British Organ Music Seminar

Alsace Week, July 10-14, 2001

by Kay McAfee

Kay McAfee is professor of organ and music history at Henderson State University in Arkadelphia, Arkansas, where she also serves as organist for First United Methodist Church.

For four days, the group would travel the length and breadth of this beautiful region rich in agriculture and vineyards, nestled in the Rhine valley between the French Vosges mountains and the Rhine river. Its villages and towns, between Mulhouse in the south, Strasbourg in the north, and Colmar at the center, boast over one thousand organs in its many lovely churches.

 

Predigerkirche, Basel

Upon arrival in Mulhouse, Marie Louise Langlais and Sylvie Mallet directed everyone across the border into Basel, Switzerland to visit two churches. We arrived at the Predigerkirche (Catholic) where Mme. Langlais introduced Emmanuel Le Divellec and Brigitte Salvisberg, young husband and wife who are both former students of Mme. Langlais. Divellec is organist of the French church in Bern and teaches at the Bern Conservatory. He told of the church, which originally housed a 13th-century Dominican monastery on the site. The organ was built by Johann Andreas Silbermann in 1766. It had one manual and 14 or 16 stops. Silbermann built a Rückpositiv in 1768, bringing the total to 28 stops.

In 1875 the instrument was enlarged, but it became difficult to play and was neglected until 1974. The firm of Metzler reconstructed the original organ in 1978, adding a flute 4' and larigot to the Positiv and prestant and fourniture to the Pedal. Tuning is Werckmeister, and the disposition is French "with a German accent." Divellec played several parts of the Guilain 2nd Suite: Plein jeu, Tierce en taille, Cromorne en taille, Basse de trompette, Cromorne and Flûtes; and Caprice sur les Grand Jeu from the Clérambault 2nd Suite. Participants were given playing time.

Then Brigitte Salvisberg discussed the choir organ which is mounted above the choir on the north side. At the time of the restoration of the church in 1975, an imprint of the original organ was found on the wall. The contract from a Johannes Tugy and a description of this organ from 1487-1493 were also found. In 1985, the Netherlands builder Bernhard Edskes reconstructed the instrument of two manuals with short compass. Manual I has principal, gedeckt, octave 4' and 2' and a hornle, which is a sesquialtera-type stop. The second manual contains a regal and a 4' and 2'. Salvisberg played O dulcis Maria by Hofhaimer, three Renaissance dances by Hans Neusiedler, and the "Fortuna" variations by Scheidt.

For participants, the change from the large cathedral churches of Paris, Caen, and Chartres during the previous week of the seminar was striking and refreshing. Most of the churches we visited here seat from 200 to 800 people.

St. Josephkirche

Next we were transported to St. Josephkirche to hear an exquisite 1904 instrument built by the firm of Kuhn. Organist Willy Kenz ushered us into the 1902 neo-Baroque church, where the membership has been multicultural. Near the end of the 19th century, Catholic immigrants from Germany and Italy moved to Basel to work, and this was their church. The organ is of 43 stops of three manuals and is a historic treasure. Manual I has a 16' bourdon, four 8' stops including gemshorn, a cornet, flûte harmonique 4', octav 4' and 2', quint, mixture, and trompete. Manual II has a 16' nachthorn, geigen, flute, viola, dolce, quintaton, gemshorn, transverse flute 4', waldflöte 2', sesquialtera, zimbel, and English horn. The Swell contains gedeckt 16' and 8', two strings and a voix celeste, flute and string 4', plein jeu, flute 2', oboe, and schalmei. The Pedal has four 16' stops, two 8', and posaune 16'. In 1934 four stops were added, and in 1992 the Kuhn firm rebuilt the instrument. The tuning is low: A=435.

In this resonant room, the music is stunning. The Swell box is very effective, and the organ is perfect for German Romantic music. Kenz played a Kodály Introit, "Andante" from Mendelssohn's 6th sonata, Karg-Elert's Nun danket alle Gott, and Brahms' Schmücke dich. Participants eagerly climbed to the rear gallery to play. Afterwards, the church staff prepared a fine meal for all.

Elisabethkirche

The evening brought a concert at the Elisabethkirche, a Protestant church. The organ is from 1861 by the Belgian firm of Merklin, which was a rival of Cavaillé-Coll. Originally of two manuals (with a third of only one stop) and 29 stops, the present case is the original one of 1864. The primary manual had 16' and 8' principals, salicional, octav and flöte 4', 22/3', and cornett 8'. The second manual had only an 8' gedeckt. Manual III featured flute 16' and two 8' flutes, flute 4', cymbel 1', and oboe. The Pedal had three 16' and two 8' stops. The firm of Zimmermann added four new stops in 1899 and rebuilt the organ in 1913. Theodor Kuhn replaced the Merklin reeds in 1937. It is definitely a French instrument.

Two of Mme. Langlais's former students, Emmanuel Le Divellec and Suzanne Kern, demonstrated the organ. Kern, who studied with Scheidegger, Bovet, and Marie-Louise and Jean Langlais, is the current organist of the church. She played the 4th Sonata of Mendelssohn, Chant de Fleur from Prière to the Virgin by Florentz, and Tournemire improvisation on "Victimae paschali laudes." Divellec played the Franck Cantabile, Alain Le jardin suspenu (with lovely strings and very effective pp-ppp dynamics), and Pièce solennelle by Jacques Ibert.

Saint-Jean, Mulhouse

The next day the group traveled to Mulhouse to the Protestant Saint-Jean Temple. This is a special place for Marie-Louise Langlais as it was her first professional appointment. The organ is an Alfred Kern (1972) reconstruction of a 1766 Johann-Andreas Silbermann organ of three manuals. The beautiful case is from the 18th-century instrument. The church is small, seating perhaps 150 people. The Rückpositiv is very close to the pew aisles which face the pulpit and are perpendicular to the organ. There are 26 stops, with mutations on each manual--Grand Orgue, Echo, and Positiv de dos.

Sylvie Mallet demonstrated the solo stops of the organ by playing a Tierce en taille, the beautiful positiv cromorne, an 8' and 22/3' (there is a nasard on each manual), the plein jeu, and the reeds and cornet, with an 8' and 1' echo. She demonstrated the tremolo by playing the Grand Orgue vox humana, montre 8', and Positiv 8' and 1'. When the organ was dedicated in 1972, Jean Langlais wrote and played his Suite Baroque for the occasion. The organ plays both French and German music well. Participants played Langlais, Bach, and Soler.

Saint-Étienne

The Gothic-style Catholic church of Saint-Étienne was a short walk away. The organ is a late-period Cavaillé-Coll with a neo-Baroque Positiv by Roeth-inger. The reeds of the Swell are as powerful as at Saint-Ouen and Saint-Étienne in Caen. Several participants played pieces which demonstrated the various colors of the organ.

Organ building in Alsace

Daniel Roth, a native of Mulhouse in Alsace, assumed leadership as our guide into the small towns and villages of Alsace. He was accompanied by Pierre Chevreau, organist at Saint-Martin in Masevaux. Within the 170 km of the wine route are nestled 100 towns. All of the instruments the group was privileged to hear and play represent the combination of German and French influence in organbuilding. Rheinberger, Buxtehude, and Bach sound well as does the music of the 18th-century French Classical composers.

The first stop was the little village of Oltingue and the Church of Saint Martin. M. Roth gave a historical background of the region and the import of its history upon the development of organ building in Alsace. Occupied by the Romans in 58 B.C., Alsace eventually came under the rule of the Allemandes (407 A.D.) and the Holy Roman Empire (870 A.D.). At that time the Vosges mountains formed the French border with Germany and Switzerland. The French desired to stretch the border to the Rhine, and finally took the land in 1648. In 1870 Alsace again came under German rule. After WWI, France again ruled. In 1939 the Nazis captured Alsace, and after WWII it again became part of France. In Strasbourg, the organ builder Edmund Roethinger (1866- 1953) saw Alsace change nationalities four times. Alsatian culture has taken the best from the culture of France and Germany. It is true also with organ building. Alsatians demonstrate a great love of music and of the organ.

In 1792 Alsace listed 300 organs. In 1844, the number had doubled to 600, and after 1980, 1004 instruments, many of them historically significant, were to be found in this small region. In the 1870s, when Alsace was under German rule, there were many active German organ builders, but Alsatians resisted the German tonal ideal--a hard sound, loud mixtures, and high wind pressures. At the end of the 19th and in the early 20th century, there was an Alsatian organ reform, with the desire being to rediscover the organs of Silbermann. The Alsatian Albert Schweitzer was important in this movement. Schweitzer loved French organs, and this was revealed especially in his trips to Paris to study the instruments of Cavaillé-Coll.

This movement was not the Orgelbewegung, which came later and was even more radical. Many Romantic organs were destroyed in the zeal to build organs with little fundamental tone, high-pitched mixtures, and absence of gambas. The French manifestation of this revolution occurred partially in the Neo-Classical movement of the 1930s.

In the 1950s, there was a Baroque-reform movement in Alsace, which reacted against the Neo-Classical movement in other parts of France. Alfred Kern's 1963 instrument at Saint-Séverin in Paris is an example of a tonal design from this reform movement. Kern's family were builders from Strasbourg in Alsace. The participants in this movement sought a better understanding of the old instruments and to make possible the playing of Bach and other German music as well as Classical French music. The 1970s then saw the revival of interest in the Romantic organs.

Saint-Martin, Oltingue

The Oltingue church of Saint Martin is of neo-Baroque style. The organ was built in 1843 by Joseph (1795-1857) and Claude (1803-1874) Callinet, sons of François Callinet (1754-1820) who began the family business. The organ was cleaned in 1941, and in 1978 Gaston Kern of Strasbourg rebuilt the façade pipes and restored the blending of the French and German influences of Callinet. It features a bourdon 16', montre 8', and sifflet 1', with fourniture, a beautiful cornet, and trompette 8' and clairon 4' in the Grand Orgue. The Positiv has bourdon 8', flûte 8', a flûte 4' which plays at 8' in the lower range, and a basson-hautbois which is a free reed. There is also a gamba (Roth noted that Silbermann did not build gambas). The ophicleide in the pedal is also a free reed, which Roth said makes "an odd noise." Roth improvised for us and then participants were able to play.

Église de Masevaux

We traveled east to Masevaux to visit the church of our co-host, Pierre Chevreau. Église de Masevaux (St. Martin) is a modern building, as the previous building with its Callinet organ burned in 1966. Alfred Kern built the gallery organ in 1975. It has 40 stops distributed over four manuals and a dramatic case which spreads completely across the wide gallery. The disposition is Grand Orgue with 16', 8' montre, flûte 4', prestant, gemshorn 2', cornet, fourniture, cymbale, trompette, and clarion. The Oberwerk has flûtes 8', 4', 2', larigot, cymbale and chalumeau. The Echo (42 notes) has flûtes 8' and 4', cornet and voix humaine (the only stop that is enclosed). The Positif de dos has viole and bourdon, flûte 4', prestant, 22/3', 13/5', 2', 1', fourniture, cromorne, and voix humaine. The Pedal includes flûtes 16', 8', prestant, cor de nuit 2', fourniture, posaune 16', trompette, and cornet 2'. There is also a two-manual choir organ by Curt Schwenkedel (1972) which of the German Baroque style. It features brilliant mixtures which are loud and harsh.

Pierre Chevreau is artistic director for an international organ festival here. 2001 was the 25th year for the event, with recitals during July, August, and September.

Ebersmünster

We traveled north to Ebersmünster, a town that is east of the north-south motorway and still in the valley. On the way we saw high in the hills to the West Koenigsburg Castle and Chateau de Kentsheim, two imposing structures that can be seen from great distances and which complement the picturesque scenery. Across from the church, we caught sight of one of the many man-made stork nests (occupied with parents and chicks) for which Alsace is famous. The towers of this Baroque church crown a beautifully-proportioned building. Once a Benedictine abbey, the choir was completed in the 17th century. In 1709 the towers were added. Nave and transepts were finished 1725-27, and in 1730-73, Andreas Silbermann placed the organ in the west gallery; the organ case is spectacularly beautiful. Silbermann (1678-1734) established the Strasbourg firm and after studying his craft with Thierry in Paris, settled in Alsace. His sons Gott-fried (1683-1753) and Johann Andreas (1717-1766) carried on, but Gottfried moved back to Saxony.

The specification is almost French Classical. Only the bombarde 16' in the Pedal is different. This was added to French instruments in the late 18th century and only to those which were the largest. The Pedal originally had flûtes 8' and 4' with trompette and clarion. The clarion was added in 1732, as was the Swell trompette. Today the organ is of 29 stops, three manuals with Echo (25 notes), Positif de dos, and Grand Orgue (each with 49 notes). In 1782, Johann Hosias Silbermann added a new pedalboard and bellows. In 1857, Martin Wetzel, a Strasbourg builder, added the bombarde. A cleaning was done in 1921, and in 1939 Roethinger added another new pedalboard, altered the voicing, and changed the bombarde and trompette. In 1998-2000, a complete restoration was undertaken in an attempt to restore the Silbermann voicing.

Protestant Temple, Barr

We journeyed next across the valley and into the foothills of the Vosges mountains to one of the wine villages, Barr, where we arrived at the Protestant Temple, which is Lutheran--unusual because most of the Protestant churches here are Calvinist. There is no nave and no transepts. The pulpit is the focal point of the church with pews arranged in front and on the sides. The church was built in 1852, but the tower is from the 12th century and was restored and made higher in the 15th century.

The first organ here was placed by the Silbermann family in 1739. The present organ, from 1852, is exceptionally large for the building. It was built by Stierh, a family of organists first headed by the father and then by his three sons: Joseph (1792-1867), Ferdinand (1803-1872), and Savier (1806- 1873). The firm added an associate--Mockers--and together they placed this instrument. There are four manuals: Positif de dos, Grand orgue, Echo expressif, and Grand Orgue (suite)--trompette and clairon only. There are three 16' stops and three 4' stops in the G.O. The fugara 4' is a German gamba. The Pedal features a wooden 16' basson and violincello 8'. The Positif has a cor des alpes 8' which is a conical reed. The voix celeste 4' is not a celeste but only a narrow-scaled string stop. The Echo, under expression, was very unusual for that time. It contains a basson-hautbois and voix humaine. There were restorations in 1895, 1924, and 1948. In 1977, Gaston Kern undertook the last restoration. M. Roth demonstrated the gambas 16', 8', and 4' of the G.O., the montre 8', and the plenum and reeds, and then  played a passacaglia by Rheinberger (Sonata #8). Then participants were allowed to try the organ.

Saint Martin, Erstein

We traveled back into the valley, across the motorway, and arrived at Erstein and the Romanesque-style church of Saint Martin. Welcoming us was an official of the regional council as well as a representative of the mayor's office. The organ is a historic monument. In 1905, there was creation of a separation of church and state in France. All of the organs now belong to the towns. This one, recently restored, is under the auspices of a regional council.

The organ of 1914 was built by Edmond-Alexandre Roethinger of Strasbourg. As with other instruments, its specification represents a combination of French and German traditions. The flûte of the Grand Orgue, the geigen principal of the Positiv, the principal 8' of the Swell, and the posaune of the Pedal are all under high wind pressure, which was typical of German organ building at the end of the 19th century. The stops are designated by the word "Starkton-" indicating their higher wind pressure. The bombarde and trompette of the swell are of French voicing. The harmonia aetherea of the swell is a 3-rank mixture of string pipes, and there is an unda maris on the Positif. The Récit and Positif are both under expression. This organ's 64 stops make it the largest instrument heard thus far in Alsace. There are seven 8' stops on the Grand orgue and Positif and eight 8' stops on the Récit.

M. Roth improvised and then demonstrated individual stops. The clarinet on the Positif is especially beautiful. He conducted a masterclass with Barbara Reid, Jill Hunt, and Angela Kraft Cross performing Franck, Pièce Héroïque; Dupré, B-major Prelude; and Widor, Allegro from Symphonie VI.

Saint-Thomas, Strasbourg

We traveled to Strasbourg for the last day, arriving first at Saint-Thomas Protestant cathedral, dating from 1740-41. The organ, over the entrance door, is by Johann-Andreas Silbermann. Its beautiful oak case is of wonderful proportions. The rounded central tower of the Grand Orgue is of unusual design. There is a matching rounded tower in the Positif de dos. The organ comprises three manuals and 31 stops and is tuned at low pitch, but in equal temperament. In 1790 a trumpet was added to the Echo manual, and in the 19th century Wetzel added some Romantic stops, including a salicional. More changes occurred in 1860. In 1979, Alfred Kern, a specialist in the aesthetic of Silbermann, restored the original, but he left the romantic stops in the Echo division. Albert Schweitzer established a tradition of playing an all-Bach recital each July 28, the anniversary of Bach's death. The tradition carries on today.

The Positif plenum, jeu de tierce, and cromorne are original Silbermann pipes as are those of the entire Grand Orgue and Pedal. The Echo division recalls the Romantic period. The only 16' flue in the Pedal is a soubasse. The montre of the Grand Orgue is especially beautiful and singing. French Classical music sounds well here, but so does Bach, Buxtehude, and the other German Baroque composers. M. Roth first improvised. Participants played such works as Buxtehude, Prelude, Fugue and Chaconne; Bach, G-minor Fantasie, D-minor Toccata, and chorale preludes Nun komm der Heiden Heiland and O mensch bewein. The tremolo is especially beautiful.

Notre-Dame Cathedral, Strasbourg

We proceeded to the great Notre-Dame Cathedral of Strasbourg. The church, begun in 1015, has a Romanesque choir from the 11th and 12th centuries. The Gothic nave is from 1275. The spire of the west façade was finished in 1439. The organ hangs high on the triforium gallery near the west entrance, about two bays away. Christoph Mantoux, Professor of organ at the Strasbourg Conservatory, played a French Classical suite. The vox humana is especially beautiful.

The opportunities afforded by the biennial British and French Organ Music Seminars are evident in both the number of people who return to them and to the growing diversity of participants. Not only do these events attract professional organists who desire to play the great instruments of England and France, but there are those who are self-taught aficionados of the organ and those of other professions who love the organ and its music. Investment brokers, art historians, physicians, and computer programmers are part of these groups. Organ historians among the participants provide excellent outlines ahead of the seminars chronicling the timelines of British and French organists, composers, builders, and British influence on American organ building. Organists of all levels of experience--beginners to professionals--are allowed equal access to the instruments and to gifts of the faculty.

Sarah Mahler Hughes

Sarah Mahler Hughes is Professor of Music, Organist of the College, and Chair of the Music Department at Ripon College, where she has taught since 1989. In July 2002 she appeared as a guest recitalist at the XVI Festival Internazionale Storici Organi della Valsesia in Campertogno (Piedmont), Italy. A special scholarly/artistic grant enabled her to examine and play a number of historic organs in Germany, including the 1687 Schnitger organ at the church of St. Peter and Paul in Cappel. In July 2004 she examined and played historic keyboard instruments in the Russell Collection at the University of Edinburgh, Scotland and in other cities.

A recent holiday in Scotland provided many opportunities to see and play organs and other historical instruments in addition to being a tourist in this beautiful country. My children and I spent two weeks visiting friends in St. Madoes. Using this village between Perth and Dundee as our home base, we toured much of the country and experienced Scottish history and hospitality firsthand. The trip was made possible in part by a scholarly/artistic grant from Ripon College.

Our first stop was Edinburgh. En route to the Castle we wandered into St. Giles' Cathedral, where John Knox initiated the Scottish Reformation in 1560. The Chancel Choir of the First United Methodist Church of Lubbock, Texas, was rehearsing in preparation for a lunchtime concert, and I heard Mozart's Ave Verum Corpus accompanied on the beautiful 1992 Rieger. The organ is one of the instruments featured on the 2-CD set, Twelve Organs of Edinburgh.1

The next organ I saw, and the first one I played, was in Old Saint Paul's [Scottish Episcopal] Church in Edinburgh. Built by Henry "Father" Willis in 1888 and subsequently refurbished in 1905, 1936, 1960, 1968 and most recently, by Nicholson's of Worcester in 1977, the specifications are as follows:

Great

16' Dulciana

8' Open Diapason I

8' Open Diapason II

8' Stopped Flute

8' Dulciana

4' Principal

4' Spindle Flute

22/3' Twelfth

2' Fifteenth

III–IV Mixture

8' Trumpet

Swell

8' Open Diapason

8' Lieblich Gedackt

8' Salicional

8' Celeste (TC)

4' Gemshorn

III–IVMixture

16' Contra Oboe

8' Cornopean

Tremulant

Pedal

32' Subbass (derived)

16' Open Diapason (wood)

16' Bourdon

16' Dulciana (Great)

8' Octave (ext)

8' Bass Flute (ext)

8' Dulciana (ext)

4' Super Octave (ext)

4' Octave Flute (ext)

4' Dulcet (ext)

16’            Trombone (ext Trumpet)

8' Trumpet (Great)

The organ has a rich, warm sound eminently suitable for both service accompaniment and solo organ repertoire. A sample of the former may be heard on the CD Hearts & Voices, Hymns sung by the Choir of Old Saint Paul's Church.2

The following day I was privileged to spend several hours playing instruments in the Russell Collection of Early Keyboard Instruments in St. Cecilia's Hall at the University of Edinburgh. John Kitchen, Senior Lecturer and College Organist, was my tour guide as we worked our way through two rooms of virginals, spinets, and harpsichords from the 16th to 19th centuries.3 There were also three organs in the collection, and this seems the most appropriate place to mention them.

The first is an enharmonic chamber organ built by Thomas Parker in 1765. Parker was a pupil of Richard Bridge, a London builder favored by Handel.4 Bridge himself was supposedly trained by Renatus Harris. The  instrument has one manual with the usual short octave at the bottom. The real curiosity is a set of levers, two on each side of the case above the keyboard, that allow the player to select accidentals: Ab or G# and Bb or A# on the left-hand side, Db or C# and Eb or D# on the right. Parker provided a set of pipes for each pitch and the organ case is correspondingly wider than that of the usual chamber organ. What a fascinating way to learn firsthand about mean-tone tuning! It's also interesting to imagine how a player would handle a chromatic piece—assistants might be required to change the levers during a performance. The four registers of the organ include a Stopt [sic] Diapason 8', Open Diapason 8' (which only extends to tenor C, requiring both diapasons to be played together in order to use the full range of the keyboard), Principal 4', and Fifteenth 2'. Dr. Kitchen has recorded Stanley's Voluntary in G, op. 7, no. 9, and Handel's Fugue in A minor, op. 3, on the Parker organ.5 Interestingly, Parker built a second, two-manual enharmonic organ for the Foundling Hospital in 1768.

Another 18th-century chamber organ dates from 1763, the date when St. Cecilia's Hall opened. The organ was used in concerts until the hall closed in 1798. (The hall, having been refurbished in the 1960s, is once again the venue for concerts featuring instruments from the Russell Collection.) The third instrument, located in the Newman Gallery, is a Bernard "Father" Smith chamber organ from c. 1680. The specifications, which consist entirely of divided stops, are:

Bass

8' Diapason Bass

4' Principal Bass

2' Fifteenth

Treble

8' Diapason Treble

4' Principal Treble

2' Octave Treble

[rebuilt by Mander]

Wind is supplied through either a foot bellows or a modern electric blower. All of the above chamber organs reflect the disposition of English organs built after the restoration of the monarchy in 1660; i.e., principal stops at 8', 4', and 2' and, in the case of the Parker, stopped diapasons at 8'. The conventional registrational pattern of the time included solo stops plus accompaniment (hence the usefulness of the divided stops arrangement), diapasons (open plus stopped) for slow introductory movements, and full organ (8', 4', and 2') for faster movements. Stephen Bicknell has suggested that "There was a considerable revival of interest [in chamber organs] in the second half of the 18th century contemporary with (and perhaps because of) the great popularity of Handel, who seems regularly to have used small or even portable organs when playing continuo and for the performance of organ concertos as interludes to larger works."6   Bicknell also states that

By the end of the eighteenth century the chamber organ was firmly established as the instrument of choice for a well-to-do household, challenging both the harpsichord and the emerging fortepiano. The relative stability of tuning compared to a stringed keyboard instrument must have been an advantage, but it should also be noted that a small organ is a good vehicle not just for keyboard music, but also for transcriptions of instrumental works, and could readily be used for the accompaniment of family prayers.

He concludes that the organ's qualities of "reliability, versatility and dignity" must have accounted for its popularity.7

A greater contrast with these historical instruments than the McEwan Hall organ at the University of Edinburgh cannot be imagined. Built by Robert Hope-Jones in 1897, rebuilt by Henry Willis in 1953 and by Rushworth and Dreaper in 1980, the organ has problems because of the disparate placement of its divisions (the hall was designed without provisions for an organ, even though it was common for municipal concert halls at that time to include large instruments). Nonetheless, the organ sounds grand in the reverberant acoustics of the hall, where university graduations are held. The console looks a bit like a Jules Verne creation with its pressure gauges and electric dials, one of which is connected to the swell pedal to show incremental gradation (or "incremental frustration" as it's known to players).

The preceding organ and those described below all date from the second half of the 19th century, living testaments to the phenomenal rate of growth in organ building in England between 1860 and 1900. A few statistics tell the tale: in 1898, Harrison & Harrison of Durham claimed to have built 1,100 organs since 1861. Norman & Beard of Norwich produced even more astonishing numbers: between 1898 when their new factory was built and 1915 the company built over 1,000 new organs. In comparison, Sauer of Germany reached opus 1,000 only after fifty years of activity.8 Reasons for the rapid expansion in English organ building are numerous and include the wholesale replacement of older instruments, particularly those with a limited compass, increased prosperity of the middle class, which paid for new church instruments, and the construction of municipal concert halls in towns of any size.

The next organs I played were in Dundee, the fourth-largest city in Scotland. Three distinguished instruments exist in a three-block area in the heart of the city, which is pleasant and pedestrian-friendly. The first organ is located in St. Mary's Parish Church (Church of Scotland). I had not called ahead—in fact, I was simply being a tourist walking about Dundee and decided to poke my head in since the front door was open. Upon seeing the rich interior and a magnificent display of pipes in the rear balcony, I asked the volunteer guide if I might look at the organ. She very graciously assented, and I was delighted to discover a large three-manual instrument built in 1865 by Forster and Andrew of Hull and subsequently rebuilt by Rothwell (1939) and J. W. Walker (1969 and 1988). The console was open and inviting, so it was only a matter of minutes before I was actually playing. The specifications are:

Great

16' Double Diapason

8' Open Diapason 1

8' Open Diapason 2

8' Stopped Diapason

4' Principal

22/3' Harmonic Flute

2' Twelfth

2' Fifteenth

II Sesquialtera

IV Mixture

16' Double Trumpet

8' Trumpet (ext)

4' Clarion (ext)

Swell

8' Open Diapason

8' Viola da Gamba

8' Voix celeste

4' Principal

4' Lieblich Flute

2' Flageolet

III Mixture

16' Contra Fagotto

8' Cornopean

8' Oboe

4' Clarion

Super Octave

Sub Octave

Choir

8' Rohr Flute

8' Salicional

4' Gedeckt Flute

22/3' Principal

2' Nazard

2' Flautina

13/5' Tierce

11/3' Larigot

III Cymbel

8' Krummhorn

16' Double Trumpet

8' Trumpet (ext)

4' Clarion (ext)

Pedal

16' Open Diapason

16' Sub Bass

8' Flute Bass (ext)

8' Violoncello (ext)

4' Choral Bass (ext)

16’ Trombone

8' Tromba (ext)

A full battery of couplers and pistons plus an 8-channel memory system makes this organ suited for many kinds of repertoire. I only had time to try a voluntary by Stanley and a Buxtehude toccata before my younger daughter came looking for me (I'd left her and her sister parked outside), but I was impressed by the sound and feel of the organ in this parish church that in 1990 celebrated its octocentenary.

My serendipitous sampling of organs in Dundee continued on another day at St. Paul's Episcopal Cathedral. As churches go in Scotland, it is rather new, the cornerstone having been laid in 1853. The organ was built by Hill and Son of London in 1865, the year of the Cathedral's consecration. Hill, Norman and Beard reconstructed the instrument in 1975. Like the organs I saw in other British churches (with the exception of St. Mary's), this instrument is located in the choir with the pipes facing the singers. The organist's back is to the choir. The disposition of this large organ is similar to St. Mary's:

Great

16' Double Diapason

8' Open Diapason

8' Stopped Diapason

8' Gemshorn

8' Viole d'amour

4' Principal

4' Harmonic Flute

22/3' Twelfth

2' Fifteenth

IVMixture

8' Grand Trumpet

Swell

8' Open Diapason

8' Stopped Diapason

8' Viole d'orchestre*

8' Viole Celestes

4' Principal

2' Fifteenth

II Mixture

16' Shalmey

8' Cornopean

8' Oboe

4' Clairon

Suboctave

[Super] Octave

Choir

8' Lieblich Gedeckt

8' Gamba

4' Suabe Flute

2' Flautina

11/3' Larigot

8' Grand Trumpet

8' Clarinet

Sub Octave

[Super] Octave

Tremulant

Pedal

32' Harmonic Bass

16' Bourdon

16' Echo Bourdon**

16' Open Diapason

8' Bass Flute

8' Octave

4' Super Octave

4' Flute

2' Octave

16' Trombone

4' Clairon

Sub Octave

[Super] Octave

Unison Off

Tremulant

Swell & Choir under expression

Sw-Ch, Sw-Gt, Ch-Gt, manual-pedal couplers

General (4) and divisional pistons

* Very stringlike; works especially well with the Viole Celestes

** Enhances the Bourdon 16'

As was the case at St. Mary's, I was allowed access to the organ by helpful parishioners. When I arrived at St. Paul's on a Saturday morning, the only person I could find on the premises (even though the front doors were wide open and a charity hamburger stand was getting ready to open for business on the front steps) was the verger. He led me to the instrument, turning on power switches and lights as we went, saying "We have to show you Scottish hospitality!" I played for an hour, trying out various sounds and combinations and finally let it rip with the Widor Toccata. Feeling self-indulgent but happy with the sonic results, I set about changing my shoes and packing up when I was startled by two members of the flower committee who appeared and thanked me for playing. They told me that people in the street, hearing the music, had stopped to peer inside the church, probably wondering if a wedding were in progress.

A third large organ exists in Dundee within blocks of St. Mary's and St. Paul's. Situated approximately midway between the two churches is Caird Hall, Dundee's civic auditorium. The organ was built in 1922 by Harrison & Harrison to a design by the famous blind organist of Edinburgh, Alfred Hollins. The Caird Hall organ was Harrison & Harrison's first concert hall organ; as such it differs from some of their other instruments in having brighter reeds (on heavier pressure than usual) and more orchestral colors than the average church organ. In 1991 the organ was restored by the original firm with only minor changes to its original sound. No tonal changes were made, but the pitch was raised to make the organ usable with other instruments. Carlo Curley played the rededication recital on this occasion. A stoplist follows:

Great

16' Double Geigen

16' Bourdon (wood and metal)

8' Large Open Diapason

8' Small Open Diapason

8' Geigen

8' Hohlflute

8' Rohrflute

4' Octave

4' Waldflute

22/3' Octave Quint

2' Super Octave

IV Harmonics 17,19,b21,22

16' Contra Tromba

8' Tromba

4' Octave Tromba

Swell

8' Open Diapason

8' Stopped Diapason

8' Echo Salicional

8' Vox Angelica

4' Octave Geigen

4' Stopped flute (metal)

2' Fifteenth

V Mixture 12,19,22,26,29

8' Oboe

8' Vox Humana

Tremulant

16' Double Trumpet

8' Trumpet

8' Horn

4' Clarion

Orchestral Organ

16' Double Salicional (metal)

8' Viole d'Orchestre

8' Violes Celestes (to FF, 2 ranks)

8' Harmonic Flute

4' Concert Flute (harmonic)

2' Harmonic Piccolo

16' Cor Anglais

8' Corno di Bassetto

8' Orchestral Oboe

Tremulant

8' Tuba (unenclosed)

Pedal

32' Double Open Wood (FFFF)

16' Open Wood

16' Open Diapason (metal, leathered)

16' Geigen (Gt)

16' Salicional (Orch organ)

16' Subbass (Gt)

8' Octave (wood)

8' Flute (Gt)

16' Ophicleide (metal)

16' Trombone (Gt)

8' Posaune

The organ's pneumatic action has been fitted with an electronic memory, and the combination pedals removed and replaced with toe pistons. Otherwise, the instrument remains as it was originally. A concert series in the early autumn featured the organ and it was recorded in October 2004. I was unable to play the Caird Hall organ because of a guitar festival in progress, but the staff was most helpful in showing me the console and wind system and providing me with specifications for the instrument.

Some general observations can be made, at this point, about the organs I saw in Scotland. The large instruments are originally from the 19th century and are based on an orchestral tonal design with a preponderance of stops at 8' pitch. The pedal divisions rely heavily on extensions from the manuals. Bicknell identifies the philosophy underlying this esthetic as ‘build-up:' "the gradual crescendo from piano to fortissimo achieved by adding stops one by one, [which] seems to be the dominant characteristic of these Victorian instruments."9 It works in this wise: flue pipes come in many colors, from clear and fluty to reedy with harmonic overtones. As the flues approach the reedy end of the spectrum, mild strings and reeds come into play, creating a smooth blend. Swell-to-Great couplers further increase fullness of sound while masking any addition of single stops, and the Swell pedal also assists in creating a smooth crescendo. As Bicknell points out,

This manner of playing was later to become an idée fixe with English builders and players . . . As a method it was taken so much for granted that it can safely be assumed that Willis's mixtures were not usually intended to be heard unless some reeds were already drawn . . . there is no provision for a chorus of principals and mixtures that can be used extensively on its own: this is . . . in complete contrast to German taste.10

Although the reference is to instruments built by Willis, the description is general enough to be applied to other large late-19th and early 20th-century organs.

Perhaps it seems incongruous that all of the organs I saw and played in Scotland were built by English firms. Were there no Scottish organbuilders in the 19th century and earlier? Regardless of how we might think of Britons as members of a United Kingdom, there are national differences among the English, Scots, Welsh, and Irish. A bit of research was necessary to unearth information about organbuilding in Scotland, from which a clearer picture emerges of the past three centuries.

At the heart of the question is the ban on instruments in church issued by the Church of Scotland from the Reformation (around 1560) until around 1868.11 Organs were allowed for concerts and domestic use, but none were built or installed in this denomination until a very late date. Other denominations—the Episcopal, Roman Catholic, Unitarian, Congregationalist, and Baptist churches—were exempt, and instruments dating from the 18th century are known to have existed in them.12 Early 19th-century Scottish organbuilders, including Small, Bruce & Co of Edinburgh, John Renton, also of Edinburgh, and Robert Mirrlees of Glasgow, specialized in chamber organs, at least two of which are extant.13 I was very surprised to learn that the oldest surviving Glasgow-built organ was made by James Watt in 1762. The renowned engineer and inventor, associated more with the first steam engine than with pipe organs, constructed a single-manual instrument concealed in a table. It was the first of three organs built by Watt.14

In the second half of the 19th century, other firms arose in Dundee, Aberdeen, and Edinburgh, but they found it difficult to compete with the well-established English builders. An admittedly cursory search for information on Scottish builders in the 19th and early 20th centuries produced nothing—but perhaps a written history is in progress.

Today, Lammermuir Pipe Organs (est. 1983) is perhaps the best-known firm in Scotland and the only workshop "north of the border" specializing in new, mechanical-action organs.15 Op. 50 is scheduled for completion in 2005. The other company listed in an Internet link to pipe organ builders in the United Kingdom is Michael Macdonald (est. 1975) of Glasgow.16 Interestingly, besides building new instruments, Macdonald engages in rescuing historic organs from redundant buildings (primarily churches closed due to dwindling congregations).

I would like to think of my visit to Scotland as a prelude to further organ crawls  there and in other parts of the United Kingdom. There are many instruments to be played and much history to be learned in these islands.  

Gordon and Barbara Betenbaugh

Gordon and Barbara Betenbaugh are organists/choirmasters at First Presbyterian Church in Lynchburg, Virginia. They also direct Cantate, the Children's Choir of Central Virginia, and Mrs. Betenbaugh is chapel organist and assistant choral director at Virginia Episcopal School in Lynchburg. Mr. Betenbaugh is Dean of the Lynchburg AGO chapter. In summer 2003 they completed a 13-week sabbatical in the UK, visiting Cambridge, Oxford, London, and Salisbury. See previous articles from their sabbatical: "London Chats #1: Michael McCarthy," October 2003, p. 18; "John Tavener's The Veil of the Temple," November 2003, p. 17; "Cambridge Chats #1: Timothy Byram-Wigfield," December 2003, pp. 16-19; "London Chats #2: Patrick Russill," February 2004, pp. 20-22; and "Cambridge Chats #2: Sarah MacDonald," August 2004, pp. 18-21.

Our raison d'être normal'> for this sabbatical to England was to study the choir training
techniques and organs in cathedrals, parish churches and universities, and to
hear the music in the architectural and acoustical environment as envisioned by
many of the English composers. We spent four weeks in Cambridge, 10 days in
Oxford, and the balance of our time in London with a side trip to Salisbury. We
had contacted directors via e-mail a year before our departure, and everyone we
met was cordial and welcoming from our initial meeting in cyberspace through
our actual visit. One of the nicest amenities was having greater access than
the normal tourist to these wonderful venues.

During our time away, we kept a tally of the various
activities we attended and were surprised to discover how numerous and myriad
they were: 52 rehearsals, 36 Evensongs, 15 Eucharists, 5 Matins, 5 Evening
Prayer services, 4 Benedictions, 16 sermons, 2 memorial services and one
wedding, 16 organ recitals, 26 museums, 15 concerts, 3 theater performances, 4
interviews, 1 musical, 4 palace tours, 1 foundry tour, 1 opera, 1 mosque tour,
one botanical gardens visit, 5 movies, and last but not least, 3 choral music
premieres. Our time away was busy and intense! We returned home rejuvenated and
with a greater understanding of the English choral system in collegiate and
ecclesiastical foundations and also with memories of many new friends and
colleagues.

Thursday, May 8

We arrived in Cambridge right on time. Our B&B is
beautiful with cheerful yellow and greens. We have our own entrance and our own
patio with a lovely, lush garden. We walked into town to the visitor center to
get maps and an events calendar. Now we are set! Then we went to the public
library where Barbara gets her library card, a necessity! Over our three months
in England, Barbara makes friends with mystery writers of the British
persuasion. Then it was on to King's College Chapel for Evensong. Every
Thursday is sung Eucharist. We hear the Kodály Missa Brevis and
Messiaen's O Sacrum Convivium--what
a joy to be in this great space. It's where our hearts and souls belong.
We then head down the street to St. John's College for Evensong (Blow Mag
& Nunc in F, Gibbons We Praise Thee, O Father
style='font-style:normal'>). There's great music making in this space.
After our long flight, what a way to end the day and start off our three months
away.

Friday, May 9

8:10-9:10 rehearsal at St. John's choir school
where the boys wear red blazers, red ties and gray pants. Christopher Robinson
rehearses the Weelkes Gloria in excelsis Deo, a psalm and the Hunt short
service. Christopher says the boys see a piece only once before performing it,
maybe twice. "Some of the quicker boys are better than the weaker
men." Peter Barley from St. Pat's Cathedral Dublin was also
visiting. Christopher asks for volunteers to sing the chant. Choristers are
very helpful to each other. In the traditional English manner, any chorister that
makes a mistake raises his hand (adults and boys). It's a very orderly
rehearsal. Choristers mark music and often mark a partner's music if he
makes a mistake. There was little warm up, most of the time was spent on music.
As the piano is played, the soprano line is never played, so the boys must be
independent. This technique is used by everyone in England.

After rehearsal we take a long stroll through the campus
from "the backs." We find the Internet Café and Great St.
Mary's, a church shared by the parish and the university. There are
organs front and back. The front chancel organ dates from 1869 with numerous
rebuilds, the last in 1974 by Johnson & Sons. This organ is owned by the
church. The rear balcony organ is a 3-manual Hill, Norman & Beard and is
owned by the university. Cromwell burned the Prayer Book here outside the
church, which is now advertising for an organist/choirmaster. We hear that 17
men have applied, but no women. At 1:15 there is a free recital at Clare
College, a Mozart Clarinet Quintet which
is superb! We have lunch at the Hogshead Pub. Steak and ale pie with chips and
mushy peas is a typical meal. On to St. Benet's for change ringing. Then
to St. Botolph's (patron saint of travelers), in use since 1320. On to
Pembroke College. The chapel at Pembroke is Wren's first work. It looks
better inside than out. The organ is a 1980 2-manual Mander. Anne Page teaches
organ here. Onward to see Little St. Mary's and Peterhouse College before
hurrying back for a 5:05 rehearsal at St. John's. We enter through the
back choir door thanks to Christopher so we don't have to queue like
regular visitors. Rehearsal and Evensong were great, wonderful music making.
The previously heard Weelkes took on a life of its own. Chats after Evensong
and then to the pub. Life doesn't get any better than this for two
Anglophiles. Finally we head to our B&B in time for Barb to read a bit and
Gordon to read the piles of materials gleaned through the day.

Saturday, May 10

Walked through the old cemetery looking at dates. St. Giles
is closed, so we visit The Round Church with its great history. We explore the
town today and return early to St. John's to listen to the organ scholar
practice for Evensong. The 6:30 Evensong is sung jointly by the college choir
and members of the City of Birmingham Choir. We hear the Finzi Mag, Holst Nunc,
Vaughan Williams Rise Heart, Thy Lord Is Risen normal'> and Antiphon. Christopher has directed the Birmingham Choir for 38
years (70-80 singers present). He is a stickler about the rhythm of
dotted notes. We had a choice of six concerts today. We heard the superb
Rodolfus Choir in an all-German program at Clare College. Singers are chosen
from past and present Eton Choral Choruses. There were 23 singers (7-5-5-6).

Sunday, May 11

It's Mother's Day! We go to St. John's
10:30 Eucharist and hear Palestrina's Ego sum
style='font-style:normal'> and Victoria's O Quam gloriosum
style='font-style:normal'>. We have lunch at The Eagle, an authentic old pub
where many RAF and USAF soldiers spent their time during WWII. Their names are
signed on the ceiling in the bar. We then have a quick stroll through Jesus
College. We go back to Great St. Mary's and listen to a student practice
on the Johnson front organ as we rest our tired feet. At the 3:30 Evensong at
King's we hear the Stanford in G, Hadley My Beloved Spake
style='font-style:normal'>, Vierne Finale normal'>. At the end of the service the great West door is opened to the
"backs" for our exit. WOW! What a vista! We hear the tolling peals
at Great St. Mary's across the street, and Barb calls our children to
speak to them on Mother's Day. They can hear the bells across the
Atlantic through the red phone booth! On to St. John's for a 6:00 organ
recital by James O'Donnell of Westminster Abbey. He played the Bach
partita Sei gegrüsset with
an unfortunate cypher which disappeared quickly. At the 6:30 Evensong we hear
the Parry in D (The Great Service)
and Elgar's Light of the World.
The choir is very musical and has the best tenors in Cambridge. They sing with
a full, robust sound.

Monday, May 12

We shop and buy some CDs. We walk through
"Christ's Pieces", a big green with an arbor in the middle
with a rose garden dedicated to the memory of Princess Diana. On to the chapel
of Emmanuel College, from which John Harvard (founder of Harvard University in
the U.S.) was a graduate. We find the University Arms Hotel where we stayed in
1993. On to Christ College with a lovely modern window that shows Christ on a
cloud over the college. There was a queue for King's Evensong even in the
rain. The King's Voices (mixed choir) sing the Fauré Cantique
de Jean Racine, Noble B-minor Mag
& Nunc and RVW O Taste and
See. The mixed choir is just a good college
choir compared to the choir of boys and men. The sun just came out through the
west end windows and the birds are singing.

Tuesday, May 13

We step in Fitzwilliam College, built in the 1960s and very
modern. The chapel (1990) is in the round, and the inside is shaped to suggest
Noah's Ark. The beautiful grounds were full of blooming flowers in
yellow, purple, lavender, blue, white and pink, not to mention the roses, red
tips and rhododendrons. After a long walk to Churchill College the porter gave
us the key to the chapel that was at the far end of all the buildings on
campus. It was an unimpressive room but still had a small pipe organ. We saw
good music all around the console. A sign in the porter's lodge says: In
Cambridge "porter" means keeper of the gate, not carrier of the
baggage. On to Robinson College Chapel, which is rectangular and with very
straight lines. It had a two-manual 1981 Frobenius tracker with four general
pistons. A lot of organ lessons are taught here. On to the Cambridge University
Music School, the nice concert hall and the King's College School.

We had a late lunch in a pub and then on to Brian Jones
Music Shop where we dropped a few £s. It was still raining as we went off
to Clare College which has a 1971 two-manual Von Beckerath and an 18th-century
Snetzler used to accompany the choir in early repertoire. This superb mixed
choir sings three Choral Evensongs each week on Tuesday, Thursday and Sundays.
The choir tours are free to members of the choirs, and per diems and fees are
frequently paid to them. The psalms are sung without a conductor. A chorister
in the back row assists with coordination of the chant.

Sir David Willcocks was the guest conductor on this day. The
Clare conductor, Tim Brown, introduced Sir David to the choir. Later in a chat
he said that his young choristers probably had no idea what a great man was
conducting and what all Sir David had done for English music. As ever,
Willcocks was alert to tuning in this fine choir. It was good to chat with Sir
David after Evensong. Only 14 people were at Evensong, but no one is bothered
by the small attendance.

Wednesday, May 14

Got caught in rain and hail on the way to Magdalen College
(pronounced "maudlin"). The organ was built in 2000 by Goetze and
Gwynn and has 24 stops. The inspiration behind its design comes from Father
Smith's later instruments. The tuning is Kellner's reconstruction
of Bach's tuning from his Well-Tempered Clavier
style='font-style:normal'>. The chapel is smaller and more intimate than most
Cambridge chapels. Much of the Victorian stained glass still remains. Most of
the glass focuses on Mary Magdalen (usually with her emblem, a jar of precious
ointment) and the life of Christ. There is a slate tablet in the antechapel to
mark the centenary of the birth of C.S. Lewis (1898-1963).

We got caught in more hail on the way to the Fitzwilliam
Museum to see the Egyptian, Greek, Roman and Cyprus galleries. Some things were
four thousand years old. In the upper galleries we saw THE Fitzwilliam
Virginal Book. The display was covered to
protect it from light. It contains 297 compositions by practically every
composer of the virginalist school. The manuscript is the best and most precise
we have ever seen. The museum building is amazing, polished marble with
figurines all around, a dome gilded roof and mosaic floor. We drop some more
£s at the gift shop.

Out in the rain again to Our Lady and the English Martyrs.
This is the biggest Roman Catholic church in town. The Abbott & Smith
romantic organ in the south transept has been renovated by Nicholson. We hope
to get to hear the instrument. Sarah MacDonald of Selwyn College recorded the
Howells Evening Canticles here, and the organ sounds wonderful on the CD. At
the end of a cold and wet day we find a Pizza Hut for some comfort food before
going back to Clare College for rehearsal and Evensong, and then to Trinity
College for a delightful chamber music concert with recorder, baroque
violoncello and 1972 David Rubio harpsichord. We get back to our B&B late
and tired but with a great feeling for what all we packed into one day.

Thursday May 15

Regular tourist stuff! Lunch at the Baron of Beef Pub
(Publick House) where George Guest used to slip over from St. John's for
a pint between rehearsals and Evensong. Got a haircut at a
"Gentleman's Barber," which turned out to a hair scalping. On
to Clare College for rehearsal. The superb choir is rehearsing an extremely
difficult piece in Hebrew by a Jewish student. They rehearsed the first
American piece that we have heard (Randall Stroope's How Can I Keep
from Singing?) to be performed on Sunday
with the McMurry University Choir from Abilene. The last hymn was Lord
of the Dance, in a rather staid English
manner. Only 11 people were at Evensong. There were 15 last night. We exit by
the Fellows Garden on the backs--so beautiful! Back at our B&B we
finish our last cookies from a care package one of our favorite sopranos packed
for us for our trip. We update photos in our albums. We're doing this as
we go along, because putting together three months of photos upon our return
would be a daunting task.

Friday, May 16

It rains again all day and is chilly and breezy. The rain
doesn't bother the locals--they are always out and about. We see more
tourist sights in the morning, then drop some more £s for books and CDs
of Charles Wood's choral music. On to Sidney-Sussex College Chapel.
It's lovely with lots of carved wood. A 2-manual 1963 Harrison &
Harrison with 5 thumb pistons each to Gt and Sw, 5 toe pistons to Ped, 1 thumb
piston labeled Oboe 8'--no obligatory harmonic flute 8'.
Perhaps the Gt open flute will do the trick. The college doesn't have a
faculty organist but two organ scholars run the program. We saw yellow
"stickies" on the side jamb with circles drawn in them to resemble
draw knobs. One said "Preacher Trap Door." The two available
"buttons" read "open" and "closed." The
"closed" showed flames underneath. Another "button"
read "electrical shock for SATB." The organist here must have a fun
sense of humor.

Back to King's for Evensong rehearsal and a chat with
Stephen Cleobury. Rehearsal began
with Psalm 121 of Davies on the syllable YA, led by back row choristers on each
side. They point it differently from the way we do it. Stephen stands in the
middle with a special podium that has a mike built in so the organ scholars up
on the screen can hear his instructions. He speaks softly. All the choristers
are very focused. They sang the Wood Oculi omnium normal'>, Byrd First Service,
Rachmaninoff Blagoslovén griadiy normal'>. We didn't know the Rachmaninoff, which is a benediction text,
lovely and lush. The boy choristers keep a finger on their line of music as
they sing. For Evensong, Stephen tells the vergers we are his guests and to let
us sit on the top row which is reserved for the fellows and members of the
college only. We have a chat with the two organ scholars in the loft after
Evensong. What a treat to see the big Harrison & Harrison
"accompanying machine" up close. A Bass Flute is in the stairwell,
and the 32' goes the length of the screen. It really purrs!

We finish our day at the Internet Café where we check
e-mail and write a recommendation for one of our choristers to attend the RSCM
School at Washington Cathedral.

Saturday May 17

At 8:00 a.m. we are sitting in the rehearsal room of the
King's College School. Photos of past choirmasters and LP covers from
past years (mostly Willcocks recordings) cover one whole wall. Since it's
Saturday the boys are dressed casually. They have a short warmup. Little piano
is used, and the melody is never played. An organ scholar goes behind the boys
to remind them to sit up straight. Stephen is a stickler for final
"D" consonant even in the midst of a phrase, also a stickler for
having the choristers watch him. These 18 choristers are very disciplined.

Off to Trinity College for a LONG re-creation (performance
reconstruction) of a Morning Prayer Service and sermon from the Chapel Royal of
Charles I from April 1629. Men were seated on one side, and women on the other
to make this event more authentic. There was 1 hour and 10 minutes of choral
matins before the sermon. The Trinity College Chapel was completed in 1566, and
the music for the service was chosen with the aim of reflecting the type of
music that may have been performed at court in 1629. As the premier musical
institution in Tudor-Stuart England, the Chapel Royal had brilliant organists
like William Byrd, Orlando Gibbons, and Thomas Tomkins. The music was performed
by the Junior and Senior organ scholars with a pick-up choir from Trinity,
King's, Gonville & Caius, Pembroke and Lucy Cavendish Colleges. The 1
hour 7 minute sermon, written by John Donne (Dean of St. Paul's, London)
was read by a fellow of Lincoln College, Oxford. Numerous people left during the
reading of the sermon, and afterwards one can imagine the range of comments
regarding its length. This made us appreciate our 15-20 minute sermons at
home! Most people headed for the pub after the service, but it remained the
topic of conversation around town for several days.

The day ended with rehearsal and Evensong at King's.
The Introit was This Joyful Eastertide
(Charles Wood), Howells' Mag & Nunc Gloucester Service and the Wesley
Blessed Be the God and Father.
Junior Organ Scholar Ashley Grote played an organ recital at 6:30 consisting of
Wild Bells (Michael Berkeley), Psalm
Prelude Set 1 No. 1 (Howells), Sonata
No. 1 in E-flat (Bach), Chanson
de Matin (Elgar) and Pomp and
Circumstance March No. 1 (Elgar). This was
the perfect end to a long day of great music making.

Sunday, May 18 (Easter IV)

The 10:30 Sung Eucharist at King's was the
Kodály Missa Brevis. The soprano
high C's were wonderful and just floated! This was our second time to
hear the Kodály at King's. We have not yet figured out their rotation
schedule. After lunch we visited Downing College which is much newer than most.
There were two nice harpsichords in the narthex and a small 1966 J.W. Walker
tracker. The music program is run by organ scholars. Katie Collinson is the
Senior. Our B&B hostess had insisted we frequent Fitzbillie's Bakery,
but unfortunately it was closed today--some other time!

On to Peterhouse College where the case and much of the
pipework date from Snetzler's organ of 1765, rebuilt by Mander in 1963.
Five pistons to Gt, Sw, Ch and Ped, no generals. Next to Queen's College
Chapel where the 3-manual organ has a red case by Bodley from 1892. In 1966
E.J. Johnson & Son overhauled the instrument. It has 4 thumb pistons to Gt
and Sw and 4 toe pistons each to Gt and Sw.

Next stop was St. Catherine's College Chapel where the
instrument, built by E.J. Johnson & Son in 1978, retained the double case
of Thomas Garner from 1894. The scheme of the present organ was drawn up by Dr.
Peter LeHuray, Fellow of the College. We were fortunate to hear Alexander
Finch, Director of Chapel Music, practicing for his 5:15 recital. The 3-manual
instrument was very impressive in the empty room. Messiaen came off very well.

After a stop at the Internet Café, on to King's
Evensong; we hear the Mag & Nunc Fifth Service by Tomkins and the Byrd Christ
Rising again. We had a snack in the market,
and then on to St. John's for an organ recital before Evensong by Oliver
Lallemant, organ scholar at Trinity--all Bach: Fantasy and Fugue
in G minor, Trio super Allein Gott and Fantasy normal'>and Fugue in C minor. At
our second Evensong we heard the Daniel Purcell in E minor and the Byrd Victimae
Paschali. There is usually a sermon on
Sundays at Evensong, but mercifully it is short.

We found the Castle Mound on the way home; we will visit
another day. Our feet can't take any extra steps tonight. We arrived home
at last with lots of glorious music heard and architecture seen today.
We've lots to read and organize tonight.

Monday May 19

Went to the American Cemetery. It was very moving sitting in
the chapel, and we had not realized how many American soldiers are buried in
Cambridge. The visitor's center displayed two very moving poems, which we
were glad to have for our scrapbook. We took the bus tour around Cambridge and
saw three more colleges: St. Edmunds, Lucy Cavendish (for mature women) and
Darwin. Cambridge has 31 colleges and four theological colleges.

After a busy day of sightseeing we end the day at
King's Evensong sung by the King's Voices, a mixed choir. We heard
the RVW O Taste and See, the Mathias Mag
& Nunc Jesus College Service and the Hadley My Beloved Spake
style='font-style:normal'>. We later learn that Tim Byram-Wigfield of Jesus
College was the organist for this service.

Tuesday, May 20

We visit the Cambridge Folk Museum and shop before going to
Jesus College Chapel to rehearsal. The chapel is very dark, has a small nave
and a big crossing that had two grand pianos, two harpsichords and two
portative organs as well as a set of tympani. There are two organs in the nave
on the north side. The ceiling was very colorful with coats of arms and
cherubs. Tim Byram-Wigfield is the organist. They begin each rehearsal with a
hymn and then the psalm on YA-YA. Tim pushes final consonants. The choristers
are very attentive. There were 10 girls and 11 men plus one of the two organ
scholars singing. The English tradition of raising a hand if you make a mistake
is continued here. Word stress is excellent. There were only eleven people at
Evensong, but we could also hear the birds singing outside along with the
choir.

Wednesday, May 21

We went to the Classical Archeology Museum this morning.
Everything here was a plaster cast copy of pieces in London, Rome, Athens,
Paris. On to Pembroke to try to contact Anne Page who teaches organ there. On
to Corpus Christi Chapel which was locked, but we could see through the glass
doors.

We FINALLY get sweets at the famous Fitzbillie's
Bakery and then went to the library to exchange books before going to Jesus
College for the boys' rehearsal.

Thursday, May 22

We do laundry and get organized in the morning, update all
our photos in the scrapbook, etc. We then pick up some music from Tim Brown at
Clare College. We spent the afternoon at the Arts Theater where we saw Mrs.
Warren's Profession by George Bernard
Shaw. It starred Twiggy, the super-thin model from the'60s. Twiggy is no
longer a twig!

During Evensong at Jesus College we heard the Tallis O
Nata lux, Gibbons short service and
Rutter's Gaelic Blessing.
This is the first time we have heard Rutter's music in Cambridge.

Friday, May 23

Finally get to the top of Castle Mound for a photo op, the
mound being all that is left of the medieval fortification. Then we go to
Kettle's Yard Art Museum and Concert Venue which is next door to St.
Peter's 11th-century delightful tiny church. Part of the museum at
Kettle's Yard is the home of Jim Ede. He donated his house and art
collection to Cambridge. It was fascinating seeing art, china, rocks, all
together and abiding peacefully just as it was when Mr. Ede lived there. We then
went to the modern gallery where there were pen and ink drawings and some
modern paintings of graffitied walls and trash in the streets.

Lunch was back at the Baron of Beef pub and then we sat in
the yard of the Round Church and watched the world go by before our delightful
interview with Tim Byram-Wigfield at Jesus College (see The Diapason
style='font-style:normal'>, December 2003 issue). Following the interview we
went to the mixed choir rehearsal and heard Set Me as a Seal
style='font-style:normal'> (Walton), Ascendit Deus,
style='font-style:normal'>and O Pray for the Peace of Jerusalem
style='font-style:normal'> (Howells). The choristers are very focused. Tim
asked them to "lay the consonants on top of the vowels."

Saturday, May 24

We attended a light-hearted concert at Clare Chapel given by
The Duke's Men of Yale, 10 singers in close harmony, most of the pieces fast
and fun. Clare's men's ensemble of five also sang, and they were
even better. Back to Jesus College for rehearsal. Tim vocalized for a while.
The Psalm was rehearsed on NAH by the 13 boys. King's, St. John's
and Jesus College are the only three boys choirs in Cambridge. The Jesus boys
are volunteer choristers and are not in the same league with the other two, but
they are very good and sing a lot of rep for not having a rehearsal every day.

Sunday, May 25 (Rogation Sunday)

Went to sung Eucharist at King's (Lassus Missa
"Bell" amfitrit' altera) with sermon. At King's 3:30
Evensong we hear the Stanford Mag & Nunc in B-flat and Lord, Thou Hast
Been Our Refuge (Ives). King's always
has a large congregation at Evensong.

On to Evensong rehearsal at Trinity: Bach Nun komm, der
heiden Heiland and Fantasy and
Fugue in C minor, our first time to hear
the Mag & Nunc sung to Anglican chant. We also hear Arvo Pärt's I
Am the True Vine.

The 1975
Metzler is, of course, on the screen within the restored 1708 Bernard Smith
main case and the Chair case is even earlier. The Hauptwerk Principal 16',
8', 4', 22?3', Rückpositive 8' Principal,
and Pedal 16' Principal are from the Smith organ. The old 1913 Harrison
was used in the King's College recording of Anglican Chant Volume I with
David Willcocks playing and conducting (one of our favorite recordings). The
keyboards of the old Harrison are at the top of the stairs up to the organ. We
noticed two choir pistons engraved Clarinet and Harmonic Flute, a must for any
English organist to interpret the choral literature. The Metzler is an
outstanding instrument with a large Sw and no pistons. Director Richard Marlow
isn't here tonight, and the two organ scholars do a fine job of
rehearsing. Trinity is the silver slipper of the Cambridge colleges, the
college of RVW and Stanford with lovely windows showing George Herbert, Bacon,
Elizabeth I, Wycliffe, Tyndale. There are also many statues in the antechapel.
The mixed choir of 25 rehearsed the Stanford Coelos ascensit hodie
style='font-style:normal'> for Ascension Day next Thursday (this is our
choir's favorite Ascension Day anthem--and it was nice to hear it in
the room for which it was written). The center aisle is wider than at most
colleges, thus more separation in the two choirs. The psalms were rehearsed on "la"
or "li-la."

We left Trinity after rehearsal to attend Evensong at
Gonville & Caius (pronounced "keys") to hear the Britten
Rejoice in the Lamb, which was excellent. There was only a four-minute sermon,
hurrah! The 37-stop organ is a 1981 Klais of Bonn, Germany with a large Sw and
8 general pistons. Gonville & Caius is where Charles Wood presided. Dr.
Geoffrey Webber has recorded two volumes of Wood's anthems and organ
music.

Monday, May 26

It is a gorgeous day--sunny and not too cool or hot. We
had been waiting for this kind of weather for our next out of town trip, so we
took the bus to Anglesy Abbey. It never was an abbey, but it was a priory until
Henry VIII closed them all. The house is fabulous! The guidebook was very
helpful, and we read it thoroughly in every room. What a collection of
furniture, art, animals, birds, images of Windsor Castle, books, walking
sticks, silver and a large Steinway. There were huge beautiful gardens with
flowers and a water wheel. It was a wonderful day to relax in leisure in a
beautiful spot.

Tuesday, May 27

Another beautiful day. We visit the library to return and
check out books. We then met Richard Marlow at Trinity College for choir
rehearsal. Four of his choristers have perfect pitch. About one third of the 60
music majors have perfect pitch. We hear the Reger Benedictus and Introduction
and Passacaglia in D. The choir sings Ergebung normal'> (Wolf), O Tod, wie bitten bist du normal'> (Reger) and the Stanford Mag & Nunc in G (another of our
choir's favorites). Also hear the Davies God Be in My Head
style='font-style:normal'>. This is another excellent choir! Richard Marlow
wrote the Psalm Chant, which was a bit dissonant with close harmony. Trinity is
the only place that sings Anglican chant a cappella. Richard's wife,
Annette, brought music for us and sat with us at Evensong. Afterwards we were
invited for "a sherry" and to see Richard's rooms and then
into a private gated garden off the oldest part of the college. It extends back
to the River Cam very near St. John's College from which one can see the
Bridge of Sighs. We had a delightful evening talking shop. Trinity is the
school of T. A. Walmisley, Charles Stanford (organist 1874-93) and Ralph
Vaughan Williams. The list of "Trinity Men" is staggering with the
royal family, poets, prime ministers and other noted people, men of science and
mathematics, classical scholars, philosophers, historians, judges and lawyers,
Ecclesiastics, Divines and other writers.

Wednesday, May 28

We visit the zoology museum. We learned about Voluta musica,
one of the family of vo

by Charles Beck

During July, 1997, Janice Beck was scheduled to play nine organ recitals in four different European countries, a recital every three days.  In fact, she played eight recitals in three countries.  This account is a detailed description of that tour, its trials, tribulations and joys.

Peterborough, England

On June 26 we left Detroit Metropolitan Airport, two hours late because of a faulty toilet that had to be repaired, arriving at Gatwick Airport, London at 10:00 a.m. the following morning.  After going through Immigration and Customs, we picked up our Britrail passes, and caught a train to Kings Cross Station in London. At 1:10 p.m. we departed for Peterborough, arriving about 2:00. Although we had specific directions to our lodging in the Cathedral Precincts, the taxi driver had no idea how to get there, so he simply dropped us off, in the rain, somewhere in the vicinity of the Cathedral. After inquiring of several helpful pedestrians, we found the bed and breakfast operated by the wife of a canon on the cathedral staff. For the next four nights we enjoyed staying in their lovely old home, part of which dates from the 15th century. Although Janice's first recital, in the Peterborough Cathedral Festival, was not until July 1st, we had arrived early in order to recover from jet-lag prior to the recital.

After a pleasant chat and tea with our hostess, we took a much needed nap followed by a good, but very expensive meal in a nearby hotel. Needless to say, we went to bed early. We awoke to a dreary morning, but feeling somewhat refreshed after a good night's sleep. The weather was, to say the least, miserable with low clouds, rain and wind, and a temperature in the 50s. Unfortunately this weather was predicted to last for a week, and it did. Following breakfast, (and what a breakfast it was: grapefruit, eggs sunny side up, ham, sausage, baked tomato, mushrooms, toast, jams and tea), we walked a few hundred yards and entered the great cathedral for the first time. Although one of the largest and most beautiful of English cathedrals, Peterborough is less well known than some others. Dating from the 14th century, it is famous for the longest painted wooden ceiling in Britain.

Janice had been promised six hours practice time, but we had hoped to arrange additional time. Although it was apparent that the cathedral was vacant each day early in the morning, the festival administrator was unable to arrange additional practice time on the cathedral instrument. He did, however, allow Janice to practice on an ancient two-manual tracker instrument in another church of which he was organist about a mile from the cathedral. So for the next two days we walked in a cold rain to All Saints Church for practice. The All Saints organ, built by Forster and Andrews of Hull in 1908, and apparently in its original state, is characterized by lovely flues and reeds, and strings of remarkably French-sounding tonal qualities. It has, however, two drawbacks: 1) The pedals are very close together, the pedal board being 6 inches narrower than typical modern pedal boards, and 2) as one might expect of a tracker instrument of this vintage, it has a heavy action. But its beautiful tonal qualities in the marvelous acoustical milieu of All Saints Church compensated handsomely for these deficiencies. Whereas the opportunity for Janice to practice in All Saints allowed her, in some ways, to maintain her program in top form, it did nothing to prepare her to use the Cathedral console, and practicing on such an unconventional pedal board may well have been a disadvantage.

On Sunday morning our hostess escorted us to the 10:30 service in the cathedral. We sat in the choir just beneath the organ which we heard for the first time. The service was beautiful. The excellent men and boys choir sang a Schubert Mass with various movements interpsersed throughout the service. The organ, a Hill, Norman and Beard, renovated in the '80s by Harrison and Harrison is an excellent service instrument, but as we knew from the specification, not a very large instrument, and equipped with only 8 generals (not duplicated by toe studs) and a capture-type combination action.

Since the theme of the Cathedral Festival was "The French Connection," Janice had been asked to play a program with an emphasis on French compositions. Whereas she had planned to play the "Communion" and "Sortie" from Messiaen's Pentecost Mass and some short works of Vierne in her tour program, she felt compelled to add another French work to this program, and she chose the Franck Choral No. 3 in A Minor.

Finally on the night before the concert, we gained access to the cathedral instrument with only four hours to register a full-length recital, and to become accustomed to the console in any time that might have been left. With only 8 generals available, registering the program became a nightmare, but by using divisional pistons and assigning me the task of some manual stop-pulling during both the Franck and Messiaen, the job was accomplished. There was no time for practice, however, that being relegated to a brief period the following day.

After the 1:00 p.m. recital we were to catch the 15:37 to London which gave us very little time to retrieve our luggage from the B & B and get to the train station. Consequently, we did not tarry long after the concert. We had expected the festival administrator to present us with the agreed-upon artist's fee, but he was nowhere to be found, much to the consternation of our B & B hosts and the cathedral organist. We received a check two months later.

We arrived at London Kings Cross station just in time for the afternoon rush hour, took the Underground to Waterloo Station, arriving into a throbbing mass of humanity, all, like us, trying to get to the proper platform for their respective trains for home or, in our case, for Windsor.  With two large suitcases, a large brief case containing scores, and a mid-sized carry-on, we finally made our way to the proper platform, boarded the 17:42 for Windsor, collapsed, exhausted, in our seats, and arrived one hour later. Our "overnight" stay in a B&B turned out to be a half-night's stay, only, since we were required to appear at Heathrow Airport two hours prior to our 6:50 departure for Copenhagen. So we pulled ourselves out of bed at 3:45 a.m., dressed, had some tea and ate a soggy sandwich. The taxi arrived on time at 4:30 for the 20 minute drive to Heathrow.

Poland

The flight to Copenhagen was excellent, with an efficient and very polite crew, and a delicious breakfast. We arrived in Copenhagen at 10:00 a.m., changed planes and left at 11:00 for Szczecin, Poland, a city of about 500,000 population. As we approached the Szczecin airport we were surprised at the lack of activity and any evidence of commercial development in the vicinity. Upon landing it became apparent that our plane was the only one there except for a few derelict World War II fighter planes parked alongside a taxi strip. And no other planes arrived during the time it took to go through customs and immigration. The small, antiquated terminal building, probably dating from the 1940s, had obviously not been improved or expanded since it was built. We had just had our first glimpse of the legacy of communist domination in Poland for over 40 years.

After being frisked with metal detection devices, we were interrogated by an official who spoke only halting English. We were taken aback when he asked, "You go to Santa Monica?" After a pause, Janice replied, "We have been to Santa Monica in California." He seemed as surprised by that reply as we were by his question. But after a few seconds and a quizzical look, he waved us on.

Kamien

We joined our hosts, Bogdan and Laura Marcinkowski, who drove us to Kamien Pomorski, about 60 kilometers away. As we approached a park-like area of the town we drove under an arch that bore in large letters, in English, the name, Santa Monica Institute. We soon learned that our lodging was a hospice where persons, many from Scandinavian countries, went to rest and recuperate from serious illnesses, or to spend their last days! Perhaps, because of our lack of sleep the previous night, we appeared terminally ill to the immigration official at the Szczecin airport. Although our room was immaculately clean, we felt somewhat uncomfortable in the Santa Monica Institute among the many ill inhabitants.

The elegant 12th-century cathedral in Kamien, built by Germans and used for many centuries by Lutherans, is characterized by an acoustical milieu of indescribable beauty. The Michael Berigel organ, of north German style dating from the latter part of the 18th century is characterized by beautiful, brilliant mixtures, glorious flues, several excellent solo stops, and reeds so terribly out of tune that their character could not be accurately assessed. The instrument was, however, very difficult to play because of a very heavy tracker action, and a flat pedal board of unusual dimensions and placement-narrow from side to side as well as from front to back, and set back at least six inches from the front of the console. To play the pedals the bench had to be placed so far from the console that it was almost impossible to reach the top manual without losing one's balance. An even greater hindrance to Janice, however, in playing the program she had planned, was the fact that, unknown to her, the entire Positiv division had been removed for renovation as had about half of the pedal pipes. With some creative registrations, however, the program was successful. And what beautiful, ethereal sounds in that marvelous acoustical environment. One would die for a Koppelflöte like that used as a solo stop in the Vierne Arabesque.

The concert in Kamien Pomorski as well as the following concert in Szczecin were part of the International Festival of Organ and Chamber Music. Each concert consisted of both organ works and works performed by a chamber group. In Kamien, the organ works alternated with works played by an excellent trombone quintet, whereas in Szczecin the organ works comprised the first half of the concert with the second half consisting of choral works by a Swedish choir. In Kamien, as well as in every other venue in Poland and Slovakia, there were large audiences, with most venues filled to capacity.

Szczecin

From Kamien, we traveled by train to Szczecin. Kamien is at the southern end of a spur, about twenty kilometers from the main rail line across northern Poland. The little train arrived about 10 minutes prior to departure time. The metal seats, without cushioning, were painted bright red. To say they were uncomfortable would be a gross understatement. The train departed on time, chugged along slowly for a few minutes and stopped at a country lane to pick up several passengers. During the next half hour the train stopped several more times for passengers who were simply standing by the track in the countryside. Once we joined the main line, however, the train continued on to Szczecin without another stop.

We were met in Szczecin by a guide from the Castle of Pomeranian Princes, driven to the castle, and escorted to our rooms--a very fine guest suite consisting of a bedroom, a sitting room and a marvelous, large and luxurious bathroom. There were no glasses, no bath mats, no telephone, and no television in our suite; and more significantly, no door key. Of these, we considered the absence of a television set an asset, but we were not prepared to leave our possessions, especially Janice's valuable scores, in an unlocked room. The concierge informed us that the last guest had failed to return the key before leaving, but since he could see the door to our suite he would keep watch on it for us. Nevertheless, we insisted, much to his consternation, on having a key. Finally, a locksmith arrived, and replaced the entire lock.

The Castle, dating from the 12th century, was the residence and site of government of the ruling princes of Pomerania until the early 17th century. By 1577 the castle had attained its present form and at that time was one of the most beautiful Renaissance castles in Europe. In 1944 it was severely damaged during air raids. Reconstructed after the second world war, it is today a center of cultural activity in Szczecin.

After lunch we visited the concert hall in the castle with its relatively new instrument built by the Kaminski firm of Warsaw. Finding someone to turn on the instrument proved most difficult, and then we had to decipher the eastern European combination action, essentially an exposed setter board consisting of four rows of different colored pins, each color representing a different division of the organ and each pin representing a stop.

This instrument is characterized by loud, raucous reeds, shrill mixtures, and tight sounding flues. The tonal characteristics of the instrument and the expressed lack of knowledge of the western organ world by the castle organist is, no doubt, a reflection of the isolation imposed on Poland under Communist domination. Other instruments that Janice played in Poland and elsewhere in eastern Europe were quite beautiful although several were in bad condition, but they had been built in the 18th, 19th or early twentieth centuries.

Tired after practicing all afternoon, we had dinner and went to bed early. As we returned from the restaurant we noticed that the courtyard of the castle had been set up with chairs and that people were filing in in great numbers. A stage backed by colorful banners occupied one end of the courtyard, and we guessed that there was to be some sort of entertainment. Shortly the entire courtyard was packed to capacity, and the concert began. From our bedroom adjacent to the courtyard the music was very audible, and we lay in bed enjoying a symphony orchestra, chorus and soloists presenting music from Mozart operas. Dead tired, we dropped off to sleep before the concert ended, and were awakened, suddenly, from a deep sleep by what sounded like a war: the loud booms and flashing lights of a spectacular fireworks display. We were treated to a repeat performance of both the concert and the fireworks the following night.

The organ recital, at twelve noon on Sunday, July 6, actually went very well, but provides examples of the unexpected with which an organist must cope. As Janice walked on stage, I as page turner trailing behind, the house lights were dimmed and very bright flood lights were turned on the organ console. These lights came from only one side of the hall, and because of the angle of the console, Janice's body cast a very dark shadow on the pedal board which, as a result, was hardly visible. Seeing the pedal board was made all the more difficult by the great contrast between the brightly illuminated score and the darkened pedal board. She played the initial work on the program, by J. S. Bach, without any problem. The second work, however, was a new, unpublished composition entitled Kairos, by Pamela Decker which contained some virtuoso pedal passages. Janice had no alternative but to ask in English that the lights be adjusted so she could see the pedal board. Fortunately, some helpful person in the audience understood, made the appropriate request to the stage hands, and the lights were duly adjusted. The performance of Kairos was going well when, unannounced, a television camera crew walked on stage and began videotaping Janice (and me) from various angles. You can imagine how distracting that could be, but Janice, undaunted, maintained her concentration and completed the performance without incident.

A lasting memory of this tour will be of the wonderful people whom we met and who in various ways assisted us. We had tried repeatedly to make several telephone calls to the United States from Kamien Pomorski without success, and in Szezecin we did not have easy access to a telephone. We informed a new Polish friend, a physician and organ buff, who had attended Janice's recitals in both Kamien and Szczecin, of our difficulties, and he most graciously invited us to have dinner in his home from which we were able to make our calls.

Gdansk

The following morning, July 7, we took a taxi to the train station to begin our journey to Gdansk. Understanding no Polish, and with no English or German directions in the railroad station, we were apprehensive about determining the platform from which to board the train. The taxi driver turned out to be another "angel" to whom we will always be in debt. Of Greek descent and speaking some English, he recognized our dilemma. Upon arriving at the station, he insisted on accompanying us into the station and onto the proper platform. Rather than leaving us there, however, he stayed with us until the train arrived, raced to the far end of the train to the correct car with Janice's luggage, took it on board, and found seats for us. Needless to say, he received a large tip from me. He also received a hug from Janice, the only time, to her knowledge, she has ever hugged an angel, or for that matter, a taxi driver.

In the Gdansk suburb of Oliwa we were housed in a seminary for priests associated with the great cathedral there. Upon arrival, a young priest escorted us to our dormitory room which, even by college dormitory standards, was spartan. We had arrived in late afternoon, and soon went to the dining hall for dinner which consisted of thin cold cuts of cheese and salami, bread and tea. We were seated at a table some distance from those occupied by the young priests, not only for this, but for all meals. None of the priests took the initiative to speak to us or to engage us in conversation. We were perplexed by this isolation and still do not know the reason. Perhaps it resulted either from a lack of knowledge of English, or a lack of confidence in speaking it by those who did know some English. We, of course, could speak no Polish, so were in no position to be critical. Furthermore, although free of Russian domination for nearly l0 years, there is still very little opportunity to interact with English-speaking people from the west. Tourism has simply not caught on, at least in Northern Poland, and we saw no evidence of any effort to encourage it. In fact during our entire stay in Poland (6 days), we saw only two or three Americans.

The following morning, breakfast consisted of cold cuts, bread and tea, identical to the previous night's supper. We were becoming discouraged, to say the least, and began to joke about what to expect for the noon meal which, fortunately, turned out to be the main meal of the day with meat, two vegetables, bread, a small dessert, and tea. But for the following supper and breakfast?: you guessed it!

Oliwa cathedral, constructed of red brick, and showing Dutch influence in its exterior architecture, is equally surprising on the interior. The long and very high nave and chancel are painted white, resulting in an unusually bright interior.

The large, 5-manual organ, dating from the last century, is contained in a dramatic case with spectacular carvings of angels holding gilded horns that can move from side to side, and two cymbelsterns. The instrument has been converted from tracker to electro-pneumatic action, and, in recent years, has been fitted with a solid-state combination action and sequencer, the only instrument we saw in eastern Europe so modernized.

The people of Gdansk are very proud of the Oliwa organ which is demonstrated every afternoon to large crowds including many children who are especially fascinated by the moving golden "trumpets" and the rotating cymbelsterns.

Janice had access to the organ only on the evening before the day of the recital and one hour on the day of the recital. Consequently, she had to take good advantage of her one evening for registration and practice time. As we arrived in the organ loft, we smelled an unusual odor. I thought it might be stale incense, but Janice demurred, saying she had never smelled incense with that "fragrance." I sat in the nave to assist with balance. After about two hours in the organ loft, Janice began to play wrong notes, and complained that she was not thinking well and was becoming dizzy. But she had to try to continue registering her program, which became progressively more difficult. We finally found the source of the odor: an unvented toilet near the organ loft from which sewer gas was escaping in large quantities. By closing the door to this lavatory and by stuffing an old, discarded flag under the door, we largely solved the problem. Unfortunately, by this time Janice was feeling quite ill, but continued to work for several more hours. By noon the following day she felt much better, and by recital time that evening she was, fortunately, back to normal.

Olomouc, Czech Republic

At 4:30 the next morning we were taken to the airport for a 6:30 flight to Prague. We arrived at the Prague airport 30 minutes early, and went directly to the train station to catch a train for Olomouc where Janice was to play a recital in St. Michael's Church. Since we had a two-hour wait, we sat in a park just outside the station and enjoyed people-watching on a beautiful, cool, sunny morning. We had purchased rail tickets in the United States. Consequently, we went directly to the platform to board our train just 15 minutes prior to departure time. The train was destined from Prague to Warsaw, via Olomouc, or so we thought. As we were looking for the coach in which we had reserved seats, I asked a member of the train crew to help us. He looked at our tickets and immediately threw up his hands and waved them back and forth excitedly as if to indicate that we could not go on that train, at the same time speaking to us in Czech which we could not understand. A train for Germany was about to depart on an adjacent track. I was literally pulled over to the conductor of the German train who said, "Der Zug fahrt nicht nach Olomouc. Olomouc liegt unter wasser." I understood, but was perplexed and obviously showed that by my puzzled expression, so the conductor repeated what he had just said, even more emphatically: "That train does not travel to Olomouc. Olomouc lies under water!" The German train left, as did the Czech train, with us standing forlornly on the platform wondering what to do.

During the entire time we had been in Poland, we had not had access to a television set, and had not purchased a paper which, of course, we could not have read. We had, therefore, heard nothing of the severe floods in southern Poland and Moravia. We eventually learned that much of Olomouc, centrally located in Moravia, was literally inundated by the flood waters, there was no electric power, and no hotels and restaurants were operating. We learned also that three railroad bridges between Prague and Olomouc had been destroyed, and thus that there was no rail service from Prague to Olomouc, or for that matter into Slovakia, the site of our next concert. If we had gotten on the train as intended, we would have gone back to Warsaw from which we had flown a few hours earlier.

Fortunately, telephones in Olomouc were still operating. We called our host there, and his wife said he had gone to Prague to meet us. Not expecting him there, we had simply walked out of the terminal without seeing him, or he us. He looked for us at the railroad station, but could not find us because we were sitting outside in the park. We found a hotel near the old city, and the following day our host again drove to Prague which required a long, circuitous route to avoid the flood waters. He thought it still possible that electricity would be restored in time for the recital. He explained the use of the Prague Metro (subway), and showed us the best way to gain accesss to the Karlovy Bridge over the Vlatava (formerly the Moldau) which leads to the Mesto (the old, central city). He also made airline reservations for a flight to Kosice, Slovakia, the nearest airport to Bardejov, our next destination. Unfortunately, the flooding became worse, power was not restored in Olomouc for many days, and the recital there had to be cancelled.

Prague

Although disappointed to miss playing in Olomouc, we were pleased to have four days in the beautiful city of Prague. The following day, after breakfast of cold cuts and yogurt, we set out to see the palace (the site of the Czech government) and St. Vitus Cathedral, nestled together on a high hill overlooking the city. The day was very hot, and we proceeded slowly up the long, steep hill to the palace and St. Vitus cathedral. Although very tired, upon entering the magnificent gothic cathedral, we knew it had been worth the climb. We rested in this stunningly beautiful church and marvelled at the golden glow of the choir and the elegant stained glass windows throughout. We bought some CDs in the Palace shop and walked back down the hill to the Malostranska Metro station. Back at the hotel, we collapsed and slept for several hours before supper, washed some clothes and went to bed.

The following day (Saturday, July 12), after finding an ATM and replenishing our funds, we visited Prague's largest music store where Janice purchased organ music by Czech composers.

Afterward, we found our way to the Mesto, the center of the old city, and what a magnificent area it is with many beautiful churches. Also thousands of tourists. Walking through the narrow streets and across the several squares, we were frequently charmed to see young people dressed in period costumes and to hear the music of Mozart floating across the area heralding a Mozart Festival. Mozart was a frequent visitor to Prague, and his opera, Don Giovanni, received its premiere here in 1787. Near the famous Tyn Church with its distinctive twin towers we had lunch in a quiet restaurant, after which we visited the beautiful baroque church of St. Nicholas across the square.

Bardejov, Slovakia

After a long day, we packed for our flight to Kosice, Slovakia, watched Bill Cosby (speaking Czech) for a few amusing minutes, and retired for the night. We arrived at the Prague Airport terminal about 9:00 a.m., picked up our tickets and were told to look for our flight number on TV monitors to determine the proper check-in desk. By 10:00 a.m. our flight number had not appeared, so becoming concerned, I enquired about the problem at an information desk. We were told to go immediately to one of the "common" check-in counters of which there were seven. All had very long lines, and we were quite apprehensive about getting to the counter in time to catch our flight. Finally, about 10 minutes before flight departure time, we were checked in and made our way as quickly as possible to the designated gate, arriving with very little time to spare.

Upon arrival in Kosice we were met by our host, grandson of Josef Gresak, the Slovak composer who is honored by the Gresak Organ Festival. A former conductor of the Slovak Symphony Orchestra in Kosice, our host now imports and distributes frozen fish. He drove us the 86 kilometers to Bardejov, located in the southern edge of the Carpathian Mountains, and only about 50 kilometers from the Ukrainian border. We thoroughly enjoyed driving through the beautiful, hilly countryside reminiscent of the foothills of the Blue Ridge Mountains of western Virginia.

In Bardejov we were deposited in a city-owned apartment consisting of a large living room, dining room, kitchen, three bedrooms and a bathroom. This beautiful, modern facility was made even more appealing by having a high-quality stereo sound system plus a collection of CDs and cassette tapes. Before he left, our host, suggesting that we might not have any Slovakian currency, presented us the entire promised honorarium in cash! This very gracious and thoughtful gesture was most surprising, and nothing like it was repeated elsewhere.

Our apartment was conveniently located directly across the street from St. Egidius (St. Giles) Church in which Janice was to play. This gothic building, dating from the 15th century, has a fine organ installed by the Rieger firm of Budapest in 1909. This two-manual instrument of 35 registers has an eastern European style combination action with two "free" combinations and a flat pedal board of 27 keys. The combination action of this instrument differs from those of more recent instruments in having two rows of tabs instead of colored pins by which to set individual stops. These two combinations could be activated by pistons below the lower manual. Of interest to me was the original blower switch, integrated with a huge rheostat by which the voltage was increased to obtain appropriate wind pressure. The wind supply could also be provided by two men pumping a large bellows with their feet.

As in other cities in eastern Europe, ordering food here was a real problem although the one restaurant we patronized had a menu with English translations. Nevertheless, as we soon discovered, we rarely received what we thought we had ordered! By western standards, the cost of prepared food was remarkably low. We could obtain an adequate meal for two for only about $5.00. Breakfast here was a problem, however. The only place we could find open prior to 9:00 a.m. sold only submarine sandwiches, so for three days our breakfasts consisted of submarine sandwiches.

On our first full day in Bardejov Janice worked out registrations in the morning and practiced for three hours in the afternoon. We then bought a bottle of very good Hungarian red wine, some peanuts and pretzels, had a little party before dinner and went to bed early. The following day, after practice in the morning and a long nap in the afternoon, we arrived for the 8:00 p.m. recital about 7:45. As we approached the open church door we could hear none of the expected sounds of people on the interior, and were thus shocked upon entering to find a packed church, but not a sound from the audience, not even a cough. We tip-toed up to the organ loft and began the recital throughout which there was deathly silence from the audience, almost as if the people could not speak. This eerie quiet was, to say the least, somewhat disconcerting, and I hoped that Janice was not playing to an audience of deaf mutes. At the end of the program, following the Bach St. Anne Fugue, there was still no sound for a few seconds, then enthusiastic applause. As the audience departed there was still no talking in the church. To this remarkable audience in Bardejov, the church was, apparently, a sacred place, one in which to meditate, and to hear great music without the distraction of gossip or chit-chat about mundane secular events.

Bury St. Edmunds

Wednesday, July 16: we arose at 6:30 a.m., ate a submarine sandwich for breakfast, packed and were ready to leave for London at 9:30. We were driven to Kosice where we were hosted by members of the Slovak Symphony Orchestra adminstrative staff, one of whom took us to lunch and showed us beautiful St. Elizabeth's Cathedral. We left Kosice at 4:10 p.m., changed planes in Prague and arrived in London about 8:00. Getting through the immigration maze at Heathrow airport was a nightmare, with thousands of people in long queues. When finally we made it through immigration, found our luggage, and left the terminal building, it was nearly dark. Our taxi arrived 30 minutes later and delivered us, totally exhausted, to our B & B in Windsor about 10:00 p.m.

The next day we were up by 7:00 a.m., had a good English breakfast, and left Windsor on the 9:40 for London, Waterloo Station. We went by taxi to Liverpool Street Station, grabbed some sandwiches for lunch and took the 12:00 noon train to Ipswich, changing there to the 1:55 to Bury St. Edmunds, arriving at 2:30.

In Bury we stayed at the Chantry Hotel, a very nice accommodation with moderate rates that included breakfast. Since Janice had played a recital in St. Edmundsbury Cathedral in 1995, we were familiar with the town, and a lovely town it is. We met our host in the cathedral after choir practice and worked on the instrument until 11:30 p.m. On the following day, we browsed in the cathedral shop and enjoyed perusing their book collection by which we learned something about St. Edmunds and the ancient Abbey, the ruins of which are adjacent to the cathedral. The Abbey dating from the 700s, which was sacked and destroyed in the 1500s, was larger than the present cathedral. We also visited beautiful St. Mary's Church which is the largest Parish Church in the United Kingdom, almost as large as the cathedral. Although somewhat off the beaten path, Bury St. Edmunds is a lovely and interesting town very much worth a visit.

Practice in the evening was interesting, but not entirely productive. The cathedral organist and a priest heard Janice practicing Pamela Decker's piece, Kairos, and were so impressed with the work that they ascended to the organ loft to ask about it. In addition to Kairos, Janice played for them some of Dan Locklair's suite, Rubrics, about which they were also very enthusiastic. We found most interesting their expressions of dismay that they had such difficulty learning about new American compositions for organ. Because of this pleasant "interruption" Janice practiced until 12:30 a.m.

Saturday, July 19: Following the 4:00 p.m. recital, we walked to the nearby Angel Hotel bar to celebrate. We ordered Manhattans, and after carefully explaining to the bartender how to make them, we enjoyed two delicious American-style cocktails made with (very expensive) Kentucky bourbon. Later we were joined for dinner by the cathedral organist and his friend who we learned is one of only two female organ scholars in the English cathedral system.

All Saints Collegiate Church, Maidstone

The following day, Sunday, July 20, we caught a morning train to Cambridge, changing there to a train for London, King's Cross; we then went by Underground to Victoria Station where we arrived just 7 minutes prior to departure at 1:22 for Maidstone. Arriving in Maidstone at 2:25, we were met by a warden of All Saint's Church who took us to the church, showed us how to turn on the organ, took us to tea, and finally deposited us in our very nice B & B. After resting for two hours, we walked back into the center of town, had supper and went to the church for practice from 7:30 until 10:30 p.m.

All Saints Collegiate Church, Maidstone, dating from the 13th century, is very handsome, and provides a wonderful acoustical environment for organ music. Unfortunately, the organ console has only preset divisional pistons, and no generals. Although Janice had planned originally to play "Communion" and "Sortie" from the Messiaen Pentecost Mass she realized that it would be impossible to give them meaningful performances on this instrument, so she decided to replace them with several short works by Vierne.

On July 22, following supper of sandwiches and tea provided by our landlady, we dressed for the recital. The taxi was expected at 7:30. When, by 7:40, it had not arrived we called again, and another taxi finally arrived, about 7:50. By this time we were pretty tense. We arrived at the church at 7:56. The concert started, on time, at 8:00 p.m.!

Since Janice's next recital, in Westminster Abbey, was not until the 27th, we decided to stay in Maidstone until Saturday. This 3-day respite was much needed and most enjoyable. On Wednesday, we found a laundromat, Janice had her hair cut, and we took a short, pleasant cruise on the Medway river. The Medway is navigable through several locks from the English Channel to London by way of the Thames. We passed several Dutch barges on the river and others anchored alongside wharves in Maidstone, all bedecked with flowers in hanging baskets, making a beautiful sight.

On Thursday, we went by train to Canterbury to see the famous cathedral, home of the Archbishop, head of the Anglican Church. Canterbury is a very attractive town, but on this day in July it was overrun by tourists. Like most other British cathedrals the nave and choir of Canterbury are separated by a dense "screen," and at Canterbury the nave, choir and Trinity Chapel are on successively higher levels. The organ console is out of sight on top of the screen, and the Father Willis organ in the triforium is nearly invisible.

Of the many works of art, plaques, and other memorabilia in the cathedral, one plaque was especially meaningful for us. It bore the following message: "Remember the thousands of the combined allied forces who lost their lives during the invasion of western Europe on the 6th of June 1944. The assault on Normandy was launched at Sword, Juno, Gold, Omaha & Utah beaches. Thus began the return of freedom to Europe. Greater love hath no man than this, that a man lay down his life for his friends."

One of our most enjoyable days in Britain was spent at Leeds Castle, just a few miles east of Maidstone which we reached by bus on Friday. One of the most famous and certainly one of the most beautiful of all English castles, with magnificent grounds and gardens, Leeds Castle was the home of kings and queens, including Henry the Eighth as well as Lord Culpepper who was governor of Virginia and Lord Fairfax who owned 150,000 acres of land in Virginia prior to the Revolution. It is no surprise that the town of Culpepper, and Fairfax County, Virginia were named for these illustrious early residents of the state. This Virginia connection with Leeds Castle was of particular interest to us since both Janice and I are Virginians by birth.

The castle was an early site of negotiations between Egypt and Israel that led to the Camp David Accords and the beginning of the on-going peace negotiations between Israel and the Arab nations of the Middle East.

Westminster Abbey

Saturday, 26 July: Today we travelled to London for the last recital of the tour, in Westminster Abbey. We left Maidstone by train at 10:00 a.m. and arrived in Victoria Station at 11:00. We took a taxi to Hotel 176 on Old Brompton Road in South Kensington. We were shocked to learn that there was no room reserved for us although the hotel had a record of our credit card number, and we had a fax confirming our reservation. The desk clerk was most apologetic, but re-iterated that there were no rooms available. Fortunately, the Swiss House Hotel, next door, had one double room available which we were delighted to take.

After a long nap in the afternoon, we went by Underground to Westminster Abbey for practice at 5:45. We found the organ scholar without difficulty who escorted us to the organ loft atop the screen separating the nave from the choir and showed us the organ console.

The Harrison and Harrison organ, installed in 1937, includes some re-voiced pipes from an earlier Hill organ. The instrument was restored and enlarged in 1982 and 1987 with the addition of a new console. In 1994 the combination action was expanded with the addition of a sequencer.

The five-manual console by Harrison and Harrison has several unusual features. There is a separate setter button for every general and every divisional piston. Unlike other English organs which Janice had played, the general pistons are not above the top manual, but below the manual for the solo division. Since the setter buttons for the general pistons are above the top manual, Janice had to be very careful not to push a setter button when she intended to push a general piston! We worked for the allotted 21/2 hours and made our way back to our hotel, very tired and went immediately to bed.

After sleeping late on Sunday, and a long nap in the afternoon, at about 4:00 we went to the nearby Gloucester Road Underground station to catch a train for the Abbey. Unfortunately the only reasonable route was not available because of work on the line. After deciding we did not have time to take a round-about route to the Abbey, we hailed a taxi and arrived just 15 minutes prior to recital time. We were relieved to observe that all tourists, except those who were seated for the recital, had been removed from the church; how this was accomplished we do not know. Two minutes prior to recital time, the Organist and Master of the Choristers arrived to greet us--a gracious gesture on his part, but not the most opportune time for the recitalist!

Following the recital, the sub-organist and several other organists in attendance, rushed up to the organ loft to ask about the contemporary American works on the program. As at St. Edmundsbury they were very interested in both Kairos and Rubrics.

After a pleasant dinner with friends who were in the London area on vacation, we packed for our return trip to Ann Arbor. Our flight from Gatwick to Detroit Metropolitan Airport was uneventful, and it was wonderful to be met by our daughters. It is always good to return home after a trip, but after having been away for nearly five weeks, homecoming this time was an unusual pleasure.

by Malcolm Wechsler

The author thanks Scott Carpenter and Harry Martinas for editorial help with this report.

The 46th annual convention of the Organ Historical Society
(OHS) took place June 21-28, 2001, in North Carolina, centering around
Winston-Salem. Convention registration brings with it the fabulous Organ
Handbook, with recital programs, organ specifications and photographs, and bios
and photos of performers. It's the Bible for the week, eagerly devoured, and
kept in one's library forever. As with last year, the editor this year was
Jonathan Ambrosino.

Thursday, June 21

The opening concert was held at First Presbyterian Church in
Greensboro, the perfect convention opening on several levels. The building is
stunningly beautiful, designed by Hobart Upjohn, modeled on the cathedral at
Albi in France, and somehow built in 1929 and 1930, in the height of the Great
Depression. It was able to accommodate the entire convention, not the case with
quite a few buildings later in the week, when we were often divided into
smaller groups. The organ, finished by Létourneau just last year, fills
the 1400-seat building with great clarity and power. It is a grand creation,
with large instruments in both gallery and chancel, beautifully encased. The
acoustic of the building is organ-friendly, but nothing more. Having chancel
pipes on both sides and a large gallery division placed very high up gives the
instrument a great presence. There is a very effective en chamade reed atop the
gallery division. The whole enterprise is undergirded by digital 32's, not
obnoxious all of the time, but often enough.

Bruce Stevens plays with grace and elegance. The program
opened with the Kerll Passacaglia in D Minor, which introduced us to the clarity of the instrument's choruses and
other combination possibilities, through a great variety of variations,
building to a quite sturdy ending. Next, Beethoven, Adagio in F Major (Organ Sonata 8) played on a pleasantly limpid flute registration. Somewhere, at every recital of an OHS convention, a hymn gets sung, mostly meant to show the effectiveness of the organ as an accompanimental instrument, but the custom has taken on a life of its own. There is even a special hymnal printed, especially attractive this year. The recitalist gets to choose the hymn, and to accompany it with as much or as little freedom as wanted. The hymn, "I will give thanks with my whole
heart," to the tune Herr Jesu Christ, was sung in glorious harmony,
supported magnificently by Stevens. Next, Rheinberger, Introduction and
Passacaglia (from Sonata No. 8). This sonata is glorious, and both player and
organ did it complete justice. The huge power of the Pedal, some of it achieved
by illicit means (I would personally prefer a good Resultant), gave the ending
particular force. Then, Franck, Choral No. 2 in B-Minor
style='font-style:normal'>; next, Stevens and flutist Marcella Leonard
performed The Hedding Suite by
Everett Titcomb. Liszt's Prelude and Fugue on B-A-C-H
style='font-style:normal'> received a totally splendid performance, virtuosic
in the extreme, registered without fear, including the en chamade in the
balcony. The Liszt was a glorious ending to a great recital, and a promising beginning for the week to come.

Friday, June 22

The first full day plunged us right into the OHS convention
bus-church-bus-church routine at its richest and fullest, complete with an 8:30
a.m. departure (and I might add, an 11:30 p.m. homecoming). We had a wide
variety of experiences this day, in the vicinity of Danville and Chatham,
Virginia, a two-hour bus ride from the hotel.

The first stop was Mount Vernon United Methodist Church,
Danville, housing a gentle and lovely 1860 Boston-built Simmons and Willcox
organ, rebuilt with significant additions by George Bozeman in 1988. As this
organ was saved and relocated through the good work of the late Alan Laufman
and the Organ Clearing House, it was somehow entirely appropriate that this
recital was played by the new director of the Clearing House, John Bishop. The
program: Bach, Prelude and Fugue in C Minor (BWV 549), began quietly, very slowly, and passionately; the fugue, on the other hand, was quite quick, almost Newmanlike, on a reedy registration, building naughtily with the gradual opening of the box; Pachelbel, Aria Sebaldina (from Hexachordum Apollinis); Derek Bourgeois (b. 1941, student of Howells), Serenade, written for the procession at his own wedding, a fine, accessible work, in a fresh but not shocking harmonic idiom. The hymn, "Christ is made the sure
foundation," was sung to Westminster Abbey
style='font-style:normal'>--we got to sing in parts in our usual impressive
way, complete with descant. Langlais, Noël with Variations, Choral (from 24 Pieces for Organ or Harmonium); Lefébure-Wély, Sortie--this was so well done, it made up for the over-exposure from which this piece now suffers. He who occupies the director's chair of the Organ Clearing House is able to shape and encourage one of the greatest programs to ever come out of the OHS. Its achievements under Alan Laufman were noteworthy. We offer John Bishop thanks for showing us his musical side, and wish him the very best in guiding OCH in the years ahead.

At Sacred Heart R.C. Church, Danville, James Darling,
well-known for his many years at Bruton Parish Church in Williamsburg, gave an
excellent recital on a Simmons organ from 1877, rebuilt with some tonal changes
by Andover in 1980-81. The program began with the Concerto in C Major, op. 6, no. 10, by Corelli, adapted for organ by Thomas Billington; then Grave (with variations) from Voluntary in D Major (op. 6, no. 5) of Samuel Wesley. The hymn, giving us a good chance at some excellent harmonizing, used the tune Hereford by Samuel Sebastian Wesley  for the text "O thou who camest from above" by
Charles Wesley. The program next promised more Wesley, but the artist had a
change of mind and moved smartly into the 20th century with a quite flashy and
wonderful chorale-based work, Christ ist erstanden
style='font-style:normal'> by Ludwig Lenel, long associated with Muhlenberg
College in Allentown, Pennsylvania.

After a good lunch at the Knights of Columbus Hall (bar
closed!), we moved on to First Christian Church, still in Danville, which
became the scene of an unfortunate confluence of realities. OHS really tries,
with the help of always willing volunteers, to get organs into shape for our
pleasure and edification. This recalcitrant machine (built at a time when
Möller could actually build good instruments), through poor design,
including really ill-thought-out tuning and maintenance access, and long-term
neglect, in recent years due to the poverty of the congregation, defied all
attempts to bring it "online." Just to get inside the thing, lots of
heavy case pipes have to be removed, this landing one on the huge reservoir,
and leading to other contortions to actually get at the pipes that badly need
ministrations. With the complexities of running smoothly a convention of this
kind, and it does indeed run amazingly smoothly, this poor old organ and its
condition did not get sufficient attention. Baxter Jennings, longtime organist
at Sacred Heart Church, where we had just been, was the unfortunate player
assigned to play this instrument. Susanne Martin, choir director at Sacred
Heart, came along to sing the "Pie Jesu" from the Fauré Requiem, but was overwhelmed mostly by a too-loud registration, which in turn, might have been necessary if none of the softer stops had sufficient notes actually playing. I think too, that Mr. Jennings was totally terrified by the experience of not ever knowing what notes might play at any given time, and by knowing that under these almost impossible
circumstances he was playing for a church full of organists from all over the
country.

The next event took place at Chatham Presbyterian Church in
Chatham and involved a 1912 Möller. This 17-stop organ showed that in the
early 20th century some very good things could come out of Hagerstown. What a
solid and lovely instrument, and what a player is Randy Bourne. For the first
two pieces, the organ was hand pumped, with all the well-known benefits of
this: a Praeludium (WV33) of
Scheidemann, followed by the Prelude & Fugue in F Major
style='font-style:normal'>, from the "Eight Little," with supple and
sensitive playing. Bourne spoke during much of this concert, and the compelling
nature of both the playing and the chat kept the audience at full attention all
the way. One of the first things he mentioned was his use, in the Bach, of an
old edition of 1909, a product of its time, suggesting soloing out sections
using a solo Flute accompanied by strings. Would this have been taken seriously
by many organists as little as ten years ago? Some would say we are returning
to the corrupt old ways of the pre-Orgelbewegung days. Others, I with them,
might say that we have matured musically, and can now ask what is musical
rather than what do the "rules" say. Next, four gently busy Variations on "St. Catherine" written in 1999 by Robin Rokey. Bourne then played a ravishing transcription of Mélodie in E-flat Major (op. 42, no. 3) of Tchaikovsky, with the Flute solo accompanied on that rarity, "an audible Aeoline!" This was followed by another successful transcription, of a Mussorgsky piece, Fair at Sorochintzy, with images of the Cossacks
riding into a village, destroying it, and riding off--exciting stuff! The
program ended with the hymn "Love Divine, all loves excelling," sung
to Beecher. And here was a
recitalist who understands the wonder of hymn singing, and he gave us a chance
at some harmony, and accompanied rather than dominated.

J. R. Daniels, who is organist and choirmaster at Saints
Simon and Jude Church in Pittsburgh, has been around OHS conventions since
1994, in which year he was an E. Power Biggs Fellow. He gave a concert this
year at Emmanuel Episcopal Church in Chatham, on a much-moved 1865 S.S. Hamill
organ of about 12 stops. Taylor and Boody did a restoration in 1992, adding a
pedalboard and a Pedal Bourdon. Here is another recitalist who understands
hymns--he supported us gently in a sweet old traditional Roman Catholic hymn,
letting us happily harmonize to our hearts' content. He then made an apt little
speech about how much louder this gentle instrument would have sounded when it
was built, to people who had so little noise and music in their lives. His
recital made me wonder whether we have matured sufficiently to accept most of
the music on this program! Daniels is, at present, researching the music of
Théodore Salomé (1834-1896). The program began with The
Canterbury March, by Harry Crane Perin
(1868-1933), not a work of much substance. This was followed by the essential
Lefébure-Wély, Choeur de Voix humaines (The Nuns'
Chorus), consisting of Flute solo with
flourishes, accompanied on strings. Next, a kind of ornamented aria on "My
hope is built," by John Behnke, born 1953. It was then Salomé time.
Daniels warned us that the next piece, Offertoire in D-flat
style='font-style:normal'>, had been referred to by John Henderson, in his A
Directory of Composers for Organ, as the worst piece of organ music ever
written. The recital ended with a more interesting work of Salomé, Grand Choeur in A, altogether a better piece than the previous offering.

After a good dinner at the Stratford Inn Conference Center
in Danville, we headed to The Church of the Epiphany. George Bozeman,
organbuilder and a regular recitalist at these conventions, played the first
half on a 1928 Skinner of 16 ranks, I thought not a very successful example of
the breed. Bozeman, as always, gave us something unusual and interesting--the Sonata Cromatica (Seconda) of Pietro Yon. I was sure that what we were handed next was not going to work, but I underestimated us. We had in our hymnals a choral score of the Yon Gesù Bambino, and led by an excellent soloist who also conducted, Robert Sutter, we did a wonderful job. What a great idea, and what an interesting recital.

After a brief stretch, the program  moved to the balcony, with its 1978 Andover organ of 38
stops, for a contrast of epic proportions. There are 12 ranks of mixtures,
given unpromising names like Cymbal, or simply "Sharp." These are a
bit uppity, but judicious registrational pruning can work wonders, and there is
much that is beautiful in this instrument. The upstairs organist was Kathleen
Scheide, and she began with  Aria: Quis mutuos amores, by F.-X. Murschhauser; the hymn "Everlasting Arms of Love" to the tune Galliard; O Lamm Gottes (BWV 656) of Bach; the Reger Prelude and Fugue in B Minor,  and then we heard from Ms. Scheide as composer in a very pleasant piece called Aria
La Romanesca. The program finished with
Scheide's own transcription of a Mozart piano duet, K. 358.

Saturday, June 23

This day began with John Farmer's fascinating history of the
much travelled Skinner (opus 248 of 1916), now comfortably and happily living
in the great Vanderbilt mansion, Biltmore, in Asheville, North Carolina, thanks
to Farmer's alertness and skilled ministrations. The following rather long
Internet address will give the story in some detail:

<http://www.biltmore.com/just_for_media/news_releases/whats_new_concert_…;
and this address will show the handsome console:

<http://www.biltmore.com/visit/biltmore_house/pipe_organ.html&gt;.
There are a few infelicities, like a "genuine forced-air organ," and
other minor oddities, but if you don't know Biltmore, or even if you do, this
is all interesting reading. My thanks to Harry Martenas for locating these
sites.

Next we boarded six buses for the longest journey of the
convention, a bit less than three hours, during which we were shown a rather
good video about the Biltmore mansion. The Asheville part of North Carolina is
wonderfully hilly, giving the bus drivers some anxious moments maneuvering the
sometimes narrow streets, including the one which brought us to Mount Zion
Missionary Baptist Church.

Presiding over Felgemaker Opus 713, 1901, two-manuals and 26
stops, was Will Headlee, always a wonderful presence at these conventions. He
spent some years of his life in Asheville, so this was something of a
homecoming. Out of respect for the organ's lineage, he began  the first movement of the Mendelssohn
A Major Sonata on original Felgemaker
sounds--distinguished and beautiful sounds they are, too. For the Andante, he
used the original strings. Next, two choral preludes by Ludwig Lenel: "Now
praise we Christ, the Holy One" and "How brightly shines the morning
star;" then, Was Gott tut, das ist wohlgetan
style='font-style:normal'>, Kellner; Voluntary No. 1 in D Major, Boyce. This organ really does sing. I think everyone realized that we were in the presence of royalty, an organ with
distinguished beginnings well and lovingly restored tonally and mechanically,
with some additions, by John Farmer and Company. Also, somehow, in its
simplicity, the organ is really fine visually as well. Then, "Sarabande" and "Rhythmic Trumpet" (from Baroques), Bingham; "Balm in Gilead" and "Swing Low," Utterback; Fantasy on "Roll, Jordan, Roll," Ralph Simpson (b. 1933), a really great fun piece (published by Morning Star); and the 1875 hymn, "I am thine, O Lord."

The next program took place at St. Matthias' Episcopal
Church, Asheville, and featured Carol Britt playing a one-manual organ built by
Reuben Midmer. Britt, organist and choir director at St. Augustine's Episcopal
Church in Metairie, made fine use of the single-manual instrument. The organ,
built in 1898, is original to this building. Ponder this from the program note:
"Original to the church, the Midmer organ is in a remarkable state of
preservation. Apart from maintenance and some patching to the bellows leather,
the instrument is essentially as installed 103 years ago." Was that a good
investment or what? The program: Triptych
(Prelude, Scherzo, and Fugue), Robert Powell; Grand Triumphal March, Nicholls (1877), a real two-step played with wonderful panache. To play the Partita on O Gott, du frommer Gott of Bach on an instrument with limited variety takes a bit of work. With impeccable phrasing and some careful registration planning, this was a fine and arresting performance. It made perfect sense for us to next sing "O Gott, du frommer Gott," and we did indeed, happily with some directions for harmony and unison verses.

The next move was well up the social ladder, as we visited
the Vanderbilts in their stately home, Biltmore, in Asheville. After a lovely
dinner in "The Stable" on the estate, we then proceeded to the main
house to hear the organ, played partly by the Skinner player mechanism, and
partly by Kristin Gronning Farmer. Kristin, who chaired this convention, and
whose good and thoughtful work in that capacity we benefited from daily, has
also played for OHS conventions in the past, including Boston last year. In
addition to which, she is an organ builder, working with her husband, John
Farmer, and specializing in "gilding, pipe stencilling, polychrome
painting and faux finishes," which skills she makes available not only to
the "family firm," but also to other builders. After a demonstration
of some of the resources of the instrument, she let us sample some of what is
available on the Skinner semi-automatic rolls. It was all good fun.

Sunday, June 24

After yesterday's long ride to Asheville, we spent today
staying quite close to Winston-Salem, beginning the day at the hotel with the
annual meeting of the OHS. Bill Van Pelt presided, and those in charge of other
projects and committees of the society reported on activities since the last
meeting (in Boston in 2000). There were two E. Power Biggs Fellows this year:
Ryan Celestin of Metairie, Louisiana, and Bruce Ludwick, Jr. of Keyser, West
Virginia. An election of officers was held by mail prior to this meeting, with
some ballots submitted on the day. Elected as President: Michael Barone, whose
radio program, Pipedreams, produced and disseminated by Minnesota Public Radio,
is known throughout the U.S.

On to the buses at 11, going to the workshop of J. Allen
Farmer, Organbuilders--a great barn surrounded by beautiful countryside. On
display, a two-manual and pedal mechanical-action residence organ, two stops on
each manual division and a pedal 16'. Outdoors, on a perfect day, we were
treated to a fine buffet lunch.

Next stop, Maple Springs United Methodist Church to hear
James Hammann, who is on the faculty of the University of New Orleans, is
organist of St. Francis Xavier Church, and in his spare time runs an organ
maintenance business! The organ is a 1926 Casavant, originally located in
Detroit, but moved to Winston in 1982. Voluptuous describes it well, a 3-manual
instrument with all the good (big) stuff and a sound that is broad and warm.
The program: James Houston Spencer (1895-1967), Symphonesque
style='font-style:normal'>, op. 12 of 1933, a rich work, somewhat inventive
harmonically in a way occasionally somewhat reminiscent of Sowerby, followed by
our second convention performance of "Rhythmic Trumpet" from Seth
Bingham's suite, Baroques, of
1944. This had the benefit of a wonderfully bold Trumpet, and was given a
really swaggering performance. Last, in this concert of music by composers who
lived at just about the same time, Air with Variations (
style='font-style:normal'>written for William Strickland) by Leo Sowerby
(1895-1968).

Here, we did our famous split, dividing into two groups
because of some limited seating in one of the churches. My group went first to
Ardmore United Methodist Church, which houses an organ by Fritz Noack from
1978. Although I recognized a bit of aggressiveness in the sound occasionally,
its was more than compensated for by a luminous clarity and some really lovely
stops and ensembles. This was a most interesting recital, played by William H.
Bates, professor of organ at University of South Carolina in Columbia. He chose
"When in our music" to Engelberg as his hymn, which he played very broadly and did interesting things with the accompaniment. Abruptly changing modes, he played Retrové (Estampie III) from the Robertsbridge Fragment of the early 14th century; then Fantasie sus orgue ou espinette, arr. Guillaume Costeley, mid to late 16th century; the choral prelude Der Tag, der ist so freudenreich of Buxtehude, with the cantus on a beautiful Tierce with tremulant; John Stanley, Voluntary in C: Adagio and Andante; then, Brahms, Herzlich tut mich verlangen, played sensitively on Principal sounds; and Partita on "When in our music God is glorified" by Professor Bates himself. This recital was carefully designed to match the instrument, and all was played with great musicality, technical skill, charm and as needed, wit!

The buses took us then to St. Timothy's Episcopal Church for
a recital by Rachelen Lien, from New Orleans, where she is organist and choir
director at St. Matthew United Church of Christ and Parker Memorial United
Methodist Church. Lien chaired the OHS's national convention in New Orleans in
1989. Her assignment this day was to perform on the smallest instrument heard
in the convention, a charming Erben from 1851, temporarily living in the chapel
at St. Timothy's, while its home church in South Carolina is undergoing
structural work. The organ has one manual, no pedal, 5 stops, 5 ranks, 190
pipes! An 8' Open Diapason goes down to Tenor F, a Dulciana does the same, and
both are anchored by 17 pipes of a Stopped Diapason Bass. There is a 4'
Principal and a Flute to Tenor F. There is a very tight Swell box. For some of
the pieces, the hand pump was used. The program: Adagio in e minor
style='font-style:normal'>, J.S. Bach; Allegro
style='font-style:normal'> from a Thomas Arne Concerto; Soeur Monique of François Couperin, using the Swell box for the contrasts called for in the piece; Pastorale by Charles Wesley, using first the Dulciana, and then the 4' Flute for contrast, sounds of enormous beauty and integrity; Partita on "Ah, vous dirai-je, maman," Johann Christoph Friedrich Bach (1732-1795). Next, mezzo-soprano Mary Martin, violist Tony Pruett, and cellist Worth Williams collaborated with Rachelen in the Brahms Lullaby for the Christ Child, opus 91. A really special treat, followed by another, the Saint-Saëns The Swan with cellist Williams. Following this, the hymn "Built on the Rock." A fascinating program, beautifully played, ended with a good chance to sing.

The convention then moved into the main church for two more
events, and they were something of a family affair, in the broadest sense of
family. It honored people of this community and people who worked to make this
wonderful convention possible. Starting with the organ builder: this amazingly
versatile one-manual instrument is Opus 22 of 1994, by John Farmer. Through the
judicious use of common basses, space and money was saved, and divided stops
made possible accompanied solo effects. The organist who next played a recital
and then accompanied Evensong was Scott Carpenter. He is assistant organist at
this church--Kristin Farmer is director of music. The composer whose music we
heard both in the pre-service recital and in Evensong itself is Margaret
Sandresky, another treasure of this area, of whom more later. The recital: Préambule (24 Pieces), Vierne; next, an anonymous 18th-century English Cornet Voluntary, and courtesy of divided stops, we heard a beautiful accompanied Cornet, three ranks just from middle c up; next a full Trumpet divided at middle c made possible a Trumpet Voluntary of Thomas Dupuis (1733-1796); then, Nun freut euch (BWV 734) of Bach; next we heard the really lovely Celeste in Prayer in E-Flat of Guilmant. The final works on the program were two
parts of an Organ Mass by
Margaret Sandusky based on the little 15th-century waltz tune L'Homme
armé. This was a wonderful recital,
which fact the audience acknowledged fully. Scott Carpenter is a player of
great assurance, musicality, and clarity.

Next was a really glorious Evensong, sung by the splendid
unauditioned choir of St. Paul's, Winston-Salem, conducted by Barbara Beattie.
Evensong began with the Richard Strauss Solemn Entry
style='font-style:normal'>, with the Giannini Brass Quintet. Preces
and Responses were by Martin Neary, then
followed the hymn, "O blest creator, source of light," to the Haydn
tune Bromley. The Psalm was No.
19, impeccably sung to a fine S.S. Wesley chant. The canticles (Magnificat and Nunc Dimittis in D) were by Sir Herbert Brewer (1865-1928). For the anthem, another lovely piece by Margaret Sandresky, The Turtle Dove. The closing hymn was "The day thou gavest, Lord, is ended," to the magnificent tune St. Clement.

After a good dinner at the Adams Mark Hotel, it was off to
St. Paul's Episcopal Church, and a joint concert by Margaret and John Mueller.
The organ is Skinner Opus 712 of 1929. Aeolian-Skinner did some revoicing work
in 1965, and in 1996-97 the Thompson-Allen firm of New Haven, Connecticut, did
a complete restoration. The St. Paul's organ has four manuals, 42 stops, 51
ranks--not huge, but quite telling in the space. The event began with Margaret
Mueller at the console as we lustily sang "For All the Saints," to Sine Nomine, complete with harmony for stanzas 5 and 6. After that, came an organ demonstration (Margaret). We were handed a two-sided, tightly-spaced sheet describing the demonstration. There were seven sections for the demonstration of the reeds, six for the Diapasons (no Prinzipals here), seven for Flutes, and three for the Strings; ah, and one
short section for the Harp and Celesta! Each of the sections dealt with
divisions separately, and ensembles and stops alone in those divisions. We then
heard March on a Theme of Handel
by Guilmant; Fantasie in C,
Franck; and finally the charming A Wreath of Carols
style='font-style:normal'> by Margaret Vardell Sandresky (b. 1921), making use
in lovely and clever ways of the Sussex Carol, Greensleeves, Lo how a
rose, and In dulci jubilo
style='font-style:normal'>. John Mueller then took over for a very fine Sonata da Chiesa for Flute and Organ assisted by flutist Julie Frye, written (1998) by North Carolina composer Dan Locklair (b. 1949). Dr. Mueller ended the program with the Allegro from the Widor Sixth. The audience essentially erupted at the end of this definitely "feel good" program, a tribute to two North Carolina composers, two well-loved North Carolina organists, and a most beautiful instrument.

Monday, June 25

The day began with a fascinating lecture by Jonathan
Ambrosino, who was just finishing a two-year term as President of the OHS.
"The Residence Organ, 'The Final Touch of Beauty for the Well-Planned
Home,'" took us back to those days of "yesteryear," the early
part of the 20th century when even radio did not exist commercially. If you
wanted music, you made it yourself. Just about everyone had a piano in the
parlor, and someone in the family who could play it. Those with wealth and
space had pipe organs.

After the lecture, a short bus ride took us to Centenary
United Methodist Church, Winston-Salem, for a concert involving Margaret
Vardell Sandresky and Dan Locklair. Centenary U.M.C. is not a small church,
surely seating at least a thousand souls. The church was begun in 1929, and
Austin installed an organ in 1931. With its usual uncanny thoroughness, the
Organ Handbook for the convention provides both the original specification and
that of today, after a number of revisions. The main redo was in 1963, not a
promising year! Right away, one notices that the Great lost its 16' Double Open
Diapason in favor of a Quintaten! Five 8' stops were whittled down to three.
The Second Open (albeit an upward extension of the 16') is gone, as is the
Doppelflute. The Great reed unit, Trumpet and Clarion, is gone. To be sure, in
the 1931 instrument the Great only went up to a 2' Principal, and that was an
extension of the 4'; now there is a IV Mixture, surely an improvement. The
Swell did not fare too badly, although it did lose its 8' Open Diapason, always
a shame, I think. It gained a 16' Contra Fagotto. I think I weep a bit for the
Choir organ, which must have had breadth and presence with an English Diapason,
Concert Flute, Flute Celeste, Dulciana and Unda Maris. These morphed into just
a Nason Flute, Dulciana and Unda Maris. It lost its Clarinet and Orchestral
Oboe in favor of a Larigot and Krummhorn. The Solo and Echo divisions are
changed somewhat in character, and possibly improved by the 1963 rebuild. In
1987, Austin made two additions of great significance: a not-too-frightening en
chamade reed in the back, and a solid 32' Bombarde in the Pedal.

The first part of the program was played by Margaret Vardell
Sandresky, who began with a work by her father, the first organist in the new
1931 building, Charles G. Vardell, Jr. (1893-1952). Appropriately, Mrs.
Sandresky registered using only stops from the 1931 organ. Skyland is a
wonderfully atmospheric work, with great soaring lines, and bits of nice glassy
effects, using also the French Horn and the Harp. Next, three works by Mrs.
Sandresky herself, beginning with a year 2000 commission from the Home Moravian
Church, a suite entitled The Good Shepherd, consisting of four chorale preludes based on Moravian Chorales; then a Wedding March written in 1982 while Mrs. Sandresky was organist of this church--somewhat British sounding, with great flourishes; and ending the first half of the program, En Chamade, written for OHS 2001. There are several movements, some with chimes, and some cleverly using the big reed in the back.

After a short break, the program resumed with Dan Locklair
playing his own music, beginning with a Fanfare for Organ
style='font-style:normal'>, written in 2000 on commission from Fourth
Presbyterian Church of Chicago. This was followed by three sections from the
Windows of Comfort (Organbook 2),
commissioned in 1996 by First Presbyterian Church, Topeka, Kansas, and inspired
by that church's Tiffany windows. Then, Ayre for the Dance and Jubilo
(A Prelude for Organ), a 1998 commission
from the AGO for the 2001 regional competitions for young organists. Finally,
we had a chance to sing, and a good chance indeed with the Parry tune to
"O praise ye the Lord!"

We next did a rather free-form triple split. We all drove to
the great estate that Tobacco built, Reynolda House in Winston-Salem, spacious
and elegant. The room from which to hear the organ is not huge, hence the split
with assigned times for each group for hearing the recital, for eating lunch in
the various restaurants on the estate, and for simply walking around the
beautiful grounds. It did not work out exactly as planned, because it took
rather a time to check out the various restaurants and to get into fairly long
lines and to wait for service.

After this visit, the buses took us back to the hotel for a
rest period. Then, we rode to Greensboro for dinner at First Presbyterian
Church, and then to Christ United Methodist Church, the scene of which could
have been a convention planner's nightmare, but turned out more than o.k. We
were to have heard Lenora McCroskey. Ms. McCroskey suffered an injury to her
arm some days before she was to play, and realized it would not be possible to
meet the commitment. Her excellent former pupil Stewart Wayne Foster was,
fortunately, available to play. He is artist in residence and associate
style="mso-spacerun: yes">  organist of First (Scots) Presbyterian
Church and is founder/musical director of the Orchestra of St. Clare,
Charleston's first full-scale Baroque orchestra. Mr. Foster has been
coordinating the pipe organ component of the Piccolo Spoleto Festival since
1999.

We began with a hymn, "O Gladsome Light," to the
tune Cantique de Simeon, a Louis
Bourgeois tune harmonized by Claude Goudimel. The notes on the instrument
indicate that this was one of the organs completed in the last year of Charles
Fisk's life, 1982, and mentioned that it is  considered a sister organ to the one at Downtown United
Presbyterian Church in Rochester, New York. Mr. Foster is a superb player, possessing a very easy sort of grace, his movements sure and musically based. With very little notice, he was able to put together a most interesting program. He also spoke very clearly and well, with comments carefully chosen and useful. Nicholas Bruhns, Praeludium in e minor; Bach, Toccata in d minor, BWV 913 (written with harpsichord in mind); Clérambault, Suite on the Second Tone; a setting of "Amazing Grace" by Robert Hebble, who was one of Mr. Foster's teachers; Toccata on "Old Hundredth" by Jack Jones (another of Mr. Foster's teachers). The recital ended with the Final from the Vierne Third Symphony, brilliantly played. By this point, I had wondered if Mr. Foster, given the late notice about playing, had actually had a chance to go out in the room and listen to the instrument with his registrations. Some judicious pruning could have made the big moments more bearable, something that was very much wanted in the Vierne, which was so splendidly done, but was also painfully loud.

Tuesday, June 26

The day began with a lecture by Peter Cameron entitled,
"George Jardine and Son, New York Organbuilders--An Era of Spectacular
Organs." Cameron has had a long career in organ maintenance, repair, and
restoration, and from 1977 to 1994 served as maintenance coordinator for the
Andover Organ Company. His lecture was a wonderful appreciation of a once great
company, from one who has had extensive hands-on personal experience with their
output. A great story, well told.

After the lecture, we did our three-way split to accommodate
one very small but beautiful venue in Historic Bethabara within Winston-Salem,
the "Saal" of the 1771 "Gemeinhaus," the meeting room in
which services were held in the Congregation House. While one part of the group
was hearing the recital, the other two parts were visiting the historical exhibits and enjoying the beautiful grounds. The little three-stop, single-manual organ in the "Saal" is by Charles McManis, built in 1971 after a 1772 organ by North Carolina builder Joseph Bultischek, an instrument that perished in a fire in 1942. Sadly and strangely, no one knows what the specification of that organ was, so Charles McManis, fortified with some knowledge of other very small organs used by the Moravians, settled on an 8' Gedact, 4' Principal, and 2' Octave.

Michael Rowland is director of music at Ardmore United
Methodist Church, and staff accompanist at Salem College. He played an
18th-century program beginning with Four Preludes of the English Moravian,
Christian Latrobe (1758-1836), followed by three Bach chorale preludes: Erbarm dich mein (BWV 721), Gelobet seist du (BWV 697), and Allein Gott (BWV 717). We then sang Allein Gott, two stanzas with harmony provided--sheer joy in that lovely place. Mr. Rowland was then joined by Lauren Kossler, a fine violinist, and together they played a suite for violin and keyboard by John Stanley. Thanks to them both for a perfect program for a most attractive and historic place.

Andrew Unsworth played an 18-stop Hook and Hastings
instrument of 1924, with no stop over 4', in a quite dead acoustic at Calvary
Moravian Church in Winston-Salem. Both Unsworth and the organ conquered all,
aided, no doubt, at times by the 73-note chests and attendant super coupler.
Currently organist and choirmaster at St. Paul's Evangelical Lutheran Church in
Durham, he holds a Ph.D. in performance practice from Duke. The program began
with two pieces by Henry Dunham (1853-1929), who taught organ at New England
Conservatory for 52 years: from the First Sonata in G Minor
style='font-style:normal'>, op. 10 (from 1882), an Allegro moderato, followed
by Impromptu from a set of 12
pieces of 1912, op. 24; next, "Vision," Rheinberger, a lovely piece
requiring some dexterity at registration changes, which were very deftly
handled. The last of the organ pieces was the War March of the
Priests, Mendelssohn, played with great
flair and a fat and powerful registration--very satisfying indeed. Unsworth
proved himself to also be a very fine hymn player, giving really good support,
and doing clever bits of descanting, with a rather nice reharmonization of the
last verse of the hymn Redeemer of Israel, to a tune by Freeman Lewis.

Lunch was served at Centenary United Methodist Church,
Winston-Salem, following which we bused to Old Salem where we again broke into
three groups in order to accommodate the limited capacity of the "Saal" in the Single Brothers' House. While one group was at the recital, others were touring Old Salem. In the "Saal," Lois Regestein played her excellent recital three times in order to fit everyone in. The organ, by David Tannenberg, 1798, is gentle and sweet, and comprises five stops. The console is slightly detached and reversed. The instrument was rebuilt by Charles McManis in the mid-60s. The program: Organ Obbligatos to an Anthem, by Johann Ludwig Freydt (1748-1807); Fuga, by Johann Gottfried Gebhard (1755-?); Prelude No. 2 in C Minor, Prelude No. 6 in E-flat, by Christian Latrobe; Nun rühen alle Walder, by Ernst Immanuel Erbe (1854-1927), then another "Chorale Verse" based on the same tune, by Carl Anton Van Vleck; Voluntary IV in G, op. 7, by John Stanley; and then the hymn Morning Star, written in 1836 by Francis Florentine
Hagen (1815-1870). James Boehringer, former director of the Moravian Music
Foundation, and Kevin Brown, present administrator of the foundation, were both
acknowledged as having provided help in organizing the program.

We next walked to Home Moravian Church, where Paula Locklair
presented a most interesting slide-talk about the work of David Tannenberg and
his relationship with the Moravians in North Carolina. Mrs. Locklair has worked
with the various collections at Old Salem since 1975, and has been director of
collections since 1987, and is married to composer Dan Locklair. After her
talk, she introduced John Boody of the firm of Taylor & Boody, who gave a
slide-talk presentation about the company's project for restoring the 1799
Tannenberg organ for the Home Moravian Church. This is the oldest American-made
two-manual instrument extant. (For information on the project:
<www.taylorandboody.com&gt;.)

We then moved upstairs to the church, where the Piedmont
Chamber Singers, directed by James Allbritten, and accompanied by David
Pulliam, led us in a Singstunde, which is just what it sounds like--a wonderful
hour of singing, much of it done by us, with some choral works sung by the
Chamber Singers. We sang hymns that would be known to a Moravian congregation,
but not necessarily to us, and thus learned some new and quite interesting
hymns.

OHS planners always try to find occasional experiences other
than organs and organ music, and tonight was the night. We bused quite a long
way out of town to the Pollirosa Restaurant, obviously a very popular spot.
There was a long line and the place was really packed, but they were ready for
our group, and we had some wonderful barbecue and lots of other good things,
all accompanied by bluegrass music, live, on stage. There were also hayrides
available, but I did not notice any of our group indulging. We had six buses,
and they left for the hotel at intervals, so you could leave when you had had
your fill of food--and possibly of bluegrass. A lot of our gang really got into
it, singing and dancing up a storm, and me without my camera!

Wednesday, June 27

This penultimate full day of the convention featured an
array of various instruments. Here is the pipe count for the day: 362, 363,
951, 4926, 1038, and finally 6663. The day began with an almost two-hour bus
ride to New Hope Presbyterian Church in Chapel Hill, to hear Steve Barrell play
the 1987 one-manual organ by John Brombaugh. The program: Pieter Cornet (c.
1560-c. 1630), Four Versets on "Regina Caeli," featuring various combinations of sound, some of the fuller
bits somewhat on the harsh side, some individual voices quite beautiful.
Divided stops make possible solo and accompaniment, used to good effect. Then,
Johann Pachelbel (from Hexachordum Apollinis
style='font-style:normal'>, 1699), Aria Prima with Six Variations, the second variation on a beautiful Flute with tremulant. For something entirely different, we sang the hymn "Were you there," with a harmony of Barrell's own devising, based on the music of Fats Waller.

A very short bus ride brought us to Hillsborough and St.
Matthew's Episcopal Church for a recital by Grant Hellmers, an Australian by
birth, who has been at St. Paul's Episcopal Church in Richmond for 20 years,
and was assistant for the four years before that. Before his time in Richmond,
he held church positions in Australia and in Vienna. The two-manual Hook &
Hastings stock model organ dates from 1883. The program: Humoresque (L'organo
primitivo), Toccatina for Flutes, Pietro
Yon; the beautiful Schübler Wer nur den lieben Gott lasst walten, Bach, after which we sang the two stanzas given for the chorale, one in harmony, and the second in unison with a very nice reharmonization. The power of even half of an OHS convention was just too overwhelming (we were split in two groups at this point)--every stop was indeed on! Following the hymn, three charming pieces by Leopold Mozart, from Der Morgen und der Abend (Morning and Evening); then, "Lied" (from 24 Pieces in Free Style), Vierne, with the lovely Open Diapason for the melody; Percy Whitlock, Divertimento (No. 2 from Four
Extemporisations); and finally, Allegro
(Number 6 of Six Short Preludes and Postludes, Set 2, op. 105) of C. V. Stanford. Well conceived and beautifully played was this program, and the little stock organ really is
lovely.

Both New Hope Presbyterian and St. Matthew's Episcopal
provided lunch for their half of the convention party, after which we gathered
at the Chapel of Peace College in Raleigh, where Rosalind Mohnsen played her
16th OHS convention recital. The organ is a transplant, a gift to the college
given by Christ Church, Raleigh. I don't know how many intact organs by
Pomplitz & Company are extant. Here at Peace College, this 17-stop Pomplitz
found an excellent home, and it and the college were presented with an OHS
Plaque in recognition of this. It was accepted by the president of the college,
who said a bit about how much she enjoys this instrument. With only 17 stops,
this two-manual organ nonetheless has both a 16' Double Open and a Bourdon, and
is quite robust in other ways as well. The program began with March from Ten
Progressive Pedal Studies of George
Whitefield Chadwick; then, Gavotte Pastorale by Frederick N. Shackley (1868-1937); Prelude
in E-flat Minor (op. 66-1911), Vincent
d'Indy (1851-1931); Prelude and Fugue in B Major
style='font-style:normal'> (op. 99), Camille Saint-Saëns; Pastorale in D Major, op. 13, William Wolstenholme (1865-1931); and finally an Allegro Moderato in D by Henry Smart (1813-1879). The recital came to a rousing close with the hymn "The Day of Resurrection" in glorious harmony to Henry Smart's well-known tune Lancashire
style='font-style:normal'>.

A bus ride brought us to the beautiful campus of Duke
University, with a chapel boasting three remarkable organs, upon each of which
we heard what could only be described as a perfect recital, tailored to match
the qualities of the instrument. We began at the west end of the chapel with
the famous four-manual Flentrop of 1976, with Mark Brombaugh offering a recital
of Buxtehude, Scheidemann, de Grigny, and a partita by James Woodman,
commissioned by Brombaugh in honor of his father. Woodman's Partita on
"Spanish Hymn" was written in
1999 and comprises seven sections: Prelude, Chorale, Bicinium, Trio, Aria,
Fughetta, and Canon. The program ended with the hymn "Spanish Hymn,"
complete with three harmony verses and even a bit of a descant! The Flentrop
organ had a robust sound in the louder works and permeates the building wonderfully. The chapel's walls have been treated with several coats of sealant with excellent results. Equally impressive were the clarity and color of the quieter sounds.

The next event generated something akin to hostility. I
suppose the behavior of a few of our colleagues might be compared to the
reactions of some who demonstrated their opprobrium at the first performance of
Rite of Spring. Well, in truth, no
tomatoes were thrown on this occasion, but it saddens me to report that a
number of people left the building, saying things like "I don't have to
listen to this." Some even said things like: "I listened to the damn
Flentrop, but this is too much!" Meantone is not nearly as sinister as it
sounds! I heard Margaret Irwin-Brandon at OHS Boston the previous summer, where
she had the assignment of playing the Charles Fisk dual-temperament instrument
at Wellesley College. The anti-anything-different folks were in evidence there,
too. As at Wellesley, she chose a program absolutely perfect for the instrument
at hand: Frescobaldi, Toccata Sesta, Bk. II, per l'organo sopra i pedali, e senza; Canzona Quarta; Toccata Quinta, Bk. II, sopra i pedali per l'organo, e senza. Then we sang "Savior of the nations, come" (Nun komm der Heiden Heiland), five harmony stanzas in our hymnlet, which means we all sang in meantone without any permanent injury, with the exception of stanza 3, which got switched amazingly into a triple meter, which we all managed quite well. Then Canzona II of Froberger, followed by Ballo della Battaglia of Bernardo Storace. Now, if anyone was in doubt about the personality of meantone tuning, the Frescobaldi works left no doubt. There are intervals that jar our "well"-conditioned brains and ears, and I found myself, as at Wellesley, looking straight up at the organ and listening with as much attention as I could muster--this contemplation coupled with a totally relaxed attitude. This is edgy, this is somewhat unsettling, but I can get used to it, and find these sounds more of a condiment than a threat. The very gentle beauty of this Brombaugh organ at Duke beguiled me into complete acceptance, and pleasure at having the opportunity to hear something from the history of our instrument. The Froberger was wonderfully gentle and sweet, and then the Storace was, well, a battle, with the little Regal on the Brustwerk doing yeoman service!

The journal of the Organ Historical Society is called The
Tracker, and back in the very early days, this was the perfect name.
Conventions included visits to, if not totally exclusively, almost exclusively
mechanical-action instruments. The broadening happened gradually, and now
convention goers visit historic E. M. Skinner organs, on which are often
conferred OHS plaques in honor of their preservation and maintenance. We have
often even visited new organs of note, no matter what mechanism makes the pipe
speak, e.g., the new Létourneau instrument at the first recital of this
convention! Welcome, I think, to the real world, with a broader view of real
excellence. I have not, and I know others who are driving the work of OHS have
not, abandoned a belief in the great virtues and advantages of tracker action.
This does not prevent me from thrilling at the sound of the Wanamaker Organ,
for example. The full circle we have made was brought into full view by all the
buzz and almost palpable anticipation of the next event, a recital on the
Aeolian organ in the east end of the chapel, an organ so reviled in times past
that there was a powerful movement to junk it. It makes the heart glad to know
that the OHS had a role in the campaign to save it, so there was some reveling
in all of this as we settled down to hear Ken Cowan give a convincing
demonstration of this instrument: Allegro vivace from the Widor 5th; Ave
Maria of Marco Enrico Bossi (1861-1925) demonstrating the ravishing strings of the instrument; Roulade, Seth Bingham; Overture to The Flying Dutchman, Wagner; the hymn "In our day of thanksgiving one Psalm let us offer," to the glorious tune St. Catherine's Court, with harmony. (Let it be here stated that Ken Cowan does know how to accompany a hymn. I wrote in my book: "What an accompaniment!!") Words won't do in describing Cowan's simply stunning performance of a perfect piece for right where we were, the Liszt Ad nos, ad salutarem undam.

Thursday, June 28

The last day of the convention began with Rachelen Lien from
New Orleans, a regular performer at OHS conventions, giving a preview of a
January 2002 mini-convention entitled "A South Louisiana Organ
Odyssey." This event, to be held January 3-5, was to include tours of
plantations, monasteries, and convents, as well as the famous French Quarter.

A 45-minute bus ride brought us to the First Presbyterian
Church of Lexington, for a recital by Edward Zimmermann, a native of North
Carolina, now teaching at Wheaton College in Wheaton, Illinois. The organ, Opus
499 of Geo. S. Hutchings (1900), was relocated to this church through the Organ
Clearing House and members of the staff of Andover Organs, which company
rebuilt and enlarged the instrument in 1994. The program consisted entirely of
works by Otto Dienel (1839-1905), beginning with a chorale prelude on Lobe
den Herren, for which Zimmermann used only
original Hutchings stops; we then sang just one stanza of the chorale. This
two-manual instrument of 23 stops and 28 ranks is very fine. There followed
three more chorale preludes: Komm, O komm, du Geist des Lebens; Mach
dich, mein Geist, bereit; and Wer
nur den lieben Gott lasst walten. The
program ended with a three-movement Grand Sonata No. 3 in F Major, op. 18, on the chorale Wie gross ist des Allmaecht'gen Guete. At some of the convention recitals, we are joined by varying numbers of members of the
congregation, which suggests the good news that there is interest in the organ.
From this church, there were many congregants, and I am sure they had their
interest and pride in the instrument strengthened.

After lunch in Winston-Salem, we moved on to another
surprisingly effective organ, speaking out of a very small rectangular hole
high on the east wall, looking for all the world like a large
style="mso-spacerun: yes">   speaker enclosure. No date is
given for this Kilgen unit organ of 11 stops and 13 ranks. The church was built
in the early 1930s by a Presbyterian congregation, and the organ would seem to
be of the same period. In 1964, the congregation of St. James A.M.E. Church
bought the building. The organ was last played publicly 30 years ago. The last
time it was played at all was 20 years ago. At some point, before the organ
ceased to be used, some tonal changes were made under the direction of John
Mueller, which now, at this time of our organic thinking in the 21st century,
will either bring cheers or jeers. The Great 8' Open was replaced by a Mixtuur
III. The 8' Clarabella became a Gedeckt. The Dulciana became a 4' Octaaf. On the
Swell, the Vox Humana became a 2' Vlakfluit. When members of the convention
committee went to inspect this instrument, it was not playing at all--there was
no longer electricity to the blower. John Farmer and a crew, along with a
licensed electrician, got it all cooking again. There were a few members of the
congregation around for the recital, and I hope they might be persuaded to make
some use of the instrument, now that it can be played again. Those there seemed
impressed. Here we were treated to a concert by bass-baritone John Williams and
organist Max Smith. The program: Handel, Thanks be to Thee
style='font-style:normal'>; Mendelssohn (Elijah
style='font-style:normal'>), Lord God of Abraham (preceded by the recitative);
Margaret Vardell Sandresky, O God, my heart is fixed on thee
style='font-style:normal'> (Psalm 108); for organ alone: Adagio from Widor Symphony No. 6; "I Stood on the River of Jordan," arr. Harry Burleigh; "Let Us Break Bread Together"; provided with full harmony, we happily sang "Fairest Lord Jesus" to the tune Crusaders' Hymn.

A 45-minute bus ride brought us to the third and last
"stately home" of the convention, the Chinqua-Penn Plantation,
devised and built by Mr. & Mrs. Thomas Jefferson Penn. A Skinner organ,
Opus 565, was installed in 1926. The pipes are in the basement, speaking out
into the great living room through large grates. For this visit, we were
divided in two groups to avoid crowding in the room where the organ resides.
While one group was walking the extensive and interesting grounds, the other
was listening to a recital, well played and chosen for the organ and venue, by
Mary Gifford, who is director of music at St. Leonard Catholic Church in
Berwyn, Illinois. Her program was perhaps a reproduction of at least the spirit
if not the specifics of what might have been heard by the residents of this home. There were four charming Edward MacDowell piano works arranged by Ms. Gifford: Hunting Song, An Old Love Story, To a Humming Bird, and the inevitable To a Wild Rose; next A Southland Song by William Lester, an English organist who settled in Chicago in the early part of the 20th century, and was for some years a reviewer for The Diapason; then we attempted to sing "When Mother Played the Organ," by George B. McConnell (text by Dick Sanford) and did not do
too badly at all. The perfect closer was the Mendelssohn War March of
the Priests arranged by Theodore Dubois.

After dinner at the plantation (one could get used to that),
we hopped on the bus for a one-hour relaxing trip to Greensboro, and West
Market Street United Methodist Church, where Peter Sykes played the final
recital of the convention. Organist at First Church in Cambridge,
Massachusetts, Sykes teaches organ, harpsichord, and chamber music at the Longy
School, and serves on the faculty of the extension division of New England
Conservatory. The organ at West Market Street is by Dobson in collaboration
with Manuel Rosales. Quoting from the Organ Handbook: "In the final
equation, Dobson designed and constructed the organ; Rosales provided basic
scaling with input from Dobson; and both companies shared equally in the
voicing and tuning process." Key action is mechanical, stop action,
electric. Some Pedal ranks are on electric action. There are three manuals and
39 stops, the third manual being a small Solo Organ, with an Harmonic Flute, a
5-rank Tenor G Cornet, an 8' Trumpet and an 8' Clarinet. The program:
Mendelssohn, Sonata No. 3 in A Major; a five-movement "suite" by
James Woodman, All Creatures of Our God and King: Sister Moon, Brother Sun, Mother Earth, All of Tender Heart, and Alleluia; the tune Lasst uns erfreuen appears here and there. Then, Tocccata in F (Bux 137); Fantasia and Fugue in C Minor, BWV 537, Bach; three "Tonstücke," op. 22 of Niels Gade; and to close, Duruflé Prélude, Adagio, et Choral varié on Veni Creator. The last hymn to be sung at this convention followed, a rather angular but ultimately attractive and singable tune by Derek Williams (b. 1945) to the text, "Give us the wings of faith." The Dobson/Rosales instrument, though not large, provided plenty of variety and color for such a varied program. There were, for me where I was sitting, a very few overpoweringly loud and harsh moments, and I thought it had to do with the Great Reeds, 16, 8 & 4, but others will have felt differently, I am sure. The instrument is surely a great success, and Mr. Sykes' performance was superb. The buses soon departed for the hotel, and one last look at the exhibits and the convivial bar  and it was all over for another year.

This was another wonderful OHS convention! Readers please
note: the 2002 OHS national convention will take place June 25-July 1 in
Chicago, Illinois. For information: 804/353-9228;

<www.organsociety.org&gt;.

Paris Week, July 2-9, 2001

by Kay McAfee

Kay McAfee is professor of organ and music history at Henderson State University in Arkadelphia, Arkansas, where she also serves as organist for First United Methodist Church.

The ninth biennial seminar attracted 80 participants who assembled in Paris anticipating the first week of playing time on the great instruments, lessons and classes with master teachers, participants' recitals, and the hospitality of our gracious hosts. At the Paris Conservatory, director Christina Harmon introduced co-director Marie-Louise Langlais, who received a warm round of applause. Participants introduced themselves and greeted old friends from previous seminars. Two student scholarship winners were announced: Josh Melson of Cherry Hill, New Jersey and a student at Centenary College in Shreveport, Louisiana; and Victor Johnson, a student at the University of Texas at Arlington and organist/composer-in-residence at Hamilton Park Baptist Church in Richardson, Texas.

 

The seminar always includes discourses about the instruments, improvisations by resident organists, and playing time for participants at the Schola Cantorum, Notre Dame de Paris, Les Invalides, Saint-Roch, La Madeleine, Sainte-Clotilde, La Trinité, Notre-Dame-des-Champs, Saint-Severin, Saint-Etienne-du-Mont, and Saint-Sulpice. The itinerary this year added visits to Notre Dame d'Auteuil, Saint-Augustin, Saint-Vincent-de-Paul, Saint-Eustace, and Dupré's home at Meudon.

Group and private lessons took place throughout the week with instructors Yanka Hekimova (Saint Eustace), Naji Hakim (La Trinité), Françoise Levechin (Saint-Roch), Lynne Davis (American Cathedral), François Espinasse (Saint Severin), Susan Landale (Les Inva-lides), and Marie-Louise Langlais (Sainte-Clotilde).

Participants who had contributed to the student scholarship fund were treated to a lovely wine and cheese reception at the apartment of Daniel and Odile Roth. Roth led everyone to his basement studio which houses a two-manual organ and a grand piano. The walls are filled with posters, memorabilia, and photographs, including those of Schweitzer, Widor, Bach, Franck, and Conrad Bernier. Letters and musical quotes from Kodály, Widor, Schmitt, Messiaen, Guilmant, and Deutilleux overlook the study. Later in the week, Roth, titular organist at Saint-Sulpice, would give the history of the instrument, improvise, and spend nearly six hours assisting participants to play.

Paris Conservatory

At the Conservatory, Jean-Charles Robin, 19-year-old student of Mme. Langlais, improvised on the tune "National Hymn" (God of Our Fathers), given an interesting twist by David Erwin who submitted it. Mme. Langlais solicited literature and performers for the participants' recital at St-Roch.

Saint-Augustin

Saint-Augustin, within short walking distance of the Paris Conservatory, was Gigout's church. He was titulaire there from 1863 until his death in 1925. Assistant organist Didier Matry played Gigout, a Cochereau improvisation, and his own improvisation.

Saint-Roch

Sylvie Mallet, David Erwin, and Mme. Langlais assisted for the recital at St-Roch. Advertised in the Paris weekly publication for arts events, the program attracted a great number of listeners. Eighteen participants played the marvelous four-manual, 53-stop, 1770 Clicquot instrument which was restored and enlarged by Cavaillé-Coll from 1840 to 1862. It boasts reeds which are among the most powerful in Paris. Literature included works by de Grigny, du Mage, François and Louis Couperin, Clérambault, Hakim, Vierne, Honegger, Langlais, Salomé, Widor, Sejan, and Lanquetuit. Performers included Mary Milligan (Denver, Colorado), Yolanda Yang (Irvine, California), Jay MacCubbin (Providence, Rhode Island), Helen Van Abbema Rodgers (Fairhope, Alabama), Shinook Lee (New York City), Josh Melson, Thomas Hanna (West Palm Beach, Florida), Jack W. Jones (Palm Beach, Florida), Esther Wideman (Philadelphia, Pennsylvania), Kay McAfee (Arkadelphia, Arkansas), Carl Schwartz (Silver Spring, Maryland), Eunice Ford (Huntsville, Alabama), David Erwin (Alexandria, Virginia), John Walko (San Francisco, California), Barbara Reid (Dallas, Texas), Lois Holdridge (Fullerton, California), Angela Kraft Cross (San Francisco), and Randy Runyon (Oxford, Ohio).

La Trinité

Naji Hakim, titular organist at La Trinité, was protégé and designated successor of Messiaen. New seminar participants as well as returning veterans enjoy the devotion of Parisian organists to the heritage of their instruments and the tribute paid their predecessors. None is more enthusiastic than Hakim. Guilmant's heritage at La Trinité includes the story of his horror at returning from America to find his instrument dismantled and destroyed. Cavaillé-Coll rebuilt the organ and today it exists as the instrument best suited for Messiaen's music.

Hakim played the outer movements of Messiaen's Messe de la Pentecôte. He spoke of Messiaen's improvisation and how he freely moved within many styles: Classical, Mendelssohn, Widor. The Livre du Saint Sacrement exploits Messiaen's improvisatory gifts. Hakim played his newest composition, The Last Judgement, which incorporates plainsong melodies: "Dies Irae," "In Paradisum," Alleluia of the Epiphany, and Gloria from Missa de Angelis. He improvised on "The Star Spangled Banner" since this group was there on July 4.

Notre-Dames-des-Champs

Marie-Bernadette Dufourcet, titular organist at Notre-Dame-des-Champs, treated participants to the sound of the 90% original Cavaillé-Coll design and disposition. It contains one of the most beautiful harmonic flutes and rich montres.

Saint-Vincent-de-Paul

At Saint-Vincent-de-Paul, where Léon Boëllmann served as titular organist, Marie-Louise Langlais introduced Pierre Cambourian, the current titulaire, who played the 1849 Cavaillé-Coll choir organ. Its action and stops have remained untouched and it enjoys exquisite balance of foundations, mutations, and reeds. Of three manuals with a short Récit, it has a beautiful harmonic flute, vox humana, and 16' basson on the Récit. The church was designed in the Neo-Classical style, after La Madeleine. The four-manual Cavaillé-Coll Grand Orgue, originally comparable to the La Madeleine organ, is now of Neo-Classical design, refurbished by Gonzalez in 1970, and nothing plays on the fourth manual. It is of 66 stops, although 91 were originally planned. Participants enjoyed generous playing time.

Saint-Louis des Invalides

In the evening the entire group gathered at Église Saint Louis des Invalides to hear informative discussion and playing by Susan Landale, who is one of three organists for the church. The Thierry family built the first instrument, a four-manual organ, from 1679 to 1687. The Clicquot family (who were also in the champagne business) looked after it. Louis XIV's architect, Jules-Hardouin Mansart, designed the case with its gilded sculptures. Some pipework remains from Thierry: the cromorne, fonds, bourdon and doublette in the Grand Orgue, and Positiv nazard and 2'. In 1843 a full-scale restoration was ordered. Three firms submitted proposals: Cavaillé-Coll, Ducroquet, and the winner of the contract, Gadault. Gadault built a third-rate Romantic organ, completely destroying the Classical organ of Thierry. There are, however, very fine reeds in the Swell. The Gadault organ was dedicated in 1853.

In 1942, Bernard Gavoty, a pupil of Dupré and a respected and feared music critic, was appointed organist at Les Invalides. He moved within elegant Parisian circles, and was the right person to collect money for a rebuild of the organ. In 1955, it was decided to engage the Beuchet-Debierre firm, which was instructed to build a Neo-Classical instrument. The console was electrified and the compass of manuals and pedals extended. The chamades were added in 1979.

According to Landale, the principal miscalculation of the Neo-Classical movement was the idea that if there were mixtures one could play Bach. It didn't matter if the mixtures didn't fit well with the foundations. The other problem was cramming a large amount of pipes into a small space (the original case) in order to get more ranks. As a result, the scaling went smaller and the sound was thinner. But to consider the music of Tournemire, Duruflé, Messaien, and Langlais from 1930 to 1970 is to hear music which was influenced by the Neo-Classical sound.

The last overhaul of cleaning and tuning the organ was in 1980. There are plans for another overhaul in 2003 which will include rewiring the organ. The organ contains 61 stops, including cornets on both the Great and Swell.

Ms. Landale discussed Tournemire, his work and his legacy, and played two of the improvisations: Ave Maris Stella and Te Deum. These improvisations had been recorded at Sainte-Clotilde to wax discs in 1913. Duruflé transcribed the improvisations in the 1950s. Besides the two Tournemire improvisations, Ms. Landale played a piece by Petr Eben, who followed Tournemire's lead in the prodigious use of Gregorian chant.

Sainte-Clotilde

The entire group assembled at Sainte-Clotilde to hear Marie-Louise Langlais discuss the organ, to hear participants play, and to enjoy a demonstration and improvisation by Jacques Taddei, titular organist of Sainte-Clotilde and director of the Paris Conservatory. Mme. Langlais met the group outside to talk about the history of the church.

The parish was wealthy and Cavaillé-Coll was engaged to build the organ. The organ is 46 stops, small by Cavaillé-Coll standards. Franck served as organist here from 1859-1890. Pierne served from 1890-1898, Tournemire from 1898-1939, and Langlais from 1945- 1987. Mme. Langlais mentioned that she tried to get Langlais to retire in the mid-1980s, as he really was not able to climb the steps to the loft. He declared that he was determined to "stay one year longer than Tournemire," and he did.

Tournemire was a devotee of Baroque music, both German and Spanish. He tried to transform the Sainte-Clotilde organ to accommodate these styles. In 1933, he enlarged the Positiv by adding mutations and he also directed enlargement of the Swell. This changed the balance of the organ. More changes were made by Langlais in 1962. With Jacques Taddei and Marie-Louise Langlais as consultants, the organ is currently undergoing yet another restoration. The goal is to return it as much as possible to the original Cavaillé-Coll voicing and disposition while maintaining the tonal design for playing also the music of Tournemire and Langlais. The organ builder in charge is Bernard Dargassies, who also has worked at Saint-Augustin, La Madeleine, and Saint-Étienne-du-Mont. Restoration of the original wind pressure, addition of a second motor for the blower, and restoration of the stop action is in process. The organ, and especially the 8' foundation ensemble, sounds more powerful, while the reeds have remained unchanged. At this point, the organ is as close to the original Cavaillé-Coll since the restoration by Tournemire in 1933.

David Erwin played the Franck E Major Choral using exclusively the Franck stops including signature stops of great beauty: vox humana, Swell trompette and hautbois combined, and the solo harmonic flute. Mme. Langlais played part of the Seven Words of Christ by Tournemire, and Angela Kraft Cross played "La Nativité" from the Poèmes Évangéliques by Langlais.

Mme. Langlais introduced Jacques Taddei, who demonstrated the solo and ensemble stops of the organ: 1. Positiv and Grand Orgue flutes in a scherzo; 2. The Récit gamba and celestes with the beautiful Positiv clarinet (really a cromorne); 3. Grand Orgue trumpet with fonds of the Récit; 4. Positiv cromorne with cornet of the Grand Orgue; 5. Ensemble of fonds of the Grand Orgue and Positiv and fonds of the Swell including oboe; 6. Flutes of the Grand Orgue and Récit which have been restored as harmonic flutes; 7. Restored larigot and 1', added by Tournemire in 1913, are now more integrated into the organ. Taddei then improvised on two themes submitted by Mme. Langlais: a Breton folk song and the hymn "If thou but suffer God to guide thee."

For the July 8 Sunday Mass at Sainte-Clotilde, six seminar participants were invited by Mme. Langlais to present musical offerings during the service. Literature included: Improvisation on Ave Maris Stella (Tournemire), Louise Bass (Albuquerque, New Mexico); Grand Jeu (Corrette), John Walko; Choral Dorien (Alain), Jack Jones; "Mon âme cherche un fin paisable" (from Nine Pieces, Langlais), John Walko; "Communion" (from Suite Médiévale, Langlais), Kay McAfee; Variations on a theme of Janequin (Alain), Jill Hunt (Evanston, Illinois); "Final" (from Symphonie I, Vierne), Angela Kraft Cross.

Saint-Sulpice

At Saint-Sulpice, a massive Roman style church with rounded interior arches, tourists are dazzled by the huge paintings in its side-chapels, two of them by Delacroix. The imposing case of the Grand Orgue, designed by the 18th-century architect of the church, Monsieur Chalgrin, matches the enormity and weight of the interior. Organists at Saint-Sulpice have included Guillaume Nivers, Clérambault, Lefébure-Wély, Widor, Dupré, Grunenwald, and presently, Daniel Roth. Clicquot built the first instrument in 1781. That organ was of five manuals: Half-Récit, Half-Echo, Récit, Bombarde, Grand Orgue, and Positiv. In 1835, a proposed restoration by Callinet was begun but was abandoned; 60,000 francs and twenty years later, Cavaillé-Coll undertook the project. At the time there were three organs in the church, the Grand Orgue, a Choir organ, and a smaller instrument owned by the Dauphin. Cavaillé-Coll restored all of them, and the choir organ survives today. The grand orgue is of 102 stops, including the original Clicquot pipework which Cavaillé-Coll carefully preserved. At the completion of the work in 1862, the dedication featured César Franck, Camille Saint-Saëns, Alexandre Guilmant, and Gaylord Schmidt (the titulaire at the time). In 1863 Lefébure-Wély was appointed organist, and when he died six years later, Cavaillé-Coll recommended Widor as titulaire. Because of Widor's youth (26) and the observation that "he plays like a German," many letters of protest were written. However, Widor was named "provisional" organist and remained for 63 years. Further maintenance of the organ occurred in 1903 (Mutin, Cavaillé-Coll's successor) and in 1991 (Renaud).

Neither Widor nor his successor Dupré (1933-1971) allowed any major changes in the pipework at Saint-Sulpice through the Orgelbewegung and neo-classic movements of the 20th century. Widor supervised cleaning of the organ three times and in the 1920s an electric blower was added. Dupré had the organ cleaned and repaired in the 1950s. The unbroken tenure of over 100 years by these two organist-composers effected the presence of a largely unaltered example of Cavaillé-Coll's tonal design.

Notre Dame d'Auteuil

At Notre Dame d'Auteuil in a quiet, upscale neighborhood close to the southwest boundary of Paris, Frédéric Blanc, who was one of the last students of Marie-Madeleine Duruflé, introduced Mme. Duruflé's sister, Elaine Chevalier. She is a member of the parish and head of the new Duruflé Foundation. Blanc, a gifted musician, has been titular organist here for 21⁄2 years. The organ is very special because it is an unaltered 1885 Cavaillé-Coll. Widor and Dallier played the inauguration. Mutin restored the organ in 1912 and again in 1937-38 under the direction of Vierne and with approval from Duruflé and Dupré. An electrified console was added.

The organ was virtually ignored through the Neo-Classical movement and managed to remain untouched, primarily because the organist who preceded Blanc was there for fifty years, and the instrument remained "closed." It is of three manuals and 53 stops with both Récit and Positiv under expression.

Blanc then conducted a session concerning the tradition of improvisation practiced by French organists who study the art from the time they are young children. Improvisation is always a mix of composition and freedom. Control is necessary, with effective use of stop combinations: flutes and fonds, solo stops with celestes, and with a mixture of counterpoint and chordal harmonies. Blanc: "Start simply. Control the harmony according to theoretical principles. A chosen theme should have both melodic and rhythmic interest. In preluding for the service or providing meditation for communion, there should be a plan for the shape of the form." He talked about how ideas come quickly for the good improviser and that those ideas have to be molded quickly. The time spent practicing improvisation will result in the tools for being free with those ideas that come quickly.

Saint-Étienne-du-Mont

Across from the Pantheon and near the beautiful Luxembourg Gardens is located Saint-Étienne-du-Mont, the church where Maurice and Marie-Madeleine Duruflé served for over 50 years. There was an organ here first in 1633 to which François Clicquot contributed. Today only the magnificent case survives along with some of the original Clicquot pipes. Randy Runyon, French professor at Miami of Ohio University, introduced and translated for Vincent Warnier, the talented young winner of the Grand Prix International d'Orgue de Chartres in 1992, who assumed the post of titulaire here upon the death of Mme. Duruflé.

Warnier related the history of the organ, which evolved very differently than other Parisian instruments. In the 19th century, when the romantic and symphonic sound was valued, Cavaillé-Coll was asked to restore the organ, the work for which was completed in 1863. He added many Romantic voices--fonds, harmonic flute, an expressive Récit with voix celeste--and a Barker machine.

In 1930, at age 28, Duruflé was named titlular organist. He arrived to find the organ virtually unplayable, and with Vierne and Dupré, they envisioned a restoration. But WWII intervened. Duruflé had to play a choir organ of only 12 stops for 25 years. In 1955 the organ was finally restored. Duruflé had been Vierne's assistant at Notre-Dame and he very much wanted to recreate that organ here. The 48 ranks became 90, and the new electrified console was placed to the right of the instrument.

Because the original case was small, the pipes were spread out. Above the west entrance doors, pipes are visible with some placed on their sides. The Echo manual is completely to the side of the original case, and gives a sense of mystery to the tonal palette. This is not an historical restoration, but the dynamic range is enormous, with impressionistic colors and an impressive tutti. In 1989, Mme. Duruflé enlisted the Dargassies firm to restore the organ. At that time the console was further modernized, mixtures were revoiced, and fonds and an en chamade were added. Today the organ is an eclectic instrument.

La Madeleine

At La Madeleine, François Henri-Houbart, titular organist for the past 22 years, related the history of the colorful musicians and composers who have served this most civic and visible of Parisian churches. During Lefébure-Wély's era in the early 19th century, the church was considered "an annex of the Opéra Comique," because the music heard was often of the salon and theatrical varieties. When Houbart arrived, the organ was in a poor state of repair. Houbart oversaw a restoration of the windchests, the restoration of the wind pressure as prescribed by Cavaillé-Coll, and the modification of the newer stops so that they integrate well within the original pipework.

The organ (1845-46) is Cavaillé-Coll's second large instrument after Saint-Dénis and Notre-Dame-de-Lorette. This instrument, originally of 48 stops, represents the transition to the Romantic-symphonic ethos of Cavaillé-Coll. The fonds, reeds, and plein jeu provide a Classic foundation (after Dom Bédos). There is no cromorne or cornet. The Récit is the same as Sainte-Clotilde but without the voix celeste. The organ has a large quantity of flutes, especially harmonic flutes, representing Cavaillé-Coll's transition to the orchestral organ. Today the organ has 58 stops, with 46 from the original instrument.

The organ underwent a restoration in 1927 for which Widor played the dedicatory recital. The program included his Suite Latine, which was written for the occasion. The console was electrified in 1971. The heritage of organists include Fessy, Lefébure-Wély, Saint-Saëns, Dubois, Fauré, Dallier, and Demes-sieux. Fauré was first the choir organist and he assisted Saint-Saëns. When Fauré became titulaire, Nadia Bou-langer was his assistant. Clara Schumann, Franz Liszt, and Anton Rubenstein frequented the organ loft.

The choir organ was also built by Cavaillé-Coll. At first it had only one keyboard, but he added another to encompass 20 stops. It was restored in 1997. The bassoon, oboe, and clarion are original stops. Houbart's fine improvisation included demonstration of the Cavaillé-Coll stops, then of the newer stops, then all together. Houbart related that once every three years he plays an all-Lefébure-Wély Mass, which he would do that evening at 6 pm, Sunday at 11 am, and Sunday evening at 6 pm. For participants who wanted to attend, about ten people at a time could visit the organ loft. He mentioned that Lefébure-Wély  wrote a number of excellent anthems and choral music for the Mass, and that Saint-Saëns, who was a detractor, actually admired his improvisations.

Schola Cantorum

At the Schola Cantorum, Mme. Langlais told of the school and its Mutin organ (Mutin took over the firm after Cavaillé-Coll's death). Founded in 1896 by Charles Bordes, Alexandre Guilmant, and Vincent d'Indy, it was established for the study of the restoration of Gregorian chant after Solesmes and to re-introduce the Grand Orgue. The Schola was not as competitive as the Conservatory. A temple of "non-official" music, teachers included Guilmant, Vierne, the Duruflés, Grunenwald, Langlais, Satie, Martin˚u, and Turina. Students included Milhaud, Roussel, and Debussy.

One of Mme. Langlais's students, Verouchka Nikitine, played a fine recital which included Vierne, "Allegro et Cantilene" (Symphonie 3); Widor, "Allegro" (Symphonie 6); Langlais, "Communion" (Suite Médiévale); and Jean-Louis Florentz (b. 1947), two movements from Laudes. Participants enjoyed a light buffet supper prepared by Mme. Langlais and her daughter Caroline.

Participants chose among several churches to attend Sunday morning. The afternoon event was a recital at Notre-Dame-de-Paris which consisted of music of Mendelssohn and Bach. The church was full and pleasantly respectful as the recital proceeded. The organist experienced difficulty with registration changes, and it was somewhat disappointing to hear an all-German recital on this, the largest instrument in Paris. Playing time was allowed after the cathedral closed its doors to the public.

Saint-Étienne, Caen, Chartres

Participants boarded a bus for the 200 kilometer drive through the lovely countryside to Normandy and the city of Caen. Saint-Étienne houses a large Cavaillé-Coll instrument which is a-mong the three finest and largely unaltered organs of the builder. The others are at Saint-Sulpice and at Saint-Ouen in Rouen. Phillip Klais, president of the Klais firm of Bonn, Germany, introduced tonal director Heinz-Gunter Habbig. Habbig studied with the last voicer of the Cavaillé-Coll tradition, and he has made extensive studies of the organs at Saint-Ouen, Saint-Omer, Saint-Sulpice, and Saint-Sernin. Habek has directed several Cavaillé-Coll restorations, and his presentation of this instrument and discussion of the Cavaillé-Coll ethos was filled with reverence for the work of such a master craftsman.

The Abbey Church of Caen was a famous center of art education in the Middle Ages, but there is no record of an organ until the 15th century. In May of 1562, Protestants ransacked the church and ruined the organ. 200 years later, in 1737, the monks engaged a builder in Ouen and that organ's oak case, from 1741, its towers crowned with flower pots, remains today. On February 10, 1745, the organ was completed, a remarkable 18th-century specimen with five manuals and 61 stops. The first three manuals had a compass of 53 notes, a first in France, and the pedal was complete with a 16' and cornet.

The organ was endangered during the French revolution but suffered only neglect. In 1859 there was a restoration, and by 1877 more repairs were needed, and Cavaillé-Coll was asked to give an opinion. It was decided, with approval of Guilmant, that the old case and old façade pipes would be retained, with an addition of 8 stops. New wind chests and blower, new action, and new pipework were built in one year; the manual compass was increased to 56 notes. On March 3, 1885, Guilmant played the dedication recital. Repairs were needed in 1899 and the organ was given excellent care through to 1944. In January of 1975, the Secretary of Culture placed the instrument on the National Register of Historic Monuments. In 1998-99 there was another restoration.

Lynne Davis, a native of Michigan who has lived in France for 30 years, has for five years been Professor of the National Regional Conservatory at Caen. She studied with Marie-Claire Alain, Jean Langlais, and the Duruflés. Her studio of 20-25 students is privileged to practice and take lessons at Saint-Étienne and also to play the choir organ which is a Baroque instrument. After speaking of her immense affection for this great instrument, Ms. Davis played "Nef" and "Rosace" from Byzantine Sketches by Mulet, Cantabile by Franck, and Toccata by Vierne. Participants were then allowed generous playing time.

Part of the group continued on to Chartres to hear assistant organist Laurent Bois play and then all had the opportunity to play the great 1971 Danion-Gonzalez organ of 69 stops.

Participants returned to Paris and prepared to depart for Alsace for the second week of the French Organ Music Seminar.

(A report on the Alsace week will appear in a later issue of The Diapason.)