New Organs

Stephen Schnurr

Situated on a hill overlooking the city of Lewiston, Maine, the Gothic Basilica of Saints Peter and Paul is visible from a great distance in any direction. Its grand architecture beckons visitors from all over. The interior of the basilica is as sumptuous as its exterior. And among the many treasures of the edifice are the organs.

Lewiston was founded in 1795 along the Androscoggin River. Its industry was supported by cotton mills for many years. By the 1850s the Bates Mill, named for Benjamin E. Bates, for whom Bates College is also named, became the largest employer in Lewiston, remaining so for a century. In the late 1850s, French Canadians began to migrate to Lewiston for job opportunities. A section of Lewiston became known as “Little Canada,” and the city has celebrated its French Canadian character to this day.

Various Protestant congregations were formed, but it would be 1857 before the first Catholic parish, Saint Joseph, was founded. The parish, which was English speaking and serving primarily Irish immigrants, laid the cornerstone for a church along Main Street on June 13, 1864, and finished construction in 1867. The architect was Patrick C. Keely.

The Catholic Bishop of Portland assigned the Reverend Louis Mutsaers to minister to the French-speaking Catholics of Saint Joseph Church. With more than 1,000 souls in the French-speaking Catholic community, Saint Peter Church was founded in 1870, the first French ethnic parish in the diocese. Father Edouard Létourneau of Saint-Hyacinthe, Québec, was named first pastor. The fledgling congregation moved to Saint John Chapel, the second floor of a house on Lincoln Street, coincidentally the first home of Saint Joseph Church. The first Mass, a wedding, was said on July 2, 1870. The Reverend Pierre Hévey became pastor the following year.

 

The first church

Father Hévey constructed a Gothic church building on Ayers Hill, on Bartlett Street between Ash and College Streets. The cornerstone was laid July 7, 1872, and the edifice was dedicated on May 4, 1873. The substantial building was 116 feet long, 32 feet wide, and crowned by a 160-foot bell tower. The total cost of the building, including land and furnishings, was approximately $100,000. The dedication Mass, attended by 2,000 and presided over by the Bishop of Portland, also witnessed the confirmation of 215 children. The parish school was opened in 1878, and a cemetery was developed. The Sisters of Charity of Saint-Hyacinthe would also establish a hospital, an orphan asylum, and a home for the aged, in addition to teaching in the school. A five-story brick school building accommodating 700 students was opened in 1883 at Lincoln and Chestnut Streets. A second school, for boys, was opened on Bates Street in 1887. By the close of the century, there were 1,721 students in the parish schools.

When Father Hévey left the parish in 1881, administration was turned over to the Dominican Fathers of Lille, France. About this time, Saint Peter became known as Saints Peter and Paul Church. By the late 1890s, church membership neared 10,000 persons, and galleries were added to the church nave, and the building’s basement was enlarged. A brick monastery was built for the Dominicans on Bartlett Street, a building that still stands behind the basilica today. The Dominicans would live here until they returned the parish to the diocese in 1987.

In 1902, Saint Louis Church was founded in Auburn, across the river, but this did little to lessen overcrowding at Saints Peter and Paul Church. In 1904, Father Alexandre Louis Mothon, OP, then pastor of the parish, retained Belgian-native Noël Coumont of Lewiston to design a neo-Gothic edifice to be built of Maine granite at an estimated cost of $250,000. Portland diocesan authorities were duly impressed with Coumont’s work and named him diocesan architect.

 

Building the present church

The final Mass in the old church was celebrated on February 5, 1905, after which the building was dismantled and demolished. A temporary wooden structure seating 1,200 persons was erected. Adjacent property was acquired, and construction of the lower church was commenced on February 22, 1906. Despite the collapse of a wall on November 9, the lower church was in use for Midnight Mass at Christmas, December 25, 1906. Father Mouthon had resigned and was replaced by the Reverend Antonin Dellaire, OP.

The parish would not complete the upper church for another three decades. In the interim, the diocese created three other parishes in Lewiston: Saint Mary, founded in 1907 in “Little Canada” with 820 families; Holy Family, founded in 1923; and Holy Cross, founded that same year with 575 families.

The diocese granted the Reverend Mannès Marchand, OP, pastor, permission to complete the upper church in 1933. A bid of $361,510 was accepted in April of the following year. Timothy G. O’Connell of Boston had become architect. Construction began in May, and the project would require some 516 boxcars of granite. Slate, copper, and limestone support the roofs.

The exterior was completed in 1935, crowned by twin steeples rising 168 feet with eight spires of granite and concrete. Two fairs would be held in the unfinished interior to raise funds for its completion. The interior was finished on July 18, 1936. The Most Reverend Joseph E. McCarthy, DD, dedicated Saints Peter and Paul Church on October 23, 1938. An all-male choir, recently formed, provided music for the occasion. The total construction price was estimated at $625,000. Five bells, cast for the previous church in 1884 by the McShane foundry of Baltimore, Maryland, were retained for the new towers. In 1948, the magnificent stained glass windows of the nave were installed to the designs of Boston’s Terence O’Duggan, at a cost of $40,000. The building measures 330 feet long, 135 feet wide, and the ceiling rises 64 feet. The pews seat 1,800 persons.

There was considerable posturing to making Saints Peter and Paul the cathedral of the diocese, supplanting Portland’s Cathedral of the Immaculate Conception, founded in 1856 with its church built between 1866 and 1869 to the designs of Patrick C. Keely. Postcards of the Lewiston church were printed and sold, designating it a “cathedral.” However, the move of the seat of the bishop from Portland to Lewiston never occurred.

The building was listed on the National Register of Historic Places on July 14 (Bastille Day), 1983. The second-largest Catholic church in New England, Saints Peter and Paul is exceeded only by Saint Joseph Cathedral of Hartford, Connecticut. In the past two decades, the building has been restored, a heroic multi-million dollar project. The first part of the project, the exterior, took nine years to complete. The interior restoration of the upper church was completed in 2002.

The church’s music history is remarkable. In 1872, a reed organ was acquired, and a Mrs. Martel became organist. Mr. Alcibiad Beique succeeded her. Considered an accomplished organist as he had studied in Belgium, Beique would play the opening program/Mass on the church’s first pipe organ, described below. Beique would leave Lewiston to become organist for the church of Notre Dame in Montréal, Canada. Mr. F. Desanniers next served the parish, though he died about a year after beginning service, having consumed poison thinking it was medicine. Henry F. Roy then served Saints Peter and Paul, remaining until 1925. George C. Giboin then served from 1925 until his death in 1945. From 1945 until 1966, Bernard Piché was organist, while Roland Pineau directed the choirs. Piché was of considerable repute, and was managed as a recitalist by the Colbert-Laberge management group. Pineau continued as organist and choir director until 1973. Luciene Bédard also served as organist, beginning in 1942 and continuing for 54 years. Ida Rocheleau provided music from 1973 until 1982. Kathy Brooks was named music director in 1990. Scott Vaillancourt became music director in 2003 and continues today.

In addition to choral groups for children and adults, the parish sponsored a boys’ band (Fanfare Ste. Cécile) from 1898 until 1947. An extensive boys’ choir for grades 5 through 8 (Les Petits Chanteurs de Lewiston) was established in 1945 and performed operettas and other works in Lewiston and throughout New England until it was disbanded in 1964.

 

The pipe organs

The first pipe organ for the parish was 1880 Hook & Hastings Opus 1011, a two-manual, 24-rank instrument located in the 1873 church. The case of ash measured 25 feet high, 13 feet wide, nine feet deep. The organ cost $3,500 and was dedicated on Thanksgiving Day, November 25.

The organ was removed from the building prior to demolition and reinstalled in the new lower church in 1906. It was rebuilt and enlarged by Casavant Frères of Saint-Hyacinthe, Québec, Canada, in 1916, as their Opus 665, retaining the Hook & Hastings case and much of the pipework.

In 2004, Casavant Opus 665 was sold to the Church of the Resurrection (Episcopal), New York City, where it was moved and rebuilt by the Organ Clearing House. A series of dedicatory recitals were held for this organ in its new home in 2011.

The upper church Casavant organs together make up the largest church organ in Maine. There are 4,695 pipes in five divisions in the rear gallery, 737 in three divisions in the sanctuary. A four-manual, drawknob console controls the entire organ from the rear gallery; a two-manual console in the sanctuary, which does not function at this time, controls the sanctuary divisions. The organ was designed by Charles-Marie Courboin of Saint Patrick Cathedral, New York City. The contract specification was dated April 4, 1937. Manual compass is 61 notes (C–C); pedal compass (concave, radiating pedalboard) is 32 notes (C–G). The instrument cost $28,000 for the gallery organ, $10,000 for the sanctuary organ. A fifteen-horsepower blower was provided for the gallery organ, and a one-horsepower blower for the sanctuary organ.

Courboin, who travelled to Saint-Hyacinthe to inspect the organ in the factory, played the opening recital on the completed organ, October 4, 1938. An estimated 2,000 persons filled the nave of the church, the first public event to occur in the upper church. The following was his program (a local choral group, Orpheon, also presented three works):

 

Part I

Concert Overture R. Maitland

Aria No. 3, Suite in D
Johann Sebastian Bach

Sketch No. 3 Schumann

Cantabile Cesar Franck 

Pastorale 2d Symphony
Charles-Marie Widor

Passacaglia and Fugue, C minor
J. S. Bach

 

Part II

Ave Maria Schubert-Courboin

Choral Prelude J. S. Bach

Choral No. 3 Cesar Franck 

The Lost Chord Sullivan-Courboin

March Heroique Saint-Saens

 

Casavant crafted the extensive woodworking lining the church nave, including an ornate screen in the sanctuary and the extensive wood supporting the organ and choir gallery, the transept galleries, and the narthex. The project utilizing Maine native red cedar and oak took a year and a half to complete.

Over the years, various renowned organists have concertized on the upper church organs. For instance, the Lewiston-Auburn Chapter of the American Guild of Organists sponsored Marcel Dupré in recital on Monday evening, October 4, 1948, along with three selections presented by the Saint Paul Choral Society. (Admission was $1.20, tax included, students $0.75.) The program for the organ’s tenth anniversary included works by Johann Sebastian Bach, George Frederick Handel, Eric DeLamarter, César Franck, Mr. Dupré, as well as an improvisation on submitted themes—Yankee Doodle and Turkeys in the Tree Top.

The fiftieth anniversary of the Casavant organs was celebrated with a concert on October 4, 1988, given by Brian Franck, organist, with l’Orpheon, conducted by Alexis Cote and accompanied by Luciene Bédard. Alan Laufman of the Organ Historical Society presented Historic Organ Citation #100 for the upper church organs. The upper church organs were heard in recitals during the national convention of the Organ Historical Society on August 19, 1992.

The gallery Casavant has experienced only three tonal alterations since installation. During Mr. Pinché’s tenure, the Grand Orgue 16′ Bombarde was replaced by an 8′ Bourdon. The Solo 16′ Tuba Magna was replaced by a 4′ Orchestral Flute. And the Récit 8′ Trompette was replaced by an 8′ open flute. The 8′ Trompette rank was used for many years in the Casavant in the lower church. It is now in storage, awaiting restoration and reinstallation, or perhaps replacement with a copy, if necessary.

Saints Peter and Paul experienced its largest membership in the 1950s, with more than 15,000 souls on the records. Twenty years later, membership was less than half that number. In 1986, the Dominicans turned administration of the parish back to the diocese. In June of 1996, Saints Peter and Paul was “twinned” with nearby Saint Patrick Catholic Church.

On October 4, 2004, the Vatican raised Saints Peter and Paul Church to the dignity of a minor basilica. The basilica was inaugurated on May 22, 2005, by the Most Reverend Richard Malone, Bishop of Portland. In 2008, the basilica became part of the newly-formed Prince of Peace Parish, which in due time has included all the Catholic parishes of Lewiston. The parish today includes the basilica, Holy Cross, Holy Family, as well as cluster parishes: Holy Trinity, Lisbon Falls, Our Lady of the Rosary, Sabattus, and Saint Francis Mission, Greene (in the summer only). Holy Cross Church has a Casavant organ of two manuals, 25 ranks, installed in 1967.

Saint Mary Church would close in 2000 and become the home of the Franco-American Heritage Center. The Gothic edifice of stone was completed in 1927 to the designs of the same architect as Saints Peter and Paul. It is now used as a performing arts and cultural center, preserving much of the feel of the old church, including its stained glass windows. A photograph at the center’s website reveals that at least the twin cases of the church’s Frazee organ are still present. The organ itself is in storage at the center, awaiting funding for reinstallation.

Saint Joseph Catholic Church was closed October 13, 2009, and sits empty. It is listed on the National Register of Historic Places. Now owned by Central Maine Healthcare, the redbrick Gothic building has been threatened with demolition, though these plans are on hold as of this writing. The building once housed a two-manual Henry Erben organ from 1870, long since replaced by an electronic substitute.

Saint Patrick Catholic Church, facing Kennedy Park along Bates Street at Walnut Street, was founded in 1886. The parish, under the leadership of Monsignor Thomas Wallace, built a grand Gothic church, completed in 1890. Monsignor Wallace was buried in the church crypt. On October 27, 2009, Saint Patrick closed its doors. Its 1893 two-manual Hook & Hastings organ, Opus 1580 (electrified about 1960 by Rostron Kershaw, with minor tonal changes), was removed for relocation to Holy Family Catholic Church of Lewiston, a project partially completed by the Faucher Organ Company of Biddeford, Maine. Completion awaits sufficient funding. This is the first pipe organ for Holy Family Church.

Despite losing its claim as an industrial center in the state, Lewiston today remains the second largest city in Maine, behind Portland. Auburn is located across the Androscoggin River from Lewiston, and the two communities are often considered a single entity. The Lewiston community has experienced a renaissance in recent years.

The seventy-fifth anniversary of the Casavant organs in the upper church was celebrated throughout 2013. The parish sponsors a summer recital series, and that year’s performers included: Karel Paukert; Chris Ganza with Karen Pierce (vocalist); Albert Melton; Randall Mullin; Jacques Boucher with Anne Robert (violinist); Ray Cornils; Julie Huang; Harold Stover; Sean Fleming; and the author. The final program of this series occurred on September 27, featuring Kevin Birch, organist, the Androscoggin Chorale, John Corrie, conductor, and the Men’s Choir of the Basilica, Scott Vaillancourt, director. The program included: Prelude and Fugue in E-flat, BWV 552i, Johann Sebastian Bach; Andante Sostenuto, Symphonie IV, Charles-Marie Widor; Cloches, Marcel Fournier; Carillon de Westminster, Louis Vierne; Sonata I, Alexandre Guilmant, and the Mass for Two Choirs and Two Organs, Widor. Some restorative repairs have been made to the Casavant organs by the Faucher Organ Company of Biddeford, Maine. Ongoing efforts are made to raise funds to complete the project and bring this world-class organ back to its original glory. 

 

Sources

A Rich Past—A Challenging Future: A Tribute to Ss. Peter and Paul Parish, Saints Peter and Paul Parish, Lewiston, Maine, 1996.

Organ Handbook 1992, Alan M. Laufman, editor, The Organ Historical Society, Richmond, Virginia, 1992, pp. 60–63.

“The Organs of the Church of Ss. Peter & Paul Lewiston, Maine,” Brian Franck and Alan Laufman, The Tracker, vol. 36, no. 2, 1992, pp. 8–13.

Newspaper clippings, Casavant contract information from the basilica archives.

 

Photography by Stephen Schnurr, except as noted.

Noack Organ Co., Inc.

Georgetown, Massachusetts

Hertz Hall, University of California,

Berkeley, California

From the builder

On November 23, 2013, the Department of Music at the University of California, Berkeley (UCB) welcomed the Noack organ originally built for a cathedral in Delaware with a day including lectures, roundtables, and a recital by the French organist Michel Bouvard. The day was the first in a series of events that concluded with a triple concert by the young and dynamic UCB Symphony Orchestra and the University Organist, Davitt Moroney.

The celebrations were the culmination of a long history, which began some thirty years ago on the other side of the country.

At the end of 1977, the Cathedral Church of St. John in Wilmington, Delaware, began to consider options for the overhaul or replacement of their existing organ. Several months of investigation convinced the committee that a new instrument would better answer the cathedral’s needs and that Fritz Noack should be its builder. The first step of the design process was to understand the building, so that the final product would fit seamlessly into its home. 

The Cathedral Church of St. John was a beautifully crafted building, which combined wood vaulting and high Gothic carvings with the intimacy of a parish church. Its acoustic was not generous, but the atmosphere felt very welcoming. Details of the instrument for this lovely setting took shape slowly because there was no obvious location for an organ. Ultimately the committee chose to construct a purpose-built loft at the west end of the cathedral. The contract, signed in early 1980 for an organ of 30 stops, was finalized to 34 stops during the early stages of construction. The organ was a gift to the memory of Irene Sophie du Pont, who was a member of a long-standing family in the parish. The dedication of the instrument occurred on January 23, 1983 and included “The Enigma Syncopation,” a piece for organ, flute, percussion, and string bass, commissioned for the occasion by the builder and the church from composer William Albright.

By the 1980s, Fritz Noack had already established a personal tonal language: though the overall physical layout of this organ shows his northern European background (with its clearly visually defined divisions), the tonal architecture is resolutely modern. Like good fusion cuisine, the instrument successfully melds several traditions—in this case, some nineteenth-century Anglo-American influences with his continental European roots. Music of the Baroque era is obviously at home there, but the organ shows a flexibility that enables it to venture successfully into the modern repertoire.

Similarly, the solid white oak case adorned with intricate pipeshades and James Lohmann’s hand-carved cresting captures the spirit of time-honored organ design while remaining original in its execution. The whole instrument is mechanical with a suspended key action and a mechanical drawstop action (assisted by a simple mechanical combination action.) The lively voicing combined with the light and precise key action yields an instrument with a vivacious personality. 

For more than thirty years the organ faithfully served the demanding music program of the Episcopal Cathedral. Unfortunately, as time went by the parish fell victim to forces that have dogged so many city churches: suburban flight, the aging of mainline denominations, and a diaspora to newer Christian churches. In July 2012, the cathedral had to close its doors and the organ was in need of a new home.

In Delaware, Karen Flint, having been intimately involved in the building of the organ, was anxious to see a future for the Noack instrument. She teaches harpsichord at the University of Delaware and regularly invites guest artists to give concerts on her exquisite collection of antique harpsichords. Amongst them was Davitt Moroney, professor of music at UCB, who was quick to realize what a good fortune the orphan organ was for the University of California, Berkeley. Moroney is also the official University Organist and, as such, is responsible for administering a rare resource: the O’Neill fund. This fund is a unique financial source that was endowed in 1933 by Edmond O’Neill, a chemistry professor at UCB and a music lover. The fund is exclusively dedicated to the pipe organ at UCB, and in particular to the acquisition of fine organs. Because of the lack of an appropriate recital hall on campus at the time, it actually took many years before a concert hall was built on university ground and a first organ by Walter Holtkamp Sr. was purchased in 1958. Through careful management, the O’Neill fund continued to grow and enabled the acquisition of many more pipe organs around the campus. Berkeley’s collection of pipe organs now numbers seventeen; apart from the Noack, which is now the main recital instrument, there are three eighteenth-century antiques, one nineteenth-century American house organ, two small Holtkamp practice instruments, six small instruments by Jurgen Ahrend, three by Greg Harrold, and a continuo organ by Gerrit Klop.

The main concert organ in the recital hall was now seen as less appropriate for the music of Bach and the Baroque era, and the acquisition of the Noack organ from Wilmington presented a unique opportunity to address that issue. Relocating organs, however, is always a tricky operation. Spaces do not physically match, acoustics are different, and case designs do not always fit the architectural surroundings. One could also expect that moving an instrument clothed in Gothic garb for a high-Anglican environment into the secular world of the Berkeley campus might raise a few eyebrows. 

Hertz Hall is a classic 1950s building with a grand, airy foyer lighted by large stained-glass windows. The auditorium is a sober room with a capacity of 700 seats. The orchestra stage lies in front of a wide elevated organ loft, which can be closed with large wooden doors. The geometry and the wall treatment of the room yield a moderately live acoustic, which serves the orchestra well. On the other hand, the sound from the loft does not project as cohesively and does not produce a sufficient bass response. To address this issue, the addition of a solid open wood 16′ was proposed on the Pedal. 

Most of the auditorium is clad with simple wood battens while the surrounding walls of the organ loft appear gilded. Many expressed concerns that the high Gothic organ would feel ill-at-ease in a post-war architecture. Prior to the organ’s arrival, the faded loft walls were completely refinished in “Dutch metal,” recapturing their past luster. The placement of the Noack oak case front and center of a gilded setting gives to the auditorium a focus point that it somehow lacked previously. The elaborate case found its natural place in the hall.

Physically, the instrument needed to be altered to fit its new space as the organ loft of Hertz Hall is only 12′ 6′′ deep, requiring narrowing the space between the main case and the Positive by three feet. The situation was made more complex by the impossibility of altering the concrete handrail of the loft. Large doors rolling on top of this hand-railing can be brought together to shutter the organ from the hall. The Positive therefore had to be placed above, and slightly recessed from, the railing. That meant that the whole key action, drawstop action, and winding had to be redrawn. In order to minimize the distortion of proportion between the main case and the newly placed Positive, the entire instrument is now standing on a new three-foot-high platform with stairs on either side of the console. The new 16′ wooden Contrabass stop proved to be tricky to position. Various unsatisfactory locations for the thirty pipes were proposed, from the wings on either side of the loft to the side of the Pedal cases. Careful inspection of the original architectural drawings revealed that a few inches of recess could be gained behind the main case, enough to provide a snug fit for the generously scaled white oak Contrabass, which sympathetically disappeared in the background.

The original instrument was drawn well before computer and CAD were available. The Noack Organ Co. preserves those hand-made drawings with great care. Reading these documents is to travel through time, and one can only be impressed by the creativity of the designer and the neatness of the draftsman. This is particularly true for a 35-stop organ whose main case is only 3′ 8′′ deep! Trackers, drawstop trundles and runs, and windlines weave a rather dense web. Modifying (for the Positive) or adding (for the Contrabass) elements through this jungle of mechanical parts was a tricky operation as sometimes an overlooked obstacle appeared on the way . . .

Furthermore, the instrument’s new home is set on the famous Hayward fault, a major branch of the larger San Andreas fault system, which crosses the eastern side of campus. The 1982 instrument was not conceived to be in such an active earthquake area and some anti-seismic bracing had to be retro-fitted. This entailed some extra attachment for all the pipes longer than 4′, and some serious anchoring through the concrete floor (see photo of the seismic anchor). 

The organ was dismantled from the cathedral in Wilmington in November 2012 and was transported to the Noack workshop in Georgetown, Massachusetts. It was thoroughly overhauled, modified, and rebuilt in our assembly room. The case was entirely cleaned and re-oiled. As we traditionally do, we hosted a shop recital just before shipping to site. Sigurd Øgaard, a Norwegian organist currently settled in Houston, gave a passionate and dynamic concert on June 22 that kept the audience sitting on the edges of their seats.

The installation on site had to happen during the university’s summer recess. The music department at UCB is very busy, and Hertz Hall is solidly booked from dawn to late night during the academic year. There was not much opportunity to check out the Pacific beaches for this group of New Englanders, but there was enough time to appreciate the regional beer and the well-known fine local fare.

The organ installation was achieved at the end of August with a careful tonal rebalancing completed by David Rooney and Mary Beth DiGenova. The organ, previously tuned on Vallotti, was adjusted at the suggestion of Davitt Moroney to Sorge 1744, a beautiful mid-eighteenth-century temperament well-suited to the baroque repertoire. It also brings a distinct advantage for this university instrument that is called to play with orchestra, chorus, and in particular with the very dedicated University Baroque Ensemble.

Eric Kenney, one of the longest standing members of the Noack team, had the rare opportunity to work for the second time on that instrument, having assisted in its installation in Delaware some thirty-one years earlier! The other crew members included Mary Beth DiGenova, Didier Grassin, Fritz Noack, David Rooney, Dean Smith and Aaron Tellers, helped by our summer intern, Brandon Burns. We also were very grateful for the wonderful help from many corners of the university, from administration to the architect’s office.

While nobody would have imagined that the Cathedral Church of St. John in Wilmington would ever close, it is some solace to realize that the move of that instrument not only will preserve the endeavor of a team of craftsmen, but also will help continue a musical tradition rooted in centuries of history, bringing it to new generations of students for many years to come.

—Didier Grassin

The Noack Organ Co

Berghaus Pipe Organ Builders,
Bellwood, Illinois

St. Benedict’s Catholic Church,
Chesapeake, Virginia

From the builder

As most organ projects go, Berghaus Pipe Organ Builders’ instrument for St. Benedict’s Catholic Church proceeded at a rapid pace. The organ was completed just two years and one week after organist, conductor, author, and consultant to the parish Peggy Kelley Reinburg made initial contact with us in June 2012. From our very first meeting in which creative ideas were freely shared, our firm was enthusiastic about collaborating with Ms. Reinburg. Her insight into pipe organs, and in particular her thoughts on tonal design, proved to be invaluable resources. After long conversations with her and consulting her book, Arp Schnitger, Organ Builder: Catalyst for the Centuries (1982, Indiana University Press), we were confident that we could present an instrument with a heart of simplicity and clarity, rooted in North German tradition, that also possessed a distinctive voice, as our company has provided to clients for many years. 

Following the signing of the contract in the fall of 2013, construction was executed over a six-month period, and the organ components were delivered to Chesapeake the day after Easter, 2014.Installation of the organ commenced over a five-week period, and tonal finishing took place over one month.

Our initial site visit revealed an existing south organ chamber that would eventually contain the Hauptwerk. For engineering and site preparation, the church contracted with Spiegel Zamecnik & Shah Inc. of Washington, D.C., to engineer the design and with Sussex Development Corp. of Virginia Beach, Virginia, to penetrate a tone opening for the existing chamber and create a second chamber on the other side of the rose window for the Schwellwerk and Pedal. Berghaus designer Michal Leutsch planned façade pipes and screens to complement the church architecture while hiding the dual enclosures. Initially, we intended to create a cloth screen barrier above the three pipe towers on each side. However, the logistics of creating such a screen prior to the arrival of the organ became impractical, and so its construction became part of the organ installation. Rather than use the ubiquitous grille cloth, we chose stamped metal screening, which would allow for better tonal egress.

Wind pressures are moderately low throughout, measuring 75 mm for the Hauptwerk, and 90 mm for the Schwellwerk and Pedal. This allows for a voicing style on classical lines, and yields pipes that work together with natural, unforced tone. Each chamber is equipped with a single horsepower Ventus blower, which provides ample and steady wind to all chests while keeping a simple yet effective winding plan for the entire instrument. Manual stops are primarily located on Berghaus slider and pallet windchests, which are controlled by Heuss electric pulldown magnets. Within each main chest is a large schwimmer, which provides stable wind. Pedal and unit ranks are located on electro-pneumatic windchests, also constructed by the Berghaus firm.Expression boxes are constructed from 1-3/4″ thick tongue and groove poplar, which allows for a wide range of dynamic possibility.

Both chambers are adorned by rift-cut red oak casework with accented trim, stained to match the church furnishings.The organ is played from a custom-built console of red oak and burled walnut. Keyboards are constructed of maple and walnut, and manuals utilize tracker touch. The combination action is controlled by the ICS-4000 system by Peterson Electro-Musical Products, and contains many features, including a piston sequencer and record/playback.

In the Hauptwerk, the principal chorus is moderately scaled and voiced without gimmicks to improve presence or warmth. Façade pipes are made of 75% tin and continue as such throughout the compass of the stop. The elevated position of the slider chest allowed us to treat pipes without fear that the choir would be offended by full registration, and at the same time, individual voices seem to bloom from within the chambers. The 8′ Hohlflöte is designed to act as a chameleon in registration, and is made from three distinct types of pipe construction: the bass octave is constructed as a stopped flute, the tenor octave is constructed as a Koppelflöte, and the upper octaves are constructed as a Hohlflöte. Deliberate voicing with attention to blending construction types was necessary to the successful finishing of this stop. The result is a flute that morphs well with many registrations. The Hauptwerk mutations are scaled to match the Mixtur IV–V and provide the light clarity of a Sesquialtera, thus providing a Germanic cornet décomposée for the division. In our shop, Berghaus constructed a Bourdon of poplar as our manual 16′ tone, and provided an 8′ Trumpet, which is voiced as a blending reed. Shallots are tapered German and provide warmth and fullness.

Schwellwerk flues are voiced full to support the generosity of the large scale mutations. Strings are made from 75% tin, and are generously scaled to provide adequate foundation tone, while also giving a satisfying sizzle that clarifies homophonic passages found in many pieces of Romantic and 20th-century repertoire. The 8′ Rohrflöte is scaled with large diameter chimneys, which are fully 1/3 of the diameter of the pipe.Together, these foundation stops provide remarkably solid grounding to the division. Once again, the substantial scaling of the mutations provides a powerful and nasal French-sounding Cornet. The Krummhorn is scaled generously to provide fullness to the mutations and is also available in the Pedal at 4′ pitch. The Oboe is designed with a French parallel shallot and is voiced moderately to blend well with the mutations. The Cromorne is scaled and voiced to provide fullness throughout the register.

As is often the case, available space made the luxury of a full and independent Pedal out of the question, and we therefore chose to unify the major principal and flute of the division. The pipes of the 16′-8′-4′ Principal wander back and forth between the Schwellwerk chamber and façade, which contains notes of the 8′ Octave. The bottom twelve notes are made from zinc and use interior Haskell tuners. The façade portion and above are made from 75% tin, as is the Pedal Mixtur. The 16′ Subbass is generously scaled, and was constructed of poplar by Berghaus craftsmen. The 16′ Fagott is made with pine resonators and used an historic Schnitger shallot with very wide reed tongues. The sound of this stop seems to have equal parts fundamental and harmonic development, and so it lends itself well to a broad spectrum of repertoire.

Overall, the organ’s resources create a myriad of tonal combinations, each at home announcing or complementing chant during High Mass, or in performing repertoire from Bach to Distler, from Couperin to Alain. Having both chambers enclosed further enhances the tonal palette and increases its flexibility as an accompanying instrument.

The organ was blessed on August 22 by Msgr. Walter Barrett, followed by Holy Mass in the Extraordinary Form in honor of the Immaculate Heart of Mary with Rev. Neal A. Nichols, FSSP, presiding. Peggy Kelley Reinburg served as organist and Jeanne Dart, director of music, led the choir. A dedicatory recital will be performed on November 22 at 3:00 p.m. by Crista Miller, director of music and organist at the Co-Cathedral of the Sacred Heart in Houston, Texas.

The entire team at Berghaus Pipe Organ Builders is extremely grateful for the collaborative efforts of everyone involved in the organ project. In particular, we appreciate the support we received from Fr. Nichols, Jeanne Dart, members of the choir, and parishioners who assisted in the unloading and various stages of installation. Berghaus Pipe Organ Builders’ sincerest gratitude goes out to all who helped make this a truly exciting and rewarding project. Soli Deo Gloria!

—Jonathan Oblander, Tonal Designer & Kelly Monette, Head Tonal Finisher, on behalf of the entire Berghaus Pipe Organ Builders team

 

From the consultant

After accepting the challenges of serving as organ consultant for a project with the all-too-common and severe limitations of the potential funding base, of being engaged after a new church structure was beyond any major architectural changes, and of having the responsibility of educating the clergy, the musicians, and the congregation regarding the advantages of committing to a pipe organ, I began to become aware of the positive realities of the project at St. Benedict’s Catholic Church in Chesapeake, Virginia. 

First, it was revealed that the pastor, the Rev. Neal A. Nichols, FSSP, and the director of music, Jeanne Dart are both from Richmond, Virginia, my own hometown; and then we discovered we all had been educated, though for different lengths of time, at St. Benedict’s Elementary School! As we began to converse and to follow the natural order of organ consulting, I began to learn of the freedom I was being offered to guide my ninth organ project through its total evolution with no artistic constraints. Financial constraints can cause you apoplexy, but creative hamstringing can damage your soul!

The goals of this project were: 

1) An organ built by a distinctive builder without financially drowning the parish

2) An organ that could support the numerous schools of organ and choral literature while underpinning the rich liturgical heritage of the Latin Mass

3) The creation of an instrument with its own identity, possessing the silvery sheen of a Baroque North German instrument yet supported by an enveloping warmth capable of bringing the worshippers and listeners to the depths of faith and to the heights of emotion

4) A Hauptwerk Prinzipal chorus that would make the congregation want
to sing

5) Provision of four primary reed stops: Krummhorn 8′, Hautbois 8′, Trompete 8′, and Fagott 16′, and of two Cornets décomposé, one scaled and voiced in the French manner and one in the German

6) Consistent nomenclature for the instrument

7) A beautiful encasement and console, which also would be visual works of art

8) Key and stop actions that would enable a marriage of the instrument and musician and also provide a comfortable playing and conducting situation. Mechanical action was desired, but eventually that preference had to be abandoned due to existing gallery design and spatial limitations.

After preliminary visits onsite with five major American mechanical-action builders and two builders known primarily for their other actions, the fact of a too-shallow gallery for an independent encasement and inadequate space for any future choir growth, coupled with cost comparisons, eventually were the deciding factors. The selection of a builder  was also made difficult because of my personal acquaintances and friendships with all but one of the builders represented! Ironically, Berghaus Pipe Organ Builders was the only firm with which I had not had a previous connection; and after performing a recital on their instrument for St. John’s Episcopal Church, Norwood Parish, in Chevy Chase, Maryland, for the Northern Virginia and Potomac AGO chapters, I was convinced that the firm should be considered. 

Every memo I wrote based on involvement with organs and organ building throughout my career and every wish included on my organ “bucket list” has been a consideration in consulting on this particular instrument. The lack of funding for three manual divisions resulted in enclosing both manual divisions and allowing console space for a third, a Rückpositiv, which it is hoped may be added someday. If it is not, the disposition of the organ as it stands has already created the illusion of the presence of a third manual division.

The opportunity of meeting at the workshop the majority of craftsmen who participated in this project and the pleasure of building a working relationship with them during the installation have been added delights. I have enormous respect for so many, especially those who have added to my deeper understanding and enjoyment of this facet of our beloved profession. I have only the utmost respect for the director of engineering and operations, Michal Leutsch, and for the tonal gurus, Kelly Monette, head tonal finisher, Jonathan Oblander, tonal designer, and Steven Hoover, tonal finisher and reed specialist. The gorgeous console with its burled walnut music desk and stop jambs is the exquisite work of console artist Jordan Smoots. Transformation of thousands of components into the organ as an entity was due also to the skilled work of Joe Poland, Ron Skibbe, Mitch Blum, Eric Hobbs, Kurt Linstead, and Casey Robertson. The administrative coordinator, Dawn Beuten, is embracing her new role in the company with enthusiasm; the firm’s office manager for six years and newly named vice president, Jean O’Brien, is the epitome of organization, efficiency and graciousness; and Brian Berghaus, president, leads the firm with admirable business acumen and a firm hand, peppered with a calming sense of humor, in his journey to maintain the integrity of the history of organ building while introducing the best of new technological developments to this art.

—Peggy Kelley Reinburg

Organ Consultant

 

All photos credit Deborah P. Spidle except as noted

Andover Organ Company, 

Lawrence, Massachusetts

Opus R-345, Christ Episcopal Church, Charlottesville, Virginia

From the builder

In projects, journeys, and lives, there are milestone events that mark progress or achievements. The dedication of Andover Opus R-345 at Christ Episcopal Church in Charlottesville, Virginia, was such an event. It was a milestone for three long journeys: the completion of a seven-year project for Andover; the culmination of a decade-long sanctuary renovation process for Christ Church; and the latest chapter in the 143-year odyssey of a resilient New England organ.

With their simplicity and durability, it is not unusual for well-made old tracker organs to outlast the buildings or congregations for which they were originally made. Happily, they can often be relocated and repurposed to fit the musical needs and budget of a new owner. At Andover, we tune and maintain a large number of 19th-century instruments which are now in their second, third, or fourth homes.

The saga of the Christ Church organ certainly illustrates this! The core of the instrument is a three-manual, 29-stop organ built in 1869 by E. & G. G. Hook of Boston as their Opus 472 and originally installed in Grace Episcopal Church in Chicago, Illinois. In 1902, it was moved to another Grace Episcopal Church, in Oak Park, Illinois. In 1922, it was sold to the Third Congregational Church of Oak Park, where it was rebuilt and electrified by Nicholas Doerr of Chicago. The organ was next moved to St. Ludmilla’s Catholic Church in Chicago, probably in 1937 when the Third Congregational Church merged with another congregation. When St. Ludmilla’s closed in 1991, the organ was put into storage. Andover’s Robert C. Newton, a nationally recognized authority on Hook organs, learned of the organ’s availability and purchased it. Opus 472 then made the long journey back to Massachusetts, where it sat in storage, awaiting its fifth home.

Meanwhile, Christ Church in Charlottesville, Virginia, had formed an organ committee to find a replacement for their failing 50-year-old electro-pneumatic organ. That organ had been cobbled together from a variety of used and new parts, and the builder had gone out of business before the organ was finished. Concurrently, plans were begun for a complete renovation of the sanctuary. After much study, the committee determined that the best location for the new instrument would be at the front of the church, to speak directly towards the congregation. This was confirmed by each builder that the committee interviewed during the selection process. 

Being responsible stewards of the church’s resources, the organ committee also researched the option of installing a rebuilt used organ. They determined that if the original organ was a well-made, quality instrument, the end result could be equal, or in some cases superior, to a new organ—yet at significantly less cost. John Whiteside, who became Christ Church’s music director in 2005, contacted us and learned of E. & G. G. Hook Opus 472. Built in 1869, the organ dated from the “golden period” (1850s–1870s) of the firm’s instruments. 

Because the organ had lost its original case, console, structure, action, and wind system during its travels, the surviving Hook pipes and windchests could easily be rearranged to fit the available space in Christ Church. The most essential parts of any organ are the pipes, which define its tonal signature, and the windchests, which influence how the pipes speak and blend.

The Hook firm was one of 19th-century America’s premier organ builders. Their instruments, highly regarded for their mechanical and tonal excellence, were designed and voiced to work well in the dry acoustics of American churches. Though we at Andover build modern instruments designed to serve the needs of today’s church musicians, we draw insight and inspiration from the surviving work of the brothers Elias (1805–1881) and George Greenleaf (1807–1880) Hook and their successor, Francis Hastings (1836–1916). We have been privileged to work on many of their important surviving instruments, including their monumental 101-rank 1875 masterpiece, Opus 801, at the Cathedral of the Holy Cross in Boston, and the famous 1876 “Centennial Exposition” organ, Opus 828, now in St. Joseph Cathedral in Buffalo.

After careful deliberation, the committee recommended that Christ Church purchase and install Hook Opus 472—which would be completely renovated, rebuilt, and enlarged by Andover—at the front of the church surrounding the rose window. This proposal was approved by the church’s vestry, and in April 2005 a contract was signed. 

The rebuilding work started in 2007, with Ben Mague as project team leader. The Hook pipes were restored and the windchests rebuilt and enlarged to accommodate additional stops. New and vintage ranks, scaled and voiced to be compatible with the original Hook stops, were added to augment the organ’s tonal palette. Ben Mague and Michael Eaton engineered a new console, structure, action, and wind system to fit the renovated chancel area. The new casework was designed by Donald Olson. Noted church architect Terry Eason prepared the plans for the sanctuary renovation.

The organ is laid out with the Swell on the left, the unenclosed Choir in the center, and the Great on the right. The Pedal stops are divided among these three locations. The bass of the Pedal reed is behind the Swell, its treble and all of the 16′ Subbass are behind the Choir, and the Double Open Diapasons are behind the Great. 

The organ’s white oak casework was built in our shop. We take great care to design the exterior of each instrument to complement the architecture of its surroundings. Thus, the blind Byzantine arches of the lower casework were patterned after the existing chancel side wall woodwork. The polished tin façade pipes comprise the lowest notes of the Great 8′ Open Diapason and the Pedal 8′ Violoncello. The detached oak console has walnut interior woodwork and a walnut swirl veneered music rack. The pau ferro drawknobs, with 19th-century-style oblique heads with inset engraved labels, are arranged in stepped terraces. The center-pivoted manual keys have bone-plated naturals and ebony sharps.

The manual key action is mechnical, as are all the couplers. To facilitate the positioning of the Pedal pipes in the most advantageous spaces, all of the Pedal stops are on electro-pneumatic unit chests that we designed and built. The stop action is electric. The Solid State Organ Systems combination action, with 100 memory levels and a piston sequencer, affords the player seamless control of the organ’s resources. 

While the rebuilding was underway, Christ Church’s rector departed for another parish. The church postponed the fund-raising for the sanctuary renovations and turned its attention to finding a new rector. Thankfully, during this period a parish donor continued to fund the organ’s rebuilding so the project would not lose momentum. 

The completed instrument was unveiled at an open house at our shop on November 6, 2010. Although the organ was ready, the church was not. Bids had not yet been received for the chancel renovations. It was discovered that part of a rock ledge beneath the chancel would have to be removed to permit excavation for a basement to house HVAC equipment and the organ blower. This increased the scope of the project.

The organ sat, playable, in our shop until May 2011 when, needing that space for other projects, we shipped it to Charlottesville and stored it in the church parish hall. The chancel renovations were finally begun in the fall of that year and nearly finished when we started the organ’s installation in January 2012. Parts of the organ were playable by Easter, when it was first used. The remaining flues and all the reeds were installed and regulated during the following months. On Friday evening, October 5, 2012, noted organ recitalist and recording artist Bruce Stevens played the dedicatory program to a large and excited congregation. It was a milestone event, the happy ending to a long road!

Just as a great organ is the sum of its parts, a great organ company is the sum of its people. We are blessed to have a team of seventeen dedicated craftspeople who, collectively, have over 400 years of organbuilding experience. Those who worked on Opus R-345 were Ryan Bartosiewicz, Matthew Bellocchio, Anne Doré, Michael Eaton, Don Glover, Al Hosman, Lisa Lucius, Benjamin Mague, David Michaud, Tony Miscio, Fay Morlock, John Morlock, Robert Newton, Donald Olson, Casey Robertson, Jonathan Ross, Craig Seaman, and David Zarges.

—Matthew M. Bellocchio

Andover Organ Company

Photos © William T. Van Pelt

 

Testimonials

It really is a wonderful organ! I’m playing everything from Franck to Rheinberger to Bach . . . and all of these different-style pieces sound really very fine. I find the key action quite graceful to play. Because so many of the sounds are the golden-period Hook sounds we love, we’re thrilled to have such an organ in Virginia—at long last. Thanks for all that you have done to provide this special, magnificent instrument to a location in our state. The only big disappointment is that it’s not here in Richmond!

—Bruce Stevens

University of Richmond

 

Thanks for the good work . . . and for giving Virginia an E. & G. G. Hook organ. I believe it is the only organ in the state to have most of its tonal components arising from the brothers Hook during their control of the company.

—William T. Van Pelt

Retired Executive Director 

Organ Historical Society

James D. Hicks

James D. Hicks is a native of Fredericksburg, Virginia, and holds degrees in music from the Peabody Institute of Music, Yale University and the University of Cincinnati. Other studies include instruction at the Royal School of Church Music in England. He is an Associate of the American Guild of Organists. Hicks has held liturgical positions throughout the eastern United States and in 2011 retired from a twenty-six-year tenure at The Presbyterian Church in Morristown, New Jersey, the community in which he still resides. 

James Hicks has performed throughout the United States, Australia and Europe. Most recently in July 2013, he was a featured recitalist in several organ series in Finland, including the Helsinki Organ Summer and the Turku Summer Festival. He performed for Swedish National Radio in March 2012, a broadcast that included world premieres of several modern works from that country. He has recorded two collections of organ music on the American Pro Organo label. The first, 2003’s American Classic, highlights the rebuilt Austin organ at The Presbyterian Church in Morristown, New Jersey, and contains many recorded premieres of twentieth and twenty-first century American works, including two original compositions. Hicks traveled to Sweden in 2010 to record a double CD (Nordic Journey, Pro Organo #7239) of Nordic works on the historic Setterquist organ at Linköping Cathedral. This collection includes many unusual works from Nordic lands and a commissioned composition, Variations, by the Nordic cathedral musician Fredrik Sixten. Hicks recorded three separate CDs of Nordic music at the following Swedish venues in August 2013: St. Johannes’ Church, Malmö, Skara Cathedral and Västerås Cathedral. These discs include four commissioned works and the first modern recorded performances of many unpublished, hitherto unknown, compositions from the romantic and modern periods and are due to be released during the first half of 2014. 

In addition to his endeavors in organ literature, Hicks is a student of Celtic music, and has performed extensively throughout the New York metropolitan area on instruments associated with this tradition. He appreciates playing bellows-blown bagpipes, particularly the Border Pipes and Scottish Small Pipes. He plays the Great Highland Bagpipes as well, and competes on the Grade II level in the Eastern United States Pipeband Association’s sponsored Highland Games.  

Situated on the rugged west coast of Norway, the city of Trondheim is the location for one of the most compelling sacred spaces in all of northern Europe. The Nidaros Cathedral, a Romanesque and Gothic structure dating from 1140 is the spiritual heart of Norway, a shrine to St. Olav, and a centuries-old place of pilgrimage. It is also the home of composer and cathedral musician, Fredrik Sixten, a Swedish composer whose liturgical works are quickly garnering international acclaim. Sixten was appointed Domkantor of Nidaros Cathedral on April 1, 2013, and is responsible for conducting the Domkor and Oratoriokor. Prior to this prestigious appointment, Sixten spent twelve years as Cathedral Organist at Härnösand Cathedral, Härnösand, Sweden. Located over two hundred miles north of Stockholm, the university city of Härnösand is situated near the High Coast, a UNESCO-designated area of considerable natural beauty. The cultural and historical features of Härnösand and, now, Trondheim, have been the stage for the creation of a large and fascinating body of new compositions for the church by Fredrik Sixten. On the occasion of the composer’s fiftieth birthday in October 2012, I had the privilege of interviewing this musician about his life’s work thus far. This essay seeks to provide an introduction to Sixten’s life and career as well as identifying and briefly describing his many contributions to the contemporary organ repertoire. 

The son of a Lutheran pastor, Fredrik Sixten was born in Skövde, Sweden on October 21, 1962. Sven Sixten was a vital influence on the composer’s life from his earliest years and, perhaps, an initial source for Fredrik’s emerging creativity. The younger Sixten’s Epilogue for violoncello and piano (published by Gehrmans Musikförlag-GE11353) dating from 2001, is an eloquent testimonial to the composer’s father upon the latter’s death. Sven Sixten was a respected author of poetry, contemporary commentary for a wide variety of publications and novels, as well as serving as a priest at the Lutheran church in Fristad. It was this heritage that brought Fredrik into the musical world of the church. From a young age, he sang in choirs, participated in the life of the church, and displayed a precocious fascination with musical scores, spending countless hours copying diverse compositions without knowing how they sounded. Piano study ensued at age ten and, eventually, organ as well. 

As the aspiring musician reached adolescence, Sixten’s musical passions extended to other means of expression. Teaching himself to play guitar and drums, he formed a rock band called Birka, the original name of Stockholm, and the group covered many of the pop songs of the 1960s and 1970s as well as writing original material. Sixten cites the horn arrangements found in such works as the early albums of Chicago and Blood Sweat & Tears, as well as other jazz-rock fusion groups as a necessary balance to his primary tuition in classical music. He believes that his mature compositions would not have the same character now without these contradictory influences. 

Sixten enrolled in the Royal Academy of Music in Stockholm at the age of eighteen. The diverse cultural opportunities available in the capital city, regular practice on some of the important organs there, including the instrument at the Hedvig Eleonora church, and private lessons in composition with the acclaimed composer Sven-David Sandstrom, were crucial influences in Sixten’s artistic development. In addition, Sixten cites the mentorship of Professor of Piano Eva Luthander, who encouraged him to perform his original compositions, including, for example, an early work, Sonata for Violoncello and Piano for a jury examination. 

After five years of study, Sixten began his career in church music, serving first as assistant organist at Västerås Cathedral from 1986–1991. He proceeded to serve as organist at Vänersborg Church from 1991–2001 and as artistic director of the Gothenburg Boys Choir from 1997–2001. His 2001 appointment as cathedral organist in Härnösand proved to be critical to Sixten’s development as a composer. Whereas he previously had insufficient time for composing, it was this fortuitous opportunity at Härnösand that allowed Sixten the requisite time to follow his own creative path. The cathedral authorities encouraged him to provide new works for this community of faith as a part of his ministry. The impressive number of large-scale choral works conceived during these years includes 2004’s St. Mark Passion (the first Swedish-language Passion setting), 2007’s Requiem, and 2009’s Christmas Oratorio. A host of smaller works for “everyday use” attests to the possibilities inherent in this situation. 

Evidence of Sixten’s mature style became apparent with this prodigious output. The composer cites “the usual suspects” with Bach, Brahms, Prokofiev, Poulenc and, particularly, Duruflé as role models. He has also mentioned the melancholy demeanor of Swedish folk music as the essential component of his music. In addition, Sixten’s penchant for pop music, previously mentioned as an interest in his formative years, finds expression in the music of Prince. Going beyond Prince’s more popular discs such as Purple Rain, Sixten appreciates, instead, the American musician’s more experimental recordings as a vital influence. Sixten claims that Prince often “challenges the listener,” and is not afraid to make “ugly, strange sounds.” A final sphere of influence belongs to American music’s most characteristic indigenous forms: blues and jazz. Sixten often borrows from the modal characteristics of the former and the rhythmic syncopation and harmonies of the latter. 

It is this diversity of experience that leads Fredrik Sixten to state that “there is no single organ style that can adequately interpret his music.“ He attempts to be “a citizen of the world.” An authentic series of recordings of his complete organ music “would require the use of several contrasting instruments.”

More can be learned about the music of Fredrik Sixten at his website:

www.fredriksixten.com

 

The Organ Works of Fredrik Sixten, 1981–2013

 

Three Chorale Preludes:

Härlig är jorden (1981) 

Wachet Auf (1983)

Jesus, Du Mitt Hjärtas Längtan (1983)

The first work of this set appears in the anthology Lux Aeterna (Gehrmans Musikförlag GE 6713) and uses a melody that American musicians will recognize as Fairest Lord Jesus, while the second and third compositions are available from the composer at his website. 

These early essays are meant as postludes rather than serving as introductions to congregational singing. The direct nature of these pieces bears comparison to some of the preludes of American composer Paul Manz, although the virtuosic nature and intense chromaticism of the third prelude betrays the influence of the German Romantic master Max Reger. 

 

Festmarsch (1983)

This occasional piece, composed as a march for a friend’s wedding, is unpublished but available from the composer at his website. 

Although an early work, Festmarsch demonstrates the composer’s willingness to go beyond a normal commission. This “occasional piece” bears little resemblance to normal wedding fare such as Clarke and Purcell. Sixten, at the bride-to-be’s request, instead wrote a work in mixed meters that employs thickly textured chords and a light, scherzo character, giving this composition as the composer states, “a circus-like attitude.” 

 

Prelude et Fugue (1986)

This composition was published by Wessmans Musikförlag (#200768).

“The culmination of my student experiences,” Prelude et Fugue was composed in 1986 as an act of homage to Maurice Duruflé upon the occasion of the death of the French master. The spirit of Duruflé certainly informs the Prelude in its warm harmonies, chant-influence melodies and scintillating rhythms. The introspective, angular fugal subject gives way to an animated second section and triumphant conclusion. Sixten considers this his “first mature work” and it has gained popularity with organists throughout the world. It is an ideal introduction to his music.

 

Toccata Festival (1996)

Toccata Festival was published by Gerhmans Musikförlag and originally appeared in the anthology Jubilate (CG 7352). Gerhmans published it separately in 2008 (GE 11162), given this composition’s positive reception. It is dedicated to Claes Holmgren, organist of Visby Cathedral on the island of Gotland, Sweden.

This short fanfare is another composition that, like the Prelude and Fugue could be a newcomer’s entry into Sixten’s music. Two versions of Toccata Festival exist. The published version meets the requirements of Jubilate, being written for “organists of average ability,” while the composer originally created a version whose second section is of some greater technical challenge. 

This three-part work is a fine example of Sixten’s usage of “blue notes” (Example 1). Toccata Festival’s three pages offer a brief summation of Sixten’s approach.

 

Missa Mariae (1998)

Missa Mariae is a five-movement composition (Kyrie, Gloria, Credo, Sanctus, Agnus Dei) that was commissioned by Visby Cathedral Parish in 1998, and premiered by cathedral organist Claes Holmgren. This work remains unpublished but is available from the composer at his website.

Missa Mariae is intended for liturgical use, functioning as an organ Mass. Each movement relates to a Biblical quote concerning the Virgin Mary:

Kyrie—And the angel said to her, “Do not be afraid, Mary, for you have found favor with God.” (Luke 1:30)

Gloria—My soul magnifies the Lord and my spirit rejoices in God my Savior. (Luke 1:46-47)

Credo—And Mary said, “Behold, I am the handmaid of the Lord; let it be to me

According to your word.” (Luke 1:38)

Sanctus—For he who is mighty has done great things for me. (Luke 1:49)

Agnus Dei—And she exclaimed with a loud cry, “Blessed are you among women,

And blessed is the fruit of your womb.” (Luke 1:42)

Although often lyric in its expression, this Mass represents a marked shift in Sixten’s development, containing some of his most pungent, astringent writing.

 

Triptyk (2000, 2002, revised 2004)

Triptyk, as its title indicates, is a three-movement work based on the Trinity. It was commissioned by Holy Trinity Church, Gävle, Sweden, and premiered by that church’s organist, Per Ahlman. 

Triptyk’s movements are

I—Prelude: The Holy Father

II—Hymn: The Son

III—Toccata: The Holy Ghost

Triptyk was published by Gehrmans Musikförlag (GE 11241) in 2008.

This composition evolved over the course of several years, beginning with the second movement, composed while Sixten was still working in Gothenburg. Hymn is a set of variations on a Swedish hymn, Christ Who Art the Light, and is a movement the composer still “holds very dear.” Sixten indicates that this movement may be performed as an independent composition. The first movement finds much of its thematic interest on the Gloria in excelsis chant while the concluding Toccata is based on the chant Veni Sancte Spiritus.

 

Messa Misteriosa (2002, revised 2008)

Preludio

Kyrie

Gloria

Credo

Sanctus

Agnus Dei

Communio

Postludio

Messa Misteriosa, excepting the final two movements, Communio and Postludio (published Gehrmans Musikförlag- GE 11243 and 11244), is unpublished and available at the composer’s website. 

This composition was another commission from Visby Cathedral as a part of its 2002 International Organ Festival. The composer premiered Messa Misteriosa.

Messa Misteriosa, as was the case with Missa Mariae, was composed to accompany the Swedish liturgy. The Mass takes its impetus from the melodies that are currently sung in the worship life of the Church of Sweden. The title reflects the composer’s desire to return the worshiper to the inexplicable mystery of the sacraments. There is a dichotomy to this music as each movement celebrates the Good News of Jesus Christ, yet is at the same time mindful of the Savior’s ultimate sacrifice. Although it celebrates an ancient tradition, Messa Misteriosa is the composer’s closest embrace of a post-modern sensibility. It is replete with dense harmonies, tone clusters and unpredictable textures, all working within a colorful palette of sound. Sixten lists such diverse influences as blues (Kyrie), Swedish folk music, and contemporary French harmonies alongside the pervasive Swedish liturgical melodies as appearing in this sprawling work. The final movement, Postludio, seems to have, according to Sixten, a humorous, almost ironic means of expression.

 

Arioso (1998)

Arioso was commissioned for the Swedish collection “Lux Aeterna II” (Gehrmanns SKG 10059). It is a melancholy bagatelle of two pages that within only a few measures amply displays Sixten’s lyric gifts.

 

Mourning Blues (2006)

Mourning Blues was published in 2007 by Wessmans Musikförlag (#200742) and premiered by the composer at the Holy Trinity Church, Gävle, Sweden.

Mourning Blues is another example of the composer working within different styles. Sixten creates a work using a blues scale, yet harmonically is “combined with other influences such as French Romanticism.” There are frequent alternations of mood in this brief movement. Lyricism and bombast are juxtaposed in Mourning Blues as the work unfolds. Sixten concludes the composition with a chord that contains both major and minor thirds. Sixten states that this kind of a chord with both thirds plus a minor seventh is his “favorite chord,” and one that regularly appears in his music.

 

Organ Sonata (2006)

Organ Sonata was published in 2008 by Gehrmans Musikförlag (GE 11240).

This composition was a third commission from Visby Cathedral Parish, premiered in December 2006 by the composer at the Excelsior festival of liturgical music. This was Sixten’s effort at creating a “contemporary interpretation of sonata form.” It contains four movements:

I—Maestoso (ma non troppo lento)

Composed in “Swedish Romantic style with influence from Otto Olsson.”

II—Scherzo

Contains thematic influence from the Swedish folksong tradition. 

III—Adagio

A movement whose mysticism is reminiscent of contemporary French style.

IV—Finale

A movement that could be performed separately, it is a brilliant “mixed-bag”: a Rondo containing a scherzo, a fugal section, and many points of imitation, all brilliantly concluding in a virtuoso coda. 

 

Tango över Psalm 303 (2006)

Non-Swedish musicians should be aware that “Psalm” denotes a hymn from the Swedish hymnbook rather than a passage from the Old Testament.

Gehrmans Musikförlag published this composition in 2007 (GE 11017). 

Composed on a trip to Milan, Italy, this remains one of Sixten’s most often-performed organ compositions. It is based on a Swedish hymn that originally was a Nordic folk song (Det Finns en Väg Till Himmelen, sv. Ps 303). The composer says his intent was to “marry a serious, melancholic dance with a correspondingly serious Swedish tune,” producing a hybrid that has all of the rhythmic qualities of dance, yet retains the modality of Nordic music (Example 2). 

 

Hymn (2006)

Gehrmans Musikförlag published this composition in 2007 (GE 11168).

Sixten composed Hymn at the same time as Tango över Psalm 303. It is a lyric meditation based on an original theme and harmonically romantic in style. 

 

Allegro Festivo (2007)

Gehrmans Musikförlag published this composition in 2008 (GE 11242).

This is another “occasional piece,” composed for the wedding of some colleagues on the staff at Härnösand Cathedral. The couple was interested in choosing new music to celebrate their nuptials. 

 

Variations for Organ (2008)

Variations for Organ was commissioned and premiered by James D. Hicks at Princeton University Chapel in March 2010. It was published by Gehrmans Musikförlag (GE11636) in 2010.

The theme upon which this composition is based is a Swedish folk song entitled Visa från Åhl (Song from Åhl). This theme comes from the quintessentially Swedish province of Dalarna, and its A-minor tonality is redolent of the folk music of that part of the country. Intended for the myriad colors possible on a large, symphonic instrument, each of the eleven variations possesses a distinct identity. The contrasting movements include a section for double pedals, a scherzo, varying contrapuntal techniques, tender adagios, and a fugue (which the composer describes as “a three-part canon”), all of which are concluded by a toccata. The composer considers this to be his favorite of all of his organ works.

 

Passacaglia (2011)

Passacaglia was commissioned and premiered by James D. Hicks in February 2012 at Princeton University Chapel. It was published by Gehrmans Musikförlag (GE 12115) in 2012.

When commencing work on this composition, Sixten searched for new ideas in presenting a form “overloaded by tradition.” The work is described by the composer as “his most difficult creation in a technical sense” and is music of tremendous impact and scope. After a turbulent, Regerian introduction, Sixten introduces the passacaglia theme in an unusual way by placing it in the treble register, rather than the more usual pedals (Example 3). The theme appears in various registers as the composition ensues, but still always functions as a bass line. Sixten guides this theme through a highly diverse set of variations and increasing tension, all culminating in a final statement that combines a Swedish folk song with the passacaglia melody. 

 

Toccata & Fugue on B-A-C-H (2012)

Toccata & Fugue on B-A-C-H was commissioned and premiered by Lars Fredriksson in September 2012 upon the occasion of the dedication of the new choir organ at Härnösand Cathedral. 

Toccata & Fugue on B-A-C-H was published by Gehrmans Musikförlag (GE 12277) in 2013. It was nominated for best new chamber work by the Swedish Music Publishers Association.

Toccata & Fugue on B-A-C-H, as with so many compositions based upon this time-honored motive, employs the notes B-flat, A, C, B-natural as the foundation of a composition. Sixten goes a step further in homage to J.S. Bach by opening his Toccata in much the same fashion as in the older master’s famed BWV 565. The BACH motive permeates every fiber of the composition, and the following double fugue is effective in contrasting the two subjects. 

 

Lamentation (2012)

Lamentation was commissioned by James D. Hicks and premiered in July 2013 at the Turku Cathedral Summer Festival, Turku, Finland. At the time of the publication of this article, it was still in manuscript form. As a part of the commission, the composer used a medieval Norwegian folk tune for the composition’s foundation. The ensuing work is music of great pathos and anguish, one of Sixten’s most expressive creations.

From the organbuilder

In 1976, a fire at the historic Christ Anglican Church in London, Ontario, caused severe damage to the interior of the nave as well as considerable damage to the organ. The organ was built in 1907 by the Warren Organ Company—a well-known builder at the time—in Woodstock, Ontario. While the instrument contained lovely romantic sounds of well-balanced organ voices, it became clear after consultation with organ companies and consultants that the damage to the historic instrument was beyond restoration at a reasonable and justifiable cost.

Designed in 1862 in Gothic Revival architecture by London City designer William Robinson, Christ Church—seating about 200—became the second oldest Anglican church in London after St. Paul’s Cathedral. Located in the city core area between the railway and the Thames River, the church was a center of worship and activities for both the working community and academia alike, and became known for its high standard of Anglican liturgy and music. In 1878 prominent citizens of London came together at Christ Church, and the result of this meeting was the foundation of the University of Western Ontario. 

Following extensive repairs to the fire-damaged nave, the acquisition of a new organ became the next project. This involved discussions with a few organ companies, the church vestry, organists, and musicians of related disciplines. An invaluable contribution was the advice given by the late organist and composer Dr. George Black, who was Professor of Music, Anglican Liturgy, and Romance Languages at Huron College. 

The consensus was that a new organ should be placed in the west-end gallery of the nave and not at the front in the chancel where the first organ was located. Part of this decision was based on the excellent acoustic properties of the nave, into which sounds could flow freely from the balcony location. At Christ Church the measured sound decay period across a broad spectrum of frequencies was an ideal 2.5 seconds. We would like to believe that architect William Robinson must have had in mind such acoustics where public speaking, congregational singing, and other musical sounds projected easily into every corner of the nave. And thus, in the design of a new organ, such acoustic properties demanded special consideration in the development of the organ pipes, their materials, and scales for their intended sounds.

I had the privilege of collaborating with Dr. Black in the development of a new organ that would not only provide all tonal resources for liturgical worship but also offer opportunities for other musical events, such as recitals and performances with other musicians.

But with all this enthusiasm there was a problem. While the ideas were all good, fire insurance coverage did not provide nearly enough money to build the envisioned instrument. London, a city of 300,000, still had the “small-town” community atmosphere where friends of Christ Church—musicians from other churches or other music disciplines—came together. The late attorney, organist, and conductor Gordon D. Jeffery offered, free of charge, his privately owned small concert hall—Aeolian Town Hall—as a venue for concerts and recitals as fundraisers toward the cost of a new organ for Christ Church. His Aeolian Town Hall also housed a three-manual tracker organ of thirty-four stops (my Opus 47) and hence was an ideal location for both organ recitals and chamber music. All musicians donated their talents to the Christ Church organ fund. There are too many artists to name and thank at this point. The result was that Christ Church would contract me as builder of the new organ in January 1976. It would have fourteen stops, mechanical key and stop action, two manuals and pedal, and freestanding casework for projection. 

The organ dedication, presided over by Bishop of Huron, T. D. B. Ragg, took place on February 6, 1977.

Similar to other cities and towns, over recent years urban changes affected inner-city activities, which resulted in diminishing attendance of downtown churches. Christ Church was no exception to such changes, and eventually, after years of efforts to provide local needs, had to close its doors. The organ, along with other contents, was offered for sale. 

Of the parties interested in purchasing the organ, one was particularly suitable in terms of space, liturgical and musical use, and especially for its acoustic environment. It was St. Mark’s Anglican Church in Niagara-on-the-Lake, Ontario, which agreed to accept and accommodate the organ.

I, along with colleagues Tom Churchill, Larry Hunt, and Chris McKaskell, undertook the relocation of the instrument from Christ Church in London to St. Mark’s, where it has an ideal and fortunate location. I needed to make only minor tonal changes in its new home.

Of interest, it was organbuilder Tom Churchill who joined me when this organ, Opus 82, was built in 1976, and it is again organbuilder Tom Churchill who supervised its move to the new and most suitable location.

—Gabriel Kney

 

From the rector

Last February, through a conversation with a good friend who was honorary assistant in an Anglican church in London, I became aware of the possible closure of that church. My friend, the Reverend Dr. Donald Irvine, former dean of Huron College where I studied theology, informed me that, sadly, the Christ Church congregation would likely be closing its doors very soon. And so began my involvement, as rector of St. Mark’s, in a six-month process that would see the Gabriel Kney pipe organ (Opus 82) moved from London, Ontario, into our historic church in Niagara-on-the-Lake. 

When I was at seminary from 1972–1975, one of my professors, Dr. George Black, was organist at Christ Church, and it was at that time I first met the organ builder, Gabriel Kney, whose shop was in London. Both Gabriel and George were members of Christ Church. I often listen to a CD recorded in 1995 featuring George playing that very organ. In the liner notes for that CD there is a phrase that speaks of this marvelous combination of organist and organ builder: “the circumstances of having both a George Black and a Gabriel Kney in one small church is perhaps a testament to the mysterious working of Spirit.” Knowing both Gabriel and the late George Black over the years I can only say “Amen” to that!

Throughout my ministry, over the years our paths would cross many times. In 1989 Gabriel built a pipe organ for my former parish, St. John’s, Stirling, and it was George Black who played the inaugural recital on that instrument, a concert recorded by CBC Radio. In 2005 St. Mark’s became the recipient of another Gabriel Kney organ, from the Riese family who resided near Ottawa. This smaller organ now sits in the transept of the church. 

There are two important things to know about St. Mark’s Church, the place that was to become the second home to Opus 82. The congregation here is one whose history and heritage seem to seep from the walls.

In 1790 two prominent citizens of Niagara-on-the-Lake, then known as Newark, wrote to the Bishop of Nova Scotia asking that “an Anglican clergyman be sent to Niagara.” This request was passed on to the Society for the Propagation of the Gospel in England, and in 1791 Rev. Robert Addison was chosen and sent as a missionary to become the first rector. Addison, a graduate of Trinity College, Cambridge, brought with him his library of over twelve hundred books, the oldest of which was published in 1548. The Addison Library, as it is known today, is the oldest library in the Province of Ontario. Although the exact date of the construction of the church is uncertain, we believe it was erected within the first decade. In 1792 Niagara became the first capital of what would eventually become the Province of Ontario, and Robert Addison became Chaplain to the Legislature. Within a generation the community and St. Mark’s Church found themselves in the middle of a war, a conflict we know as the War of 1812. St. Mark’s Church was first used by British and Canadian soldiers as a field hospital, then later held by American soldiers when in 1813 Fort George and the town were captured by American forces. The church is one of the very few buildings to survive the War of 1812. One of our former parishioners, General Isaac Brock, commander of the British and Canadian forces, was a member of St. Mark’s, and Robert Addison would conduct his funeral in October of 1812 as a result of Brock’s death at the Battle of Queenston Heights. Although history and heritage are significant ingredients in our faith community, it is also important to note that St. Mark’s is a living and dynamic faith community. One of the ways we practice our faith today is through exercising God’s gift of music.

Under the very capable leadership of our organist and choir director, Michael Tansley, the Sunday morning liturgy is filled with the wonderful sounds of voice and instrument. Under Michael’s guidance our choir leads a congregation that loves to sing, and the Sunday morning faith experience is enriched by the joy that the ministry of music brings to worship. But our music experience is not limited to the Sunday liturgy. 

St. Mark’s was a key participant in the founding in 1999 of an annual music festival, Music Niagara. Atis Bankas, resident of Niagara-on-the-Lake, violinist in the Toronto Symphony, and a renowned and experienced teacher of many young violinists, is the artistic director of this festival. Under his auspices the very best musicians from all over the world are invited to Niagara each summer and most of those concerts take place here in this church. The combination of our rich history, a beautiful church, and the congregation’s passion for the arts, especially music, meant the acquisition of an instrument such as this pipe organ seemed to be a move in the right direction. There are indications already that this partnership between Music Niagara and St. Mark’s new pipe organ is beginning to bear fruit. On July 21, as part of the festival’s summer concerts, two organists from the Netherlands—Susanna Veerman and Wim Does—will play an organ recital here at St. Mark’s as part of their Canadian tour.

While there are many who love music in our parish, there was one parishioner, and very good friend, who simply adored the sound of the pipe organ. Fred Dixon was that man. On many occasions Fred and his wife, Marti, would tell me about their travels to Holland and their many excursions to churches there to hear many large pipe organs. When I spoke to him about this pipe organ in London he simply said, “Let’s get it for St. Mark’s!” He became a very gracious and generous benefactor without whom we simply would not have the organ. His generosity and vision were critical to the process of securing the instrument. With Fred’s help we also received a grant from the Foster Hewitt Foundation enabling us to cover the cost of transporting the organ from London to St. Mark’s, Niagara-on-the-Lake.

Gabriel Kney and Tom Churchill would oversee the process of dismantling and delivering the organ from Christ Church to our congregation, which they accomplished in mid-August. Tom is a lifelong friend, both of us having sung in a choir over fifty years ago in another Christ Church, a congregation where my father was rector.

During the time the organ was being reassembled at St. Mark’s, I spent many happy hours watching the two men at work, breakfasting with them at a local restaurant, the Red Rooster, and sharing a few drinks at the end of the day on the rectory veranda. It was good to renew old friendships. Gabriel Kney and his wife, Mary Lou Nowicki, who is herself a fine organist and retired professor of organ at Central Michigan University and the University of Kansas, spent a week seeing to the voicing and tuning of the instrument. At the end of that session we were all amazed to discover how wonderful the instrument sounded in our acoustic space although it had been designed for another church.

It was fitting that native son Andrew Henderson, organist at Madison Avenue Presbyterian Church in New York City, not only performed the inaugural recital on this instrument but stayed over to play the next day for the Advent Festival of Lessons and Carols. As we know, Advent marks the beginning of the Christian year and speaks of renewal and new beginnings. This Gabriel Kney pipe organ has been moved to another church from another diocese, the Diocese of Huron, and given a new beginning here at historic St. Mark’s. Those who call this faith community home could not be happier.

—Rev. Canon Dr. Robert S. G. Wright

Rector, St. Mark’s Anglican Church

Niagara-on-the-Lake, Canada

 

Photo credit: Cosmo Condina Photography (www.cosmocondina.com)

 

Websites of interest

St. Mark’s: www.stmarks1792.com

Music Niagara: musicniagara.org