4′, which alternated with the exquisitely soft Dulciana Treble. We then heard the first Samuel Sebastian Wesley works of the convention: Choral Song—elegant, graceful music—followed by the livelier Prelude and Fugue. I enjoyed his adding the Sesquialtera in the fugue, giving a bit of bite. The hymn was From all that dwell below the skies (Old 100th). A wonderful recital on a beautiful and very historic instrument—Crisafulli did a masterful job demonstrating its many charms!

Late in the afternoon, we arrived at the Old Presbyterian Meeting House in Alexandria, Virginia, for a recital by Samuel Baker, director of the D.C. AGO Foundation. The 1849 one-manual (no pedal) Henry Erben organ stands at the front of the church behind the pulpit. In the Voluntary by William Croft, the 8′ Open Diapason alternated with a bright solo combination. Next, Festival Overture from Cutler & Johnson’s American Church Organ Voluntaries (1856). The hymn was As with gladness men of old (Dix), followed by David Dahl’s Variations on the Hymn Tune Dix. We heard a clear 4′ flute, flutes 8′ and 2′, a lovely Dulciana, a jaunty 8′ and 4′, and a fine Trumpet 8′. Stephen Schnurr presented the church with an OHS Historic Citation to encourage the preservation of this very good organ. Baker then went to this church’s other organ, which stood in the rear gallery: a Lively-Fulcher (1997) of two manuals and pedal, with mechanical key action and electric stop action. He performed Gerre Hancock’s beautiful Air (1963)—lovely sounds played with great feeling. The program ended with another hymn: Ye watchers and ye holy ones (Lasst uns Erfreuen).

The evening concert took place at Capitol Hill United Methodist Church. The building is modern in style, tall and narrow with red brick walls. It stands on the site of the birthplace of J. Edgar Hoover—the large “west end” window commemorates that historic fact. The organ, a large and sumptuous 1936 Möller, was built for Covenant-First Presbyterian Church, which later became the National Presbyterian Church. David Storey is the hero in the restoration of this priceless gem, once considered old fashioned. The organ originally had been voiced by Richard O. Whitelegg, who came to Möller from England, where he worked for Harrison & Harrison, August Gern, and Henry Willis. The Atlas states that he voiced the powerful flue stops for the Liverpool Cathedral organ. 

The organ is in the front of the church, with chambers on either side of the chancel and a smaller chamber in the left wall of the nave for the solo division. The walls of the brick nave are windowless at the clerestory level, but a large window in back has the image of the risen Christ in chunks of colored glass embedded in concrete. 

Ken Cowan began his recital with Marche héroïque by Herbert Brewer. A gutsy opening gave way to a majestic and expansive tune; at the close, the melody was played on full organ. The Soul of the Lake, op. 96, no. 1 (Pastels from the Lake of Constance) by Karg-Elert followed—a marvelously impressionistic piece, deliciously played. Next came a thundering reading of Mozart’s Fantasia in F Minor, K. 608. The hymn was Songs of thankfulness and praise (Salzburg). Cowan leads and supports in perfect proportion—ever aware of the text, the music, and the singers. The first half closed with Prelude to Act III, Parsifal, by Wagner in an arrangement by Frederic Archer. The Solo division’s French Horn stop got a workout. Cowan is a master colorist.

The second half opened with Henry Martin’s Prelude and Fugue in B Minor, a piece commissioned by Michael Barone. This was fairly tempestuous music. The fugue began in the pedal and quoted the theme of the prelude. Next was Schumann’s Canon in B Minor, Canon in A-flat Major, and Fugue on B-A-C-H. We heard the variety of reed and foundation tone on this fine organ. I especially enjoyed the A-flat Major, the end of which employed the large Tromba 8′ on the Solo, and then pulled back to the lovely Swell strings. 

We then heard Cowan’s transcription of Danse macabre by Saint-Saëns. The whole church seemed to sway back and forth to this wonderful music. Cowan made good use of the percussion on the organ: Chimes, Harp, and Celesta. He closed with Dupré’s Deux Esquisses, op. 41—totally virtuosic and muscular playing. He treated us to an encore: Roulade by Seth Bingham, a perfect bonbon to follow a concert that was like an incredibly rich and hearty meal.

 

Wednesday, June 29

We began the day on Capitol Hill at the towering St. Joseph R.C. Church, whose cornerstone was laid in 1868. It was intended to be used by the German-speaking Catholics of Washington, D.C., and architect Michael Stegmeier used his hometown’s cathedral (Cologne, Germany) as its model. The neo-gothic structure has a very high ceiling painted blue with gold stars. But the real gem for us was the magnificent three-manual, 29-rank Hook & Hastings organ, Opus 1491 from 1891. It has been restored/rebuilt many times, most recently by Bozeman-Gibson, Inc. in 1986. David Storey now tends to this highly regarded instrument.

George Bozeman Jr. entitled his program “Christmas in June.” He began with Reger’s Weihnachten, op. 145, no. 3, which began softly with the strings. The church’s air conditioning, though welcome, was terribly noisy, making much of the music nearly inaudible. The piece incorporated four different carols, ending with Stille Nacht. Bozeman played with a wonderful sense of feeling and sensitivity. Dudley Buck’s attractive Prelude (from The Coming of the King, Cantata for Advent and Christmas) incorporated “Silent Night” and “Adeste fideles.” The hymn was Adeste Fideles, which we sang powerfully in the resonant acoustic of this beautiful church.

Next was a wonderful Allegro by Katherine E. Lucke (1875–1962), which demonstrated the light and agile flute sounds of this fabulous organ. Bozeman closed with his own fine transcription of Four Fleeting Pieces, op. 15 by Clara Schumann. It was a good tour of the organ’s solo stops, and he played all very well; each musical line was beautifully shaped and controlled. We all enjoyed this recital and were quite smitten with this fantastic organ.

The second recital of the morning was at St. Martin of Tours R.C. Church, an attractive building completed in 1939 in the Florentine Renaissance style. A sign was tied between the two pillars on either side of the central door: WELCOME ALL SINNERS. I didn’t know what to make of that, but I certainly felt accommodated. The organ—Möller Opus 6809, three manuals, 22 ranks—stands in the rear gallery and speaks into a most favorable acoustic. There is reason to believe that Möller’s Richard O. Whitelegg worked on this organ. The Atlas states, “Most pipework was old and of unknown origin.” The Clarinet stop was terrific!

Carolyn Lamb Booth opened with a strong reading of Guilmant’s Grand Triumphal Chorus in A Major, op. 47, no. 2. The powerful sounds of this organ filled the space evenly; I liked the Trumpet. Next, Edward Bairstow’s Evening Song, registered perfectly. The hymn was “Christ, be our light.” Organ and organist led it convincingly. After that, the beautiful Elegy by George Thalben-Ball showed the many lovely solo stops and was nicely played. (I noted the Catholic Church in its current state of transition: the confessionals were used to store old kneelers.) The closing piece was Saint-Saëns’ Prelude and Fugue in E-Flat Major, op. 99, no. 3, perfectly suited to this fine organ and organist.

The final stop of the morning was at the lovely St. Gabriel’s R.C. Church in Washington, D.C., to hear its Lewis & Hitchcock, Opus 165 (1930) of two manuals and pedal, 21 ranks. It stands in a divided case on either side of the rear gallery of this English Tudor-style building, whose cornerstone was laid in 1930. We were greeted with the sound of bells—extra points! Upon entering, we encountered the smell of good incense—more extra points! Stephen J. Morris began his program with a hymn, Sing to God! Lift up your voices (Alchester). Robust OHS singing matched the organ very well in that great acoustic! 

Morris’s first selection was Mendelssohn’s War March of the Priests, which showed the strength of this organ’s sound as we enjoyed this cruciform church with its beautiful glass and elegant appointments. Next was Andante ‘Choeur de Voix humaines’, op. 122, no. 7, by Lefébure-Wély. The Great’s very beautiful Gross Flute made bubbly sounds against the Swell’s equally fine Vox Humana. Then Seth Bingham’s Rhythmic Trumpet (from Baroques, op. 41), followed by another character piece, The Squirrel by Powell Weaver—an entertaining bit of whimsey played with good humor. 

Next was Liszt, Introduction and Fugue (after Johann Sebastian Bach, from Cantata 21, Ich hatte viel Bekümmernis), played with broad authority and featuring the organ’s fine plenum. That was followed by a little composition that featured the Oboe: Allegretto in E-flat, op. 17, no. 2 by William Wolstenholme (1865–1931)—cute music. Then came the beautiful Claire de Lune from Karg-Elert’s Trois Impressions, op. 72—lovely music well chosen for organ, space, and audience. Morris played it exquisitely right down to the last ppp on the Aeoline. The recital ended with the March upon a Theme of Handel, op. 15, no. 2, by Guilmant. A fine performance and concert, which demonstrated the organ most admirably.

Following a box lunch, my group made its way to the Armed Forces Retirement Home, founded in 1851. It sits high on a hill overlooking the city of Washington. Abraham Lincoln spent a lot of time there escaping the heat of summer. The rolling grounds are extensive, tranquil, and very green with lots of trees and grass. The organ was in Stanley Hall, a facility built for recreation and entertainment, but now used a chapel. The organ, a two-manual and pedal instrument built by Stevens & Jewett (ca. 1855), is interesting for its 18-note pedalboard. The 16′ Double Open Diapason has only 12 pipes. The Atlas states: “From second C the pedals simply repeat the pipes in the bottom octave.” The instrument was acquired through the Organ Clearing House, having come from the former Universalist Church in Mechanics Falls, Maine. David Moore did the restoration. 

Rosalind Mohnsen opened her program with Allegro moderato maestoso by Mendelssohn, which had a fine majestic march feel to it. Then came John Stanley’s Voluntary in A, op. 7, no. 1, Adagio—Allegro. The Adagio was played on the Great Open Diapason—a warm and widely scaled sound. The Allegro used some lovely softer but bright stops on the Swell. Next, Gavotte Pastorale by Frederick Shackley (1868–1937). The Swell alternated with the Great Diapasons, then some of the Swell 8′ stops with tremolo—a good piece that showed some of the many colors of this organ. The hymn was, appropriately, Mine eyes have seen the glory of the coming of the Lord (Battle Hymn of the Republic). Mohnsen always chooses hymns and pieces with great care so that they are well suited to the instrument and place at hand. Her next selection was Abraham Lincoln’s Funeral March, op. 7 (1865), “In memory of a Country’s Martyred Father” by William Wolsieffer. Paul Marchesano hand pumped the organ. The piece showed more of the organ’s color, the fine reeds in particular. 

Next came Melodie (Homage to Grieg) by George Elbridge Whiting (1840–1923), which carefully demonstrated more solo stop combinations. Mohnsen closed with Marche militaire by Scotson Clark (1841–1883), a snappy number in which we heard more of the reeds. 

 

We next visited St. John’s Evangelical Lutheran Church, Riverdale, Maryland, which possesses a sweet little Jardine organ, originally built in 1853 as a one manual, and enlarged to two manuals in 1890. After several church “homes”, it had been purchased by OHS member Carolyn Fix, who sold it to St. John’s in 1988, and was rebuilt and enlarged by James Baird. It stands at the rear of this smallish cement block structure. Lawrence Young began with four selections from The Green Mountain Organ Book by Charles Callahan. In Prelude and Fugue we heard the lovely 8′ foundation stops. Rondeau used Great 8′ and 4′ in the A section, while the B sections used the Swell 4′ and 2′ with shades closed. It ended with Procession, which closed quietly. The next selection was Mendelssohn’s Prelude and Fugue in G Major, op. 37, no. 2, which started on the Great 8′ and 4′ Principals. The fugue was solidly played. Following that, Young played Daniel Pinkham’s Be Thou My Vision: Partita on Slane, a good demonstration piece. We then sang the hymn on which the partita was based. It was all very enjoyable.

 

For the afternoon’s last recital, our buses climbed up the hill to the Basilica of the National Shrine of the Immaculate Conception, Crypt Church, to hear the 1987 Schudi organ (two manuals, 23 stops, 25 ranks) built in the style of Gottfried Silbermann. The organ stands in a wide transept to the right of the altar.

Peter Latona, director of music at the shrine, began with Buxtehude’s Praeludium in F-sharp minor, BuxWV 146. In that acoustic, the effect was splendid; clean, clear sound, emanating from the polished tin pipes, filled the space. It was a superb performance, full of life, grace, and vigor. Then the Andante from Bach’s Trio Sonata IV, BWV 528, using an 8′ flute on each manual and 16′ and 8′ flutes in the pedal—a warm and inviting sound. Next, O Gott, du frommer Gott, op. 122, no. 7, by Brahms, showed the rich 8′ foundation stops. Then Latona played Joseph Jongen’s Petit Prelude, soloing out the tune on the Swell Schalmey, showing more of the romantic side of this organ. 

Then came a special treat: a series of improvisations creating a Suite on Rendez a Dieu. I. Trompette en taille; II. was the hymn itself, which we all sang; III. was a trio with the Cornet in the left hand; IV. was a Grand jeux complete with a duo in the middle. Very skillful improvisation founded securely in the French Baroque style. Latona made me wish that I lived in Washington, D.C. so I could hear him play every Sunday. 

Following a most tasty buffet dinner at the Pryzbyla Center, Catholic University of America, buses took us to Immaculate Conception Church in Washington, D.C. to hear Bruce Stevens play the evening recital on the church’s 1879 Steer & Turner organ, Opus 131 (two manuals, 25 stops). The church is a large sort of Tudor Gothic with tall windows. The program opened with Festive Prelude on the Chorale ‘Lobe den Herren’ by Niels Gade (1822–1890), which started with long chords and then led into a more “festive” reading of the melody going from manual to manual. That led to the hymn, Praise ye the Lord, the almighty (Lobe den Herren). Our “Let the Amen!” in that acoustic was something to hear!

Stevens then played Partita sopra Aria della Folia da Espagna by Bernardo Pasquini (1637–1710). I was amazed at how well this very 19th-century organ could sound in this music. Next, an Allegro by João de Sousa Carvalho (1745–1798).Then Bach’s Prelude and Fugue in A Minor, BWV 543. The fugue was especially fine—masterful and profoundly musical playing! We then heard George Shearing’s setting of Amazing Grace, which was not in the program. Next was Saturnus (from The Planets: Suite of Seven Pieces for Organ) by Bent Lorentzen (b. 1935); lots of repeated chords accompanying a melodic line—wild music! 

Stevens then closed this fine program with Rheinberger’s Sonata No. 9 in B-flat Minor, op. 142. I especially enjoyed the second movement, Romanze, which was a good demonstration of the exquisite flutes on this instrument, as well as the quiet foundation stops. Movement three, Fantasie und Finale–Fuga, showed the clarity of the plenum. This is a very fine organ. The Fantasie contained Buxtehude-like runs, and the very well-conceived Fuga was performed with clear and refined style that comes with a long association with this music. It was a glorious evening!

 

Thursday, June 30

Lorenz Maycher began this day for us on a nearly mint-condition E. M. Skinner, Opus 744, from 1928, at the Church of the Pilgrims (Presbyterian) in Washington, D.C. It has three manuals and about 30 stops and stands in the rear gallery divided on either side of the window. Maycher is a specialist with Skinner organs. He played an entire program of music by Richard Purvis, beginning with Toccata Festiva. It was exciting music and playing—the organ filling the space nicely. The hymn was There’s a wideness in God’s mercy (In Babilone). He then played the popular Melody in Mauve, which sounded wonderful on this beautiful organ. Next was another popular piece, Les Petites Cloches, which featured the chimes and harp. Then, Idyl, with the lovely Flute Celeste II accompanying the Concert Flute, followed by the Vox Humana. 

Repentance was the next piece and showed the softer foundation stops, followed by the strings and then the larger foundation stops; the Tutti came on, but the piece ended with the softest strings. Maycher ended this lovely program with Thanksgiving, which began with the Great Tuba blasting out a fanfare in dialogue with the Swell reeds. A quiet B section, featuring the Clarinet, led us back to the beginning. Wonderful music, brilliantly played on a gorgeous American organ! 

The next stop was Epiphany R.C. Church in Georgetown to enjoy its two-manual, 11-stop Hook & Hastings, Opus 1623. Built in 1894 for a music room in Boston, it eventually found its way to this small and charming church. David M. Storey Inc. restored the organ in 2003. It stands in the rear balcony, its pipes painted in warm yet bright colors. Convention chair Carl Schwartz described this organ brilliantly in the Atlas: “This musical instrument reveals its charms in subtle ways, much like a fine wine unfolding before the senses. As with most Hook & Hastings organs of this modest type, it proves to be far more than the sum of its parts.” 

Kimberly Hess opened with Buxtehude’s Toccata in F Major, BuxWV 157, which worked very well on this 1894 organ. The hymn was I sing the mighty power of God (Mozart). She then played no. X from 23 Préludes liturgiques by Gaston Litaize. We heard the beautiful and careful voicing of the smaller sounds on this lovely organ; each stop is satisfying in every way. Then C.P.E. Bach’s Sonata in D Major, Wq 70/5, which showed refined 8′ and 4′ sounds in the Allegro di molto. In the Adagio e mesto she used the Swell Stopped Diapason with tremolo to good effect. The Allegro was cheerful and bright with good dialogue between the manuals. Hess ended her fine concert with two selections from Arthur Foote’s Seven Pieces for Organ, op. 71. Cantilena in G featured a solo on the organ’s gorgeous Oboe. The melody was spun out for us with warmth and just the right amount of flexibility. Toccata moved well in the opening A section, coming to a restful B section. It finished big, using the sub and super couplers from the Swell. First-rate playing on a first-rate organ. 

The last stop of the morning was at the sprawling and beautiful Washington Hebrew Congregation, begun in 1856. The present building was completed in 1955. The organ, a large three-manual Aeolian-Skinner, Opus 1285, was installed in 1956. The organ stands in front of the room, although the pipes (and organist) are hidden. There is beautiful tone and balance within the divisions. Two well-known organists have served this congregation: German composer and scholar Herman Berlinski, and B. Michael Parrish, a student of Herbert Howells and George Thalben-Ball. Mr. Parrish began with very soft flute sounds in Sabbath Eve by Robert Starer (1924–2001). Next a piece by one of his teachers: George Thalben-Ball’s Elegy—a great piece that built to a fine roar. Then a piece by another of his teachers: Herbert Howells’s Master Tallis’s Testament, with a beautiful solo sound from the Choir. Next was a very moving In Memoriam by Herman Berlinski (played in memory of Sina G. Berlinski). That was followed by “Rosh Hashana” from Funf Fest-Preludien, op. 37, by Louis Lewandowski, and then the hymn The God of Abraham praise (Yigdal). A very beautiful and meaning-filled program.

We then made our way to Washington’s National City Christian Church, a building designed by John Russell Pope, who also designed the National Archives, the Jefferson Memorial, and the National Gallery—so one can imagine that it is indeed an imposing structure fronted with a huge sweeping staircase. It opened circa 1929. The first organ was by the Skinner Organ Company, Opus 824 (four manuals, 55 ranks). Like many of those grand old E. M. Skinner organs, it was deemed old fashioned by mid-century, and in the 1960s it began to be greatly enlarged by the Möller Company and others until it reached its present size of five manuals and 141 ranks, including a large Antiphonal division in the rear of the church. The main organ stands in the front of this basilica-like structure behind the apse and four huge granite columns—all of this in a building smaller than several of the larger Catholic churches we had visited. It is the third largest organ in the city, but it is in a building smaller, it seemed, than of one of the National Cathedral’s transepts. Perhaps E. M. had the right idea about proportion for the space. This is a very loud organ, and too big for the church.

The legendary and brilliant organist, composer, and teacher John Weaver gave a terrific program. He opened with Bach’s Wir glauben all an einen Gott, S. 680 (Clavierübung Part III). It was a bit of a shock to hear this Möller with its 1975-era mixtures after two and a half days of more subtle mixture sound. Next was Mozart’s Adagio and Allegro in F Minor, K 594. The Adagio was lovely, but the Allegro was a bit over the top with the power and aggressiveness of the registration choices. Weaver played it very well with good attention to detail, but it was just too loud. I found myself wondering if he had trouble judging the level of the sounds as the pipes spoke over the player’s head, sending all the sound into the nave. 

Then Karg-Elert’s Five Chorale Improvisations from opus 65. 1. Wie schön leuchtet der Morgenstern used the lovely strings and soft foundation stops. 2. O Gott, du frommer Gott used several levels of foundation tone. 3. Herr Jesu Christ, dich zu uns wend was quite loud and seemed to demand Christ’s presence among us—brilliant playing with a wild pedal part! 4. Herzlich lieb hab ich dich, o Herr—gorgeous music with a gentle echo after each phrase; we heard the famous Handbells stop on this organ—interesting, but I wasn’t crazy about them. 5. Nun danket alle Gott was the well-known piece often played at weddings. It was another case, however, of over-use of the loud sounds. This organ is simply too big for this room.

Next came one of Weaver’s own compositions, Carillon (2002), which used the Handbell stop. The bells were accompanied by gurgling flutes—very nice music. The hymn was Surely the Lord is in this place to the tune Madison Avenue by Weaver. He then played a piece he wrote based on his hymn tune Meyers Park, following by the singing of the hymn. Weaver closed with his famous Toccata for Organ (1958). It was very exciting, but, with this instrument, it was painfully loud. One longed for the old E. M. Skinner organ that first graced this church.

The bus caravan deposited us at the lovely All Souls Unitarian Church in Washington, D.C. The congregation traces itself back as far as 1815, but the present church, styled after St. Martin in the Fields, London, was built in 1923. The organ was built by Rieger in 1969, a tracker of four manuals, 60 registers, and 96 ranks. It was an important instrument in its time and attracted quite a bit of attention, with a Rückpositiv and an enclosed Brustwerk that has glass shades. It also was the first, it is said, to have computerized combination action with multiple memory levels. To our ears it sounds dated, but in its day I’m sure it was a revelation. There is still much to admire in this instrument. 

Eileen Morris Guenther opened with Bach’s Prelude and Fugue in C, BWV 547 (“the 9/8”). I would have liked to hear more articulation in the playing, which seemed rushed with many dropped passing tones. All the drama in that wonderful fugue was lost. Next, Prelude for the Organ in G Major by Fanny Hensel (née Mendelssohn-Bartholdy). The mid-20th century mixtures got in the way of an otherwise good performance. Then Robert Schumann’s Sketch in D-flat, which used the 8′ foundations and flutes. Staying in the Schumann family, we heard Clara’s Prelude and Fugue for Organ, op. 16, no. 3, played very well. Two spirituals by Joe Utterback (b. 1944) followed: Swing Low, Sweet Chariot (blues for manuals) and Balm in Gilead. I enjoyed her fine performance of them, which showed the pretty soft string sounds. The hymn, a new setting of “A Mighty Fortress” by Emma Lou Diemer (Reformation), was not the easiest thing to sing. This was an instructive recital that showcased the transitional state of organ building midway through the last century.

The evening program was Solemn Evensong and Benediction of the Most Blessed Sacrament at St. Paul’s Episcopal Church, K Street in Washington. D.C. My bus got lost and we barely made it on time. Since all the pews were occupied, I got to sit in a row of chairs set up in front of the front pew—a great view of all the proceedings. The church was founded in 1866, but the present building dates from 1948. It is very traditional, with all the high church trimmings, great acoustics, and a four-manual Schoenstein & Co. organ of 52 voices and 65 ranks. The organ and choir are divided on either side of the chancel, and there is a Tuba Mirabilis mounted on the liturgical west end (the pipes stand vertically). The volunteer choir was superb in every way, led by director of music and organist Robert McCormick, and accompanied by assistant director of music John Bradford Bohl. 

The pre-service voluntary was Rhein-berger’s Introduction and Passacaglia from Sonata No. 8 in E Minor. It was marvelously played, but I could not tell by whom. The responsory was by Hancock, the preces were by Philip Radcliffe, and the psalms were sung to Anglican chants by Stanford and Thalben-Ball. The organ was perfect for the proper accompaniment of Anglican chant; amazing effects could be created by the swell boxes within swell boxes. Each line of the psalms was carefully prepared by the organist, and the choir sang with proper style and grace. 

The office hymn was All praise to thee, for thou, O King divine (Engelberg). Now, if you have never been to an OHS convention, the hymn singing is amazing. So it was with a certain amusement that I noted a few of the choir members looking out at us with widened eyes as if to say “Who are these people?” We fed each other as congregation, choir, and organ raised the song from our collective hearts to amazing heights—it was an unforgettable moment! The Magnificat and Nunc dimittis came from Evening Service No. 2 in E-flat Major by Charles Wood. It was a powerful sound—McCormick drew astonishing sounds from his forces. After the prayers, they sang the Salve Regina, and then one of my favorite anthems, Te Lucis ante terminum by Henry Balfour Gardiner. That was followed by Benediction. The closing voluntary was a stunning improvisation. It was an unforgettable evening, both musically and spiritually.

 

Friday, July 1

Our day began at the beautiful National Presbyterian Church in Washington, D.C. with a recital by that church’s organist, William Neil. The church was established in 1947, but has connections dating back to 1780. The present building was opened in 1969. The organ was one of the last Aeolian-Skinner organs, and has been altered many times since then. A Solo division was added in 2010 using several E. M. Skinner ranks. The organ has four manuals and seven divisions. It was featured at the AGO convention in 2010 in a concert by Nathan Laube. I was eager to hear the Skinner Solo division ranks, as they were not playing for that recital. Neil’s fine recital began with Mendelssohn’s Sonata in F Minor, op. 65, no. 1. In the first movement we heard the clear and never overwhelming plenum, with echos on an 8′ reed. The beautiful Adagio showed the lovely strings along with several excellent solo stops including the French Horn. The Andante used the Antiphonal 8′ and 4′ flutes against a reed chorus on the main organ in front. The Antiphonal is at the back of the room, while the main organ is behind a screen on the front wall. The Allegro assai vivace burst forth with extraordinary energy and power. This was one of the most exciting performances I’ve ever heard of this piece. 

In Elgar’s Nimrod (from Enigma Variations, op. 36), the organ’s gorgeous and lush strings were on full display; the clear Clarinet uttered its plaintive cry. The marvelous crescendo began building seamlessly to full organ, then tumbled gently back down to a breathless ppp—it was brilliantly achieved. Next came J. S. Bach’s Passacaglia and Fugue in C Minor. Neil began on quiet flutes. His trills were flawless, and the calm pedal was unruffled by the increasingly busy manual parts. This was a fabulous performance of one of the great monuments of western civilization. My only criticism of this concert was that there was too much loud music. Our ears needed more variety. Stunning though this performance was, we had a long day ahead of us. The hymn was O Lord, You are my God and King (Jerusalem).

 

We made our way through the tree-lined streets of Washington, D.C. to St. Columba’s Episcopal Church in a quiet neighborhood. A handsome church, it looks as though it would be right at home in an English village. Built in 1926–1927, its first organ was a Lewis & Hitchcock that was replaced in 1981 by the present organ, a two-manual, 25-rank Flentrop that the company enlarged in 2003, adding three stops to the pedal. It stands majestically in the liturgical north transept. 

Mark Steinbach began with Philip Glass’s Mad Rush (1981), which worked well on this organ. Next, Bruhns’s Kleine Praeludium in E Minor, played freely and skillfully. This piece provides good opportunity to vary registration—a plus at an OHS convention. There were a few inner rhythmic patterns that were hurried, but he got the big overall shape of this piece quite nicely, and the organ was lovely. Then came Buxtehude’s chorale prelude on Nun komm’ der Heiden Heiland in a beautiful demonstration of the Hoodfwerk Cornet—played with wonderful sensitivity and flexibility. Keeping with that same chorale, the hymn was Savior of the nations, come. The organ held its own leading our vigorous singing—good playing!

My teacher in college, Miriam Clapp Duncan, was Anton Heiller’s second American student. So I was eager to hear the next piece, Nun Komm’ der Heiden Heiland—Eight Variations (1972), by Anton Heiller. (Steinbach has recorded a forthcoming CD of the music of Anton Heiller’s music.) He used the full range of this organ. I especially liked the Borstwerk 4′ Roerfluit, which seemed to chirp. Steinbach closed with more Philip Glass: Satyagraha, Act III, Conclusion (1980). While it was interesting to hear, for me, at least, it soon wore out its welcome. He did build a fine crescendo. This is a very good organ, and Steinbach gave an excellent tour of it. 

The next organ was a major historic treat: a nearly intact three-manual Henry Erben organ from 1850—very rare, and very exciting for us OHS’ers. This was at Trinity United Methodist Church in McLean, Virginia. The congregation can trace its beginnings back to 1820. They built their present Georgian-style church in 1961. The organ was originally built for Monumental Episcopal Church in Richmond, Virginia. In 1926 they replaced it with a Skinner, keeping the Erben façade, which was silenced. The Erben pipes went to another church. James Baird managed to put the Erben back together between 1975 and 1997. It now stands rather proudly in the front of this sanctuary. Nearly all the pipework has been restored, with three rare Erben reed stops. The organ has a painted white case with gold trim. There are dentils adorning the tops of the towers. The capitals at the tops of the towers have carved flowers painted colorfully. The church created needlepoint kneelers using the case designs. Convention chair Carl Schwartz, in introducing the concert, called the organ “a national treasure.” 

Before the recital began, we had the annual meeting, which included the introduction of the four E. Power Biggs Fellows to this convention. The Fellows get an all-expense-paid trip to the convention. Many eventually become performers at subsequent conventions and go on to great success in the organ world. We also had a delightful preview of next summer’s convention in Chicago.

Kevin Birch began his program with Concerto in G Major, BWV 592 (after Ernst) by J. S. Bach. In the Allegro he used the Great 8′ 4′ 2′ in alternation with the Swell. The second movement, Grave, used flutes 8′ with tremolo, a beautiful sound. The Presto was played with secure rhythm and nicely shaped phrases. Next, William Boyce’s Voluntary I in D. The Larghetto featured the very attractive 8′ Open Diapason; the Vivace featured the delicious Great Trumpet; I loved that sound—full bodied and true. Next, Muffat’s Aria sub elevazione (aria, three variations, aria), which worked quite well on this organ. Then, Mendelssohn’s Sonata No. 1 in F, op. 65. I especially enjoyed the fourth movement, when he added the thrilling 16′ Trombone in the Pedal. It was all good, solid playing on a really fine and certainly historic instrument! 

The hymn was Ye servants of God (Hanover). Guilmant’s Prière et Berceuse followed the hymn, beginning on a very quiet string. The Berceuse began with a solo on the Oboe. It was a gorgeous call from the past that made one long for the many organs that are lost. Thanks be that this one has come down to us virtually intact. The piece ended with the sweet sound of the Swell Dulciana and tremolo. Birch ended this marvelous recital with Grand Choeur in G Major by Théodore Solomon. After a sturdy beginning, a fugue started, using 8′ foundations and the Oboe, sounding very French. The Mixture came on with full organ, bringing the piece to an end—very good playing on a remarkably versatile organ!

And so we came to the final evening recital of the convention. Following a delicious meal at the American Indian Museum, we walked to St. Dominic’s R.C. Church, just a few blocks off the National Mall. It is a large gray granite church completed in 1875. It has seen several fires in its history. The church’s Hilborne Roosevelt Opus 290 dates from 1885: three manuals and 47 ranks. Originally a tracker, after various fires and rebuilds it is now on electro-pneumatic action. It enjoys a fantastic acoustic, is just the right size for the building, and stands in the rear gallery. 

Thomas Murray began with Rheinberger’s Sonata in G, op. 88, no. 3. The first part featured the fine plenum. Later we heard the beautiful Cornopean on the Swell. The closing movement was all fire and bravura. Then, Bossi’s Ave Maria, showing the lovely strings and flutes with tremolo, and Bossi’s Divertimento en forma de Giga—immaculate playing. Next, Guilmant’s Communion on Ecce panis angelorum on quiet 8′ and 4′ flutes, then the soft 8′ foundations. Guilmant’s Caprice in B-flat was a nice contrasting bit of whimsey, with chords tossed out into the great nave of this church—a charming sense of fun. Then, Grand Choeur on “Benedicamus Domino” (1934) by Guy Weitz. The Great and Swell reeds called back and forth. A fugue followed on the very good plenum—all very lively and yet grand. The hymn was There’s a wideness in God’s mercy (Blaenwern). 

Following intermission, Murray played Alfred Hollins’s Concert Overture in C Minor (1899). Bold, strong, and large chords were flung through the nave. The Swell reeds had a solo or two before returning to the Great. The piece gave voice to several solo stops and a fugue before returning to the opening material. Liszt’s Epilogue (from Années de Pèlerinage, Suisse) worked very well on the organ. Murray closed with Dupré’s Prelude and Fugue in G Minor, op. 7, no. 3, which made one want to get up and dance. It was a brilliant performance! 

 

Saturday, July 2

This was an “extra” day, with just three recitals. About half the convention attendees chose to go home following the Friday night recital. A few elected to stay, wanting to hear the Pomplitz organ that was on the schedule. However, the buses confounded our best intentions. The company only sent one bus, but we needed two. We all lined up in the usual manner behind the hotel. The first ones in line got on that bus. The rest of us waited for nearly two hours. It really was frustrating. But finally one came after several frantic phone calls. We missed the recital at St. Patrick’s in the City R.C. Church with its large three-manual 1994 Lively-Fulcher organ built in a French manner. The recitalist was Ronald Stolk. My apologies to all concerned that I was unable to review that recital. 

We did get to hear the August Pomplitz organ, No. 140, built in 1869 for Grace Episcopal Church in Alexandria. The organ was believed to have come to St. Vincent de Paul R.C. Church in Washington, D.C. about 1905—two manuals, 16 ranks with mechanical key and stop action. Carl Schwartz called it “a lovely instrument and a survivor.” It stands in the rear gallery of this little church. Philip T.D. Cooper started with Voluntary VII in G Major (from Ten Organ Voluntaries, op. 6) by John Stanley. Next, Flute Piece in F by William Hine. The flutes on this organ possess a rare beauty. Cooper handled the sounds with deftness and clarity. In Voluntary in A Minor by Lucien H. Southard (1827–1881), we heard the foundation stops, which ended in a fine fugal section.

Cooper’s own Fuga I tertii tone was a hit with the audience. The hymn was Jerusalem, my happy home, sung to Cooper’s tune, Kenny Dawson’s Mighty Hymn. We then heard this organ’s elegant strings in Tantum Ergo by John Henry Wilcox. The program closed with Postlude in A Major by George J. Webb.

The final concert of the convention was at St. Mary Mother of God R.C. Church in Washington, D.C., founded in 1845 for the German-speaking Catholics. The organ, which is in the rear balcony, is George S. Hutchings’ Opus 239 from 1891: two manuals, 27 ranks; it is nearly intact with its original tracker action. Timothy Edward Smith began with Bonnet’s Fantasy on Two Noels. A hymn followed: Sing of Mary, pure and holy (Raquel). Next, two selections from Seth Bingham’s Sixteen Carol Canons in Free Style. In Gabriel’s Salutation, which had  six canons, he demonstrated all manner of sounds small and great. Bring a Torch, Jeanette Isabelle had three canons. These were great organ demonstration pieces, with many refined colors.

Next was Myron Roberts’ Improvisation on God Rest You Merry. I loved the sweet little 8′ Dolcissimo stop on the Great. Then, Harvey Gaul’s The Christmas Pipes of County Clare. The flutes had their day in this charming and wonderful music. Get this music—your congregation will love you! A second hymn followed: Hark! the herald angels sing (Mendelssohn), then Balbastre’s Joseph is a good husband. The fine reeds on this organ were well displayed making a mighty Grands Jeux. The final piece, and the finale to the convention, was Fantasy on Two English Carols. The First Noel was nicely articulated. Good King Wenceslaus was heard on the Swell reeds, and then on the soft flues and flutes. The First Noel returned triumphantly! A grand conclusion to a grand convention.

This was another outstanding OHS convention. Carl Schwartz and his committee are all to be congratulated for an exceptional effort. The organs were in great shape, the venues were spectacular, the scholarship we saw in the Atlas, the Convention Handbook, and the Hymn Book evidenced their thoroughness and affection for the organs of the communities in which they are so blessed to live. And, of course, the beauty of our nation’s capital seemed to grace and welcome us at every turn. 

The 2012 OHS national convention takes place July 9–13 in Chicago. For information: www.organsociety.org.

 

June 25–30, 2006, Saratoga Springs, New York

Frank G. Rippl

Frank Rippl is a graduate of Lawrence University Conservatory of Music where he studied with Miriam Clapp Duncan and Wolfgang Rübsam. He is co-founder of The Appleton Boychoir, coordinator of the Lunchtime Organ Recital Series in the Appleton, Wisconsin area, and has been organist/choirmaster at All Saints’ Episcopal Church in Appleton for 35 years

In the months leading up to the Organ Historical Society’s Fiftieth Anniversary National Convention, the question on everyone’s mind was “Could it live up to the level of advance excitement it was generating?” The OHS magazine, The Tracker, had published its usual pre-convention issue with mouthwatering photos of the organs and venues—pictures by Victor Hoyt and Stephen Pinel that made one fall in love with the organ all over again. There were articles and ads in the professional journals touting the instruments to be visited, not the least of which was the historic 3-manual Odell organ from 1882, the oldest large and unaltered concert hall organ in America—an instrument not heard in decades. There was the outstanding roster of performers, the beauty of New York State, the festive banquets, the cruise on Lake George, and on it went.
By the final evening, the answer was an exultant and resounding “Yes!” Convention chairman Stephen Pinel and his committee truly outdid themselves. One of the biggest surprises was the huge, lavishly illustrated and annotated 250-page, 81⁄2" x 11" convention 2006 Organ Atlas (which replaced the traditional, smaller Organ Handbook we were accustomed to seeing each year), detailing the instruments, the venues and their cities. This major document of the organs of the Albany area will be of invaluable service to historians. It represents an extraordinary amount of painstaking research by Jonathan Ambrosino, editor; Alfred V. Fedak, Scot L. Huntington, Len Levasseur, and Stephen L. Pinel. With this distinguished book, the OHS arrives at one of those new plateaus founding member Barbara Owen spoke of in her opening address. This was an exceptional convention worthy of a fiftieth anniversary. They called it “Coming Home.”
This review includes many fine photos of the convention instruments; more photos can be seen at the OHS website , which has links to previous conventions and to the daily convention programs.

Sunday, June 25

In her opening address, founder Barbara Owen recalled the old days and highlighted milestone events along the way. She especially noted the OHS Archives—now an outstanding and unique international resource. Owen said that the OHS at fifty (“middle aged”) should, like the god Janus, look both forward and backward, but should also look inward to draw upon the strengths of each member.
The first concert took place at the 1885 Round Lake Auditorium, preceded by an outdoor dinner of chicken barbecue, a local specialty. The concert featured the famous 3-manual Davis & Ferris organ (1874), originally built for Calvary Episcopal Church in New York City, and moved to Round Lake in 1888. With its sturdy gothic case and stopknobs arranged in the shape of a cross, it sits high at the back of the stage in this large shed-like building festooned with colorful paper lanterns. Chairman Pinel presented Edna Van Duzee Walter with a plaque honoring her 40 years of volunteer service caring for and promoting this historic instrument. The 2006 Organ Atlas states that “It is the only large American-made, three-manual organ from the pre-1850 period to survive in nearly intact condition.”
Organist Antonius Bittmann and the New Brunswick Chamber Orchestra led by Mark Trautman offered an evening of Rheinberger. Bittmann opened with the Sonata No. 12 in D-flat, and from the first low D-flat in the pedal, it was clear that we were in the presence of an extraordinary musical instrument. Its full, broad scale filled the room with a gentle tone from a quieter, less clamorous time. Especially effective was the second movement’s use of the sweet flute sounds. The third movement, Introduction and Fugue, featured the principals and reeds and made one long for the sounds of other large instruments from that period that no longer exist. After intermission, we were summoned back to our seats by the ringing of the auditorium’s tower bell for the Concerto in G minor for organ and orchestra. This is a splendid work with soaring French horn lines and beautiful writing. The conductor led the fine orchestra and the organ with just the right blend of sweep and precision—a wonderful beginning to a week of music.

Monday, June 26

The day began at 8:00 a.m. in pouring rain. Rain was to be the uninvited guest at this convention; there would be some historic and heavy flooding throughout the area. However, enthusiasm and spirits were on the sunny side as we embarked on a two-hour bus ride out into the lovely countryside of the Mohawk River Valley to visit James Fenimore Cooper’s Leatherstocking region of New York state, beginning in Richfield Springs and Cooperstown, before ending the day in Albany.
My group began at Church of Christ Uniting in Richfield Springs with a recital by Michael J. Diorio on the 1896 Farrand & Votey organ. The twin cases that flank the altar, plus other sanctuary furniture, were all designed by Louis Comfort Tiffany. Unfortunately, they are lit nowadays with long fluorescent tubes in the ceiling, but the craftsmanship of the delicately carved casework is superb. Diorio’s recital gave a good tour of this instrument’s resources, programming that OHSers always appreciate. He is a fine and spirited player who earned his doctorate in organ just two weeks earlier. Particularly effective were the Adagio für die Orgel by Julius Reubke and Adagio espressivo from Sonata No. 2 by Rheinberger, which he performed with quiet tenderness.
At St. John’s Episcopal Church in Richfield Springs we heard the 1887 Hook & Hastings (photo p. 27) played by Donald K. Fellows, organist at St. Paul’s Cathedral in Pittsburgh, who announced each of his registrations. The St. John’s organ stands to the right of the altar in this intimate church. The façade pipes are painted in shades of blue, red and tan with gold trim. Each stop fills the room perfectly and confidently. Fellows used the flute stops to great effect in selections from Haydn’s charming Pieces for a Flute Clock. George Shearing’s Chorale Prelude on There Is a Happy Land showed a variety of sound including the gentle Oboe and the rich and enveloping Great chorus. There is a wonderful warmth about the building and the organ. Shades of blue dominate.
We drove to Cooperstown, along the way passing the grounds of Glimmerglass Opera and Lake Otsego. After a brief visit to the Farmer’s Museum, a collection of historic structures, we went to lunch in the Old World elegance of the Otesaga Hotel. The buffet was served on the veranda with its stunning view of Lake Otsego.
We then returned to the museum where, in a gentle rain, we toured the various buildings—avoiding puddles and observing wool spinners, blacksmiths and the like, before visiting the former Cornwallville United Methodist Church to hear the 1849 Giles Beach organ played by Eugene Roan with John Burkhalter, English flute. They presented a pleasant musicale of mostly American music from the 19th and early 20th centuries. The gentle and sweet tones of the instruments in the historic church building evoked the period of this charming literature quite nicely. We would hear several organs by Gloversville, New York builder Giles Beach at the convention—this tiny one-manual, four-stop instrument was the smallest. Beach built some 100 organs, of which only six survive.
We then drove to Albany. Following dinner at the Crowne Plaza Hotel (we ate very well all week!), we took a magical stroll to All Saints’ Cathedral, passing some of Albany’s magnificent buildings, including the splendid State Capitol building and City Hall, both by Henry Hobson Richardson. City Hall boasts a 49-bell carillon, and carillonneur Charles Semowich provided glorious “traveling music” as we walked to the cathedral.
Dedicated in 1888, Albany’s All Saints Episcopal Cathedral is one of America’s great gothic churches. At 330 feet long and 100 feet high, it is a most impressive monument. In 1900, Austin built a fine 4-manual instrument, and the organ was enlarged in 1904 when transepts were completed for the cathedral. By all accounts it was a magnificent organ. In 1956 it was greatly altered by the Aeolian-Skinner Organ Company, changed to reflect the American Classic style. It was changed again by Austin in 1963, and in 1986 a gallery antiphonal was added incorporating a Trompette-en-Chamade (photo p. 27).
Joan Lippincott’s large and ambitious program began with the hymn “Ancient of Days” to the tune Albany. She then played Fanfare and Fugue by Ned Rorem, which announced itself on the powerful west end Trompette-en-Chamade. Next, Bach’s Passacaglia & Fugue gave us a tour of the principal choruses. Her playing was, as always, clean, robust, and spirited; each musical line was clearly delineated. The first half ended with a brilliant reading of Mozart’s Fantasy in F Minor, in which we heard some of the quiet and gentle sounds of the organ.
Following intermission, Miss Lippincott returned to play another fanfare: Fanfare for the Common Man by Aaron Copland. I was seated in the crossing and greatly enjoyed the surround-sound effect of trumpets at east and west ends. The grand acoustics of the cathedral added to the impact of her deeply felt and spectacular performance. She then launched into one of the 20th-century’s greatest organ works: Jehan Alain’s Trois Danses. From my seat in the crossing, I could enjoy the various reed sounds bouncing now from north to south, or triforium to triforium as she used the divisions above both sides of the choir. Lippincott projected all the spirit of the dances dovetailed with the sense of melancholy and fate that pervades all of Jehan Alain’s music. To glorious effect she had reserved the evening’s first use of the 32' reed for the middle of the second Danse—the impact was staggering. The final movement (Struggles) showed why this great performer’s muscular and riveting playing is so admired. Lippincott ended with the Liszt Prelude and Fugue on B.A.C.H., a piece made for a room like All Saints Cathedral.
And that was just the first full day!

Tuesday, June 27

The day dawned sunny and clear. On this day 50 years ago, the OHS was founded, and on this day six years ago, Westminster Presbyterian Church, a red brick church on Albany’s Capitol Hill, signed a contract with the Austin Organ Company to rebuild their 3-manual 1930 E. M. Skinner organ, Opus 780. But there is a great story here. By the 1970s the Skinner needed cleaning, releathering and some renovations. Instead of doing that routine work, the church decided to spend the money on what was then a state-of-the-art electronic substitute. Thomas and Ann Older, members of the church, bought the Skinner for one dollar, and had it installed in their home where it would stay safely for the next 25 years. By 2001, the electronic was ancient and experiencing some very public embarrassing moments. The Olders graciously offered to return the Skinner to a grateful church; Austin rebuilt it, adding an antiphonal organ (in a case designed by Stephen Bicknell) with tonal finishing by Scot L. Huntington. We heard it in a very fine concert by Professor Thomas Murray of Yale University—a longtime champion of historic American organs and no stranger to the organs of Ernest Skinner.
He began with Handel’s Organ Concerto in F, op. 4, no. 4, using the antiphonal organ (which stands above the main door to the church) as the “organ,” and the main part of the instrument in the chancel as the “orchestra.” It was very effective, and the playing was clear and fine. His final piece was Duruflé’s Prelude, Adagio et Chorale varié, op. 4. I sat in the front row so that I could observe his legendary console technique—he did not disappoint. Murray’s sense of color and melodic line was a thing to behold and to hear. He made the most of the gorgeous resources of this wonderful instrument. In the final section of variations on Veni Creator (has there every been a finer harmonization of that marvelous tune?), he gradually opened the Skinner in all of its glory.
This organ exists today as a triumphant vindication of all the things for which the OHS stands: that there is great organ building in every age, and that we only need to regard current fashion as transient; we ignore the greatness of previous ages at our peril; and the lack of a clear-eyed and clear-eared vision dooms us to mediocrity. This was a great recital on a great organ!
We boarded the buses for our next event. Everyone enjoyed the architecture of this historic city as we made our way to St. Paul’s Episcopal Church for a recital by Stephen Schnurr, chairman of the 2002 OHS convention in Chicago and co-author of Pipe Organs of Chicago. St. Paul’s was established in 1827, but worships in a new church completed in 1966—a white building with windows in a “sawtooth” pattern, à la the new Coventry Cathedral, which throws light upon the altar. The 3-manual Casavant organ stands behind the altar on a high platform. A delicate and stunning metal screen separates it from the altar. The sound is clear and fine in the church’s resonant acoustic, and it is an elegant example of the best organ building from its period.
The concert featured mostly Baroque music. In the Bruhns Praeludium in E Minor and the Sweelinck Variations on Mein Junges Leben hat ein End’ we heard the sparkling flues and the Dulzian, Krumhorn, Ranket and Schalmei stops—so popular in the 1960s—as well as the trumpets. In Bach’s Ein feste Burg ist unser Gott, BWV 720, we heard the Sesquialtera against the Dulzian 16'—a fine OHS demonstration of an organ’s tonal variety! Schnurr next played the Bach/Vivaldi Concerto in D Minor, and I especially enjoyed the lovely flute stops in the slow movement. He closed with Gustav Merkel’s Sonata in D Minor, a four-hand piece in which he was joined on the bench by Derek Nickels. We heard the fine strings in the Adagio and enjoyed full organ at the end. A thoroughly satisfying program and performance!
We were served a box lunch at Peebles Island State Park located at the confluence of the Hudson and Mohawk Rivers, from which we could observe a lock on the Erie Canal. The OHS 2006 Organ Atlas reminded us on page 60 that “Many organs built by Erben, Hall & Labagh, Ferris and others were sent to their destinations in New York, Ohio, Michigan, Indiana, Illinois and to the rest of the Western Reserve through these locks . . . [making] New York State the organ building center of the U.S. until well after the Civil War.”
A short ride took us to United Church of Cohoes and our annual meeting, where we were introduced to the new executive director of the OHS, Daniel N. Colburn. Among other things, we learned of upcoming conventions: 2007 Indianapolis; 2008 Seattle; 2009 Cleveland. Sounds good to me! Daniel Schwandt, chairman of the Distinguished Service Award Committee, presented this year’s award to Edna Van Duzee Walter for her 40 years of significant and distinguished service to the Round Lake Auditorium organ and its concert series.
Following the meeting, Peter Edwin Krasinski, 2002 first prize winner of the AGO National Competition in Improvisation, demonstrated the 2-manual Giles Beach organ from 1866 with an improvisation in four movements on the hymn we sang: “Holy, Holy, Holy!” (Nicaea). I always enjoy hearing musical styles contemporary to our time played on historic instruments—thereby bringing the instruments out of the museum-type treatments we often give them. Krasinski is a gifted and versatile musician. His improvised tour of this fine and historic organ was most effective.
Our “free” evening began with an elegant cocktail reception sponsored by several organ builders in the gorgeous 1870 Canfield Casino in Saratoga’s Congress Park. The deliciously extravagant Victorian building is now a museum. Kelvin Hastie, secretary of the Organ Historical Trust of Australia, gave a lecture on Australian and New Zealand organs. It was a fascinating tour of those countries’ organ cultures complete with slides and sound samples.

Wednesday, June 28

The day began with heavy rain and ominous flood warnings. We went ahead with a full day in the country, even crossing over to Vermont. One of the great and endearing charms of an OHS convention is a day spent in little rural churches listening to small historic organs. A friend called it “Melodia and Dulciana day.”
My group went first to United Presbyterian Church in Shushan, New York, where Thomas Dressler demonstrated a lovely unaltered 1891 2-manual by Woodberry & Harris, Opus 92. As the now gentle rain fell outside and a passing train joined in with its own bells and whistles, we were enchanted by the organ’s lovely tone. The Melodia was especially good, but I really liked the fine Oboe. The Stopped Diapason on the Swell had a full, room-filling quality. Dressler played Percy Whitlock’s Folk Tune from Five Short Pieces showing many of the warm soft sounds of this treasure of an organ, and ended with a stirring performance of Jacques Lemmens’s Fanfare for Concert Use.
The bus I was on got lost (!) so I missed Grant Moss’s demonstration of the Johnson & Sons Opus 843 from 1896 at First Baptist Church, Manchester Center, Vermont. My apologies to Dr. Moss and to the First Baptist Church. I was told that it went very well. He performed Albert Bigollet’s Douze pièces pour orgue.
We went to lunch at the palatial Equinox Hotel in Manchester, Vermont—another yummy feast in historic Old World elegance. I remember well the OHS meals in the good old days served in church basements. The OHS has come a long way!
My group then went to the United Methodist Church, Rupert, Vermont, to hear their historic 2-manual Johnson & Son organ, Opus 629, built in 1884, demonstrated by Robert Barney. The church has wooden theatrical seats with elaborate wrought iron framing. The Johnson organ stands in a corner to the right of the altar. Barney provided a handout detailing his registrations. He began with Pilgrim’s Chorus by Richard Wagner, which allowed us to hear a build-up of sounds as he layered stop upon stop. It is always so enlightening to hear how much these marvelous old instruments, limited in the number of stops (13), can do. The tonal properties of a single open 8' stop in this period of organ building are amazing! Next, we heard an Andante by Henry Stephen Cutler on the 4' flutes—a lovely effect. In James Woodman’s Variations on “Fairest Lord Jesus” (St. Elizabeth), Barney made fine choices of stops, ending with the Open Diapason 8' (one of the best stops of the convention!). He concluded the program with Bach’s Sinfonia to Cantata 29.
The day’s final recital was in the attractive little Episcopal Church of St. Paul in Salem, New York. Paul Tegels, assistant professor of music and university organist at Pacific Lutheran University in Tacoma, Washington, demonstrated the E. & G. G. Hook, Opus 189, from 1855. (Is it really fair for one church to have a Hook organ AND Tiffany windows? This one does. Bless them!) While we did not get to hear much in the way of individual stops, we did hear various combinations of sounds on this sweet-toned and genteel Hook. It had the unusual feature of an attractive balustrade across the front, which supported the façade pipes. Tegels performed the Passacaglia in D minor by Buxtehude as well as music by Vaughan Williams, Haydn, and a jolly march in F major by Guilmant.
The evening weather was perfect for cocktails and a delicious dinner aboard the large riverboat Le Lac du Sacrément, as we cruised the beautiful waters of Lake George. All 450 of us fit very comfortably on this fine ship where we celebrated Michael Barone’s birthday in style!

Thursday, June 29

The day dawned with word of severe flooding in many areas. Our buses had to make a few detours to avoid bridges that were out. At one point I saw a school with water up to the middle of the first floor windows.
My group went first to Christ Episcopal Church in Duanesburg, New York, to enjoy Derek E. Nickels’ brilliant recital on a tiny 3-stop organ by Augustus Backus from ca. 1850. This charming church, which resembles a New England meeting house, is the oldest ecclesiastical structure in the Diocese of Albany. The organ is quite soft spoken, but Nickels made the most of its extraordinary sweet tone. I especially admired his performance of Pachelbel’s partita on Was Gott tut, das ist wohlgetan.
We next visited Kingsboro Assembly of God in Gloversville, New York, to hear Sebastian Glück demonstrate the 1857 2-manual Giles Beach organ—the earliest known two-manual organ from the Beach shop. Before the concert Stephen Schnurr, chair of the OHS Historic Organ Citations Committee, presented the church’s minister with a Historic Organ Citation for its stewardship of the Beach organ. These citations are given in recognition of instruments of exceptional historic merit. Giles Beach, his father, and his grandfather were all members of this church, making this citation even more meaningful. As well as being a fine organ scholar and writer, Sebastian Glück is artistic and tonal director of Glück New York Pipe Organ Restorers and Builders, who prepared the Beach organ for this recital as it had become unplayable. It has a lovely, delicate quality we hear in so many instruments of this period. Glück’s program was well chosen for the instrument, which, unfortunately, must speak into a very dead acoustic. Especially good were three selections from Twelve Short Pieces by Samuel Wesley. We also heard some Bach, Mozart, Lefébure-Wély, and the third movement from Sonata in D Major by João de Sousa Carvalho.
There is very little to prepare one for St. John the Evangelist Catholic Church in Schenectady, New York. I confess that the picture I saw of this church in The Tracker played a huge role in my decision to come to the convention. Its style, which I named ‘Richardsonian Gothic’, is striking. The exterior of the 1904 building is all red stone with a tower on each of the four corners and a large dome/lantern tower over the crossing. The vast interior space boasts all-white walls covered in plaster carvings. There are images of 38 saints and 536 images of angels inside the building! The peak of the dome rises 230 feet above the floor. The seating is in a semicircle with a horseshoe balcony. The main floor is raked toward the altar, which stands beneath an enormous gothic arch. The 3-manual organ, also from 1904, by Hutchings-Votey, Opus 1510, stands in the balcony on the left side of the room. It is an intriguing instrument possessing a Saxophone 4' on the Choir. I was told that the organ needed quite a bit of work, so we did not hear very much of it. It had the usual solid sound one expects from Hutchings-Votey instruments, and what we did hear was quite fine. The demonstration was given by organist/composer Alfred V. Fedak, who did a very fine job showing us what was available. He played his own Variations on Pange Lingua as well as pieces by Litaize and Boëllmann. Our visit was all too brief; we left with the sincere hope that this organ will be restored.
A few blocks away found us at Proctor’s Theater and Arcade, which opened in 1927—one of those grand old 2700-seat movie palaces. The original Wurlitzer 3/15 Style F, Opus 1469, was sold in 1957. The present 3-manual instrument, another Wurlitzer, Opus 2157 (“Goldie”) from 1931, was originally built for the Paramount Theatre in Aurora, Illinois, and installed in Proctor’s in 1984. It has been much enlarged over the years, and is lovingly tended to by members of the American Theatre Organ Society. We had the great good fortune to hear the brilliant young American theatre organist Jelani Eddington perform a concert and accompany a silent movie. It was one of the major treats of the convention. He amazed us with his extraordinary skills, split-second stop changes, and color and shading in places most would never imagine. After playing several great American songs and pieces by Leroy Anderson (including a previously unpublished work for organ), he accompanied the Laurel and Hardy 1928 classic Liberty. Eddington’s playing was marvelously understated, which allowed the movie itself to shine, yet he followed each nuance and facial expression of the famous duo, always deferring to them and underlining their zany mayhem in continuous musical motion. He closed his program with Tchaikovsky’s Waltz from Swan Lake. A thundering ovation brought him back for a delightful encore, The Root Beer Rag by Billy Joel—firmly fixing the art of the theatre organ in the present and the future. An amazed audience made its happy way back to the buses.
The evening saw us back in Albany for another major recital: Diane Meredith Belcher on the 1931, 4-manual Casavant organ, Opus 1420, which stands in the rear gallery of St. James’ Catholic Church. St. James’ was completed in 1929. The organ is a glorious instrument, and except for a new Great mixture that Casavant installed in 1983, it is unaltered. Because of the flooding in the area, we did not arrive at the church until after dark. The church is famous for its many large stained glass windows. I hope to return there someday to see them.
Ms. Belcher possesses a formidable technique, and plays with great passion. Torrents of sound came cascading down upon us from the lofty balcony of this acoustically live church. She opened with an expansive and powerful performance of Brahms’s Praeludium und Fuge in a-moll; next, her own transcription of Bach’s Konzert für zwei Violinen in d-moll, BWV 1043, which I found to be quite successful. The pedal part of the Vivace is not for the faint of heart; however, she tossed it off with total control. The elegant Largo was a study in grace, while the Allegro was pure virtuosic dazzle! Belcher followed with Calvin Hampton’s spellbinding Lullaby from Suite No. 2. We heard the lush strings, flutes and soft reeds of this beautiful organ. She ended the first half with Dupré’s Prélude et fugue en sol mineur, op. 7, no. 3. The subdued prelude was followed by a truly thrilling and lightning-fast performance of the famous fugue culminating in full organ.
The second half began with the audience singing Tantum Ergo in Latin—a classy touch! Then followed Franck’s Grande Pièce Symphonique, op. 17. I confess that I’ve never been fond of this particular work—it seems to outstay its welcome—but I did appreciate that here room, organ, and player were well matched in a very good performance. Belcher then played her own transcription of Ravel’s Pavane pour une infante défunte. We heard from the abundant variety of solo stops on this organ including a terrific and bold French Horn. For her final selection, she turned to George T. Thalben-Ball for his Variations on a theme of Paganini for pedals in a brilliant performance that received a long and clamorous standing ovation. (CONTINUE TO PART 2)