Diapason Review: <i>Louis Vierne: Second Symphony for Organ</i>. Christopher Houlihan, organist.

Louis Vierne: Second Symphony for Organ. Christopher Houlihan, organist, at the Trinity College Chapel, Hartford, Connecticut. Towerhill Recordings TH-72018, $19.95 www.towerhill-recordings.com.
Here is a recording by a young musician, Christopher Houlihan, who has yet to finish his undergraduate degree in organ, studying with John Rose at Trinity College in Hartford, Connecticut. At age 19, he spent his junior year abroad at Trinity College’s Paris program, where he studied organ and harmony with Jean-Baptiste Robin at the Conservatoire National de Région de Versailles. He also served as an assistant at the American Cathedral of the Holy Trinity in Paris. Houlihan has twice been a prize winner in the Albert Schweitzer Festival Organ Festival/USA Competition and was awarded the 2005 and 2007 Charlotte Hoyt Bagnall Scholarship for Church Musicians.
Phillip Truckenbrod writes a very engaging portrait of this young artist, just beginning his career and yet years ahead in his musical and interpretive skills, noting that he is a “ . . . very balanced young man and is popular, even beloved among his fellow students, and during his freshman year his many campus friends formed a group known as the ‘Houli Fans’ who show up to his performances (with several experiencing an organ recital for the first time) to cheer and yell and demonstrate their loyalty.” How engaging and refreshing that young students of the organ should have other friends besides just organists and be able to bring their love of the instrument to people who maybe would never consider attending an organ recital.
This first recording of Christopher Houlihan opens with two works by Charles-Marie Widor, the spiritual predecessor of Louis Vierne. It was Widor who numbered Vierne among his pupils and immediately recognized his talent. Further, it was Widor who made Vierne his assistant at St. Sulpice—a great honor from a teacher who was a stern taskmaster and not one to acknowledge a student’s abilities or talents.
The two excerpts by Widor that open this recording are the Allegro from the Sixth Symphony in G minor, op. 42, no. 2, and the Andante Sostenuto from the Gothic Symphony in C minor, op. 70. Widor’s music is often divided, like the music of Beethoven, into three periods. This Sixth Symphony (Widor most often referred to his organ symphonies as suites or “collections”) contains an increased interest in contrapuntal techniques and seeks to fully exploit the tonal resources of the Cavaillé-Coll organ in its entire symphonic splendor. The opening Allegro movement is a theme and variations, combining a sixteen-measure theme with a twelve-measure “recitative” idea. These two themes weave themselves together on and off throughout the entire movement and give the work its structural unity and its sense of forward musical motion. Houlihan’s playing is striking in its rhythmic vitality, crispness of articulation, and solid and flawless technique that is put to use in the service of the music and never employed for simply empty technical display.
With the Andante Sostenuto from the Gothic Symphony (Widor’s ninth symphony and a work of his third style period), Widor shows both his ability as an improviser and his increased interest in Gregorian chant during the later part of his creative life. The Gothic Symphony dates from 1895, and—unlike the “Romane” symphony (his symphony no. 10 of 1900)—the plainchant melody is only heard in the third movement, the Andante Sostenuto, which is presented in this recording. Widor quotes the Gregorian hymn Puer natus est nobis (Unto us a child is born), the Introit for Christmas Day, and the work itself is inspired by the glorious Gothic basilica of Saint-Ouen at Rouen. What a marvelous counterpart to the dynamic opening of this recording! Here Houlihan plays with a gentle and well-controlled sense of romantic rubato that is so beautifully crafted that the listener finds himself lost in the sheer beauty of the Great Flute Harmonique on the Austin organ used in this recording. You might find yourself playing this track over and over again. Widor’s American pupil Albert Riemenschneider called this “ . . . a rare movement with a spiritual content so chaste and pure that involuntarily the atmosphere of prayer and incense suggests itself.”
After this love feast of Widor’s music, Houlihan presents the main course of this recording, the Second Symphony in E minor, op. 70, by Louis Vierne. Unlike Widor, Vierne did not use Gregorian chant in his work. Dating from April 1903, this second symphony is much more chromatic, intense and broader in concept than Vierne’s first symphony of 1899. Here Vierne embraces the cyclic form more completely. The challenge for any organist is to make all five movements, different in character yet with the same explosive and almost violent energy, come together as one continuous work that unfolds movement after movement. Christopher Houlihan does this admirably, taking the listener on a journey through the valleys and peaks of this highly personal and complex music, from the opening powerful Allegro through the opposing ideas of the second movement marked Chorale; the third movement, Scherzo, is in classic sonata-allegro form, and is the lightest and most elegant of the movements; the Cantabile fourth movement is a dialogue between the ideas of tonality and modality; and the Final is much more intense and explosive than the last movement of the First Symphony.
The listener soon forgets that he is listening to a 19-year-old American organist who has yet to finish his undergraduate degree, and is swept away with the various moods and emotions that accompany this almost 40-minute exposition of the art of Louis Vierne, at the height of his powers as unanimously elected new organist of Notre-Dame Cathedral by a jury of France’s most illustrious keyboard virtuosi.
The recording closes with the Carillon de Westminster from the Twenty-four Fantasy Pieces, op. 54, no. 6. The famous theme is the chime that is rung by the bells in the clock tower of London’s Houses of Parliament. A 13-ton bell (Big Ben) strikes the hour, and four smaller bells chime what has been known as “Westminster Quarters” every fifteen minutes, increasing the one four-note phrase at the quarter hour to four four-note phrases on the hour when it is joined by that famous big bell. Vierne often would play this piece on his American tours, along with the Berceuse from the Twenty-four Pieces in Free Style and the finale of the First Symphony. What a wonderful finish to this recording, with Houlihan literally dancing through this show stopper to conclude this recording of over 63 minutes of brilliant organ playing.
The mark of a truly great actor is that you stop thinking about the actor himself and focus all of your attention on the character and the story that is told through the performance. After a while you become so engaged emotionally and intellectually that you become one with the story. Listening to this recording, one becomes absorbed in the music, forgetting about the particular organist or the particular organ (we organists love to think about the instrument, don’t we?) and just simply let the music absorb us totally.
It is hoped that this recording will be the first of many from Christopher Houlihan, and you will no doubt become a “Houli Fan” after just a few minutes of listening to this recording.
—David Wagner
Madonna University
Detroit, Michigan

Joyce Johnson Robinson is associate editor of The Diapason.

Christopher Houlihan may very well be the youngest organist ever interviewed by The Diapason. A Connecticut native, Houlihan—sometimes known as “Houli”—made his debut album at 19 (a recording of the Vierne Second Symphony, made before he went to France in his junior year; see the review by David Wagner in The Diapaso, January 2009, pp. 19–20). His second recording (Joys, Mournings, and Battles, Towerhill Recordings) was recently released—a significant achievement for any artist, but all the more amazing given his youth. Houlihan, who placed first in the High School Division of the Albert Schweitzer Organ Competition (see David Spicer, “Albert Schweitzer Organ Competition 2003,” The Diapason, November 2003, p. 17), is a graduate of Trinity College, where he studied with John Rose; during his senior year he made his orchestral debut with the Hartford Symphony Orchestra, performing Barber’s Toccata Festiva. Rose had insisted that Houlihan pursue some study with a different teacher, so during his junior year Houlihan studied with Jean-Baptiste Robin at the conservatory in Versailles, where he earned the French equivalent of an artist’s diploma. He also served as assistant musician at the American Cathedral in Paris, under Edward Tipton, working as choral accompanist and directing two children’s choirs. One Sunday when Tipton was away and Houlihan was to serve as both organist and choir director, the cathedral received a few hours’ advance notice that the President and First Lady of the United States, Mr. and Mrs. George W. Bush, would attend.
Houlihan’s first teacher, John Rose, described meeting the youngster prior to playing a recital—the young man and other family members came an hour early to get a bird’s-eye-view seat, in order to see the console and player up close. This initial meeting led to lessons with Rose at Trinity College, and subsequently to Houlihan’s matriculating there. Rose notes that one of Houlihan’s qualities is the ability to generate excitement about the organ and its music, to be able to communicate the music and his passion for it to an audience, and credits some of this to Houlihan’s technical mastery of rhythm and accent in way that makes the music “electrifying.” Rose feels that Houlihan’s “thirst for knowledge and learning” lead him to be “well informed about various performance practices,” yet realizing “the importance of bringing his own ideas and a fresh outlook to his interpretations. He also understands (and enjoys) the need to adapt his ideas uniquely, as needed, from one organ to the next.”
Christopher Houlihan’s fans are of all ages and include an 85-year-old retired math teacher at Trinity, along with students at the college; they have formed a group known as the “Houli Fans,” and this has expanded into marketing: t-shirts, caps, and mugs are available. Most of these students had never experienced an organ recital before supporting their friend. When he performed with the symphony during his senior year, they chartered buses to take throngs of students to the orchestra hall, where they rained down loud cheers from the balcony. Christopher Houlihan currently studies with Paul Jacobs at the Juilliard School, and is represented by Phillip Truckenbrod Concert Artists (www.concertartists.com). Houlihan can be found on Facebook and YouTube, and his website is www.christopherhoulihan.com.

Joyce Robinson: Do you come from a musical family?
Christopher Houlihan: My family isn’t musical, but my parents have always been incredibly supportive of my passion. I think my mother signed me up for piano lessons just so I would have something to do after school. At the beginning I liked it, I thought it was all right, but I kept practicing and eventually joined a church choir in my hometown of Somers, Connecticut when I was about 8, and discovered the organ. The organ in the church was an electronic organ, and the organist there always had the tremolos on, but she showed me everything she knew and encouraged me to explore. She let me practice on the instrument. I was immediately excited by it and drawn into it, and I started reading as much as I could about the organ and tried to talk to other organists, but at the same time, I had no idea how to take organ lessons. It was obvious you could take piano lessons or lessons on any other instrument, but the organ was kind of a mystery to both my parents and me. My mother loves telling the story of walking into my bedroom and seeing me at my digital keyboard, moving my feet around. She discovered I had put rows of masking tape on her hardwood floor, in the outline of the pedalboard, so that I could learn how to play the pedals. She was a bit horrified that I had put tape all over her floor, but at the same time, she thought it was pretty clever.
Then, in 1999, my mother read in the newspaper that there was an organ concert going on in Springfield, Massachusetts. We’d never been to an organ concert before, never really heard any classical organ music, but we went, and I got hooked. I still have the program from that recital, and, looking back on it, I can’t imagine having had a better introduction to concert organ music: I heard Franck’s Pièce Héroïque and Vierne’s Third Symphony for the first time that day. After the concert, we spoke with the organist, and I said, “I want to take organ lessons, what do I do?” And the man said, “Why don’t you come down to Hartford and play for me?” This was John Rose. We went to Trinity, and I played for him; I was twelve years old, and he took me on as a student. From there, it just took off—I kept studying with him throughout high school, and when it came time to look at colleges, Trinity turned out to be a very good fit for me. John never pushed for me to go to Trinity; he would have been supportive of any decision I made, but for a lot of reasons I chose Trinity, and I’m really glad I did.

JR: Is that where your interest in Vierne came from? John Rose is well known for his work on Vierne, and your first recording was mostly Vierne.
CH: Yes, it was. John has been a wonderful mentor, and he’s never forced any particular style of playing on me, and I’ve studied all sorts of repertoire with him. But I do suppose I’ve had more exposure to Vierne than many other people, certainly because of his love of Vierne. I remember working on the “Berceuse” from the 24 Pieces in Free Style; that was probably my first Vierne piece.

JR: How old were you then?
CH: I’m not sure! I was in middle school, probably 13. Then when I got to Trinity, he said “You should really learn the Vierne Second Symphony, I think it would be a good piece for you.” And I learned it, and I absolutely loved it. Vierne is very chromatic, it’s very different from most Widor . . . Some people say things like, “You should never play a complete French symphony, it’s too long, it’s trash, audiences don’t like it,” but I find it incredibly gratifying as a performer and as a listener to hear a complete symphony. You rarely go to an orchestral concert and hear the Finale from a Beethoven symphony—you hear the whole work. I think a Vierne symphony works much better as a complete piece . . . the individual movements speak much more profoundly when you hear them in the context of the whole symphony.

JR: You must have worked on quite a bit of French repertoire with John Rose before you went to France.
CH: I did.

JR: And when you got to France, did you find the approach to French music to be different?
CH: That’s a complicated question to answer, but yes, the approach was very different. I went to France because I had a strong affinity for French romantic music, but I also wanted to learn more about French classical music, as well as study modern French music. Certainly one of the most beneficial aspects of studying organ music in France is hearing and playing on French organs. But having grown up on American organs, playing primarily in drier American acoustics, and approaching music from an American perspective in general, I really had to learn a new style of playing, one that was more effective for those instruments and rooms. My teacher, Jean-Baptiste Robin, often talked to me about “taste,” which is, of course, completely subjective, but I became more aware of the fact that taste is also cultural, and people from two different backgrounds (musical and otherwise) will have very different opinions about what they consider to be “in good or bad taste.” For example, sometimes I would phrase something a certain way, or accent something a certain way, and Jean-Baptiste would remark that it sounded “American.” Well, I am American, after all!
What is true, though, is that French music sounds most “at home” on French organs. One of the most incredible experiences I had was going to Poitiers Cathedral, where Jean-Baptiste Robin is titulaire, and hearing the 1791 Clicquot organ there. When I heard French classical music on that instrument I was almost in tears, it was so beautiful. That music came alive and worked in a way I had never heard it before. The same can be said of romantic music, but to a less extreme degree, when hearing it on French romantic organs. But what I’ve come to believe through those experiences is that what is far more important than choosing the historically correct stops, or playing in a historically correct way, is the type of musical effect that comes across to a listener. If hearing Widor played at St. Sulpice brings you to your knees, then that music should have the same effect wherever you’re playing it, and, typically, in my opinion, to get that kind of effect on American organs, you have to play the music in a very different way than you might in France.

JR: So are you saying that one must register more with one’s ears than just looking at labels on the knobs?
CH: Yes, absolutely. And at the same time, you don’t have to travel all the way to France to register that way. I think you have to go with your gut—you have to look for what’s the most musical solution when you’re registering anything. It’s not what the book says is the correct registration, but what has an effect—what makes the music come alive.

JR: Was there any particular aspect of registration that you had to make adjustments for when you returned to the U.S.?
CH: There are all sorts of things one can do. One basic idea that is important to know about is the upward voicing that a lot of the French organs have, where things really sing in the treble in a way they don’t on most of our organs. There’s not an easy solution to this, but it’s something to keep in mind and listen for. The other thing is that our Swell boxes are, generally, much more expressive even on smaller organs, and you can use them in a different way for the kinds of musical effects that naturally occur without moving the box on a French organ. The reason Franck used the Hautbois with his 8′ foundations was to make the Swell more expressive . . . if the oboe isn’t needed, I leave it off. Many American organs have the only chorus reeds in the Swell, and they might be quite loud; therefore, you don’t always have to play with the full Swell on where Vierne or Widor says “full Swell.” If you’ve only got a full Swell and one more reed on the Great, you don’t get a crescendo effect; you go from loud to louder. You’ve got to allow more liberty for these things, because in the end you’re being truer to the composer’s intentions . . .

JR: Tell us a little more about your time in France. Life in Europe is usually different than it is here, so what was it like for you—your schedule, your study, your practicing? Did you spend time learning the language?
CH: I was there through the Trinity College Paris program. They have about 20 to 30 students there each semester, and through that program I took French language classes, a class on French culture, a course on art history and architecture—they offer all sorts of courses, ranging from history of the European Union, to independent studies on anything you want to learn about. I did part of my coursework through them, and Trinity gave me credit for my organ lessons at the conservatory in Versailles, and my private harmony lessons with Jean-Baptiste.
I was also lucky enough to have an incredible job at the American Cathedral in Paris, working with Ned Tipton. I was the assistant musician, which meant that I accompanied the choir on Sunday mornings, and I directed two children’s choirs—the children’s group, and a teenager group—and along with all this I had an apartment in the cathedral tower, which was really incredible! You could climb to the top of the tower, and you had one of the most spectacular views of Paris. You could see all of the major monuments, really stunning. The cathedral is on the Avenue Georges V, which is right off the Champs Elysees . . . the whole experience was very surreal and I feel so lucky to have had the opportunity. And the people at the cathedral are so wonderful. There are a lot of Americans, of course, and people from England, from Australia, and French people too!

JR: During your time in France, you performed for George and Laura Bush at the American Cathedral in Paris. Can you recall that day?
CH: I’ll certainly never forget it. It actually began on a Saturday afternoon when I got a knock at the door of my apartment. Now, my apartment was 83 steps up a cement spiral staircase, so I didn’t get very many knocks on the door . . . I was fairly surprised to discover the dean of the cathedral and two French police officers with enormous rifles standing in front of me. They explained who would be coming for a visit the following morning. To complicate things, Ned was away, the adult choir hadn’t had a rehearsal the previous Thursday, and we had the children’s choir scheduled to sing that morning too. Unfortunately, we had to keep the news completely secret for security reasons, so I couldn’t let the choirs know what would be happening. Sunday morning was a little hectic . . . security came and set up metal detectors, dogs sniffed through the whole building, and of course, they didn’t care that I had a choir to rehearse! We wound up with about 15 minutes to run through the anthems, but we pulled it off pretty well.

JR: What were your studies like with Jean-Baptiste Robin?
CH: Robin was an excellent teacher and I learned a great deal from him. At his recommendation, we spent the year working almost exclusively on French music, and nothing could have made me happier. Each week I would prepare a different piece, by de Grigny, Marchand, Couperin, or one of the other French Baroque composers. We worked a great deal on Franck, of course, on Alain’s Trois Danses, as well as one of Robin’s own pieces, Trois Éléments d’un Songe.

JR: What made you choose Juilliard for graduate study? For that matter, why even bother with graduate study, because you had already made a recording, you were signed to professional management before you even got a bachelor’s degree, if my calculations were correct?
CH: True. I chose Juilliard because I really wanted to work with Paul Jacobs and I have had a wonderful time studying with him. I’ve been lucky at this point to have studied both at Trinity and at Juilliard, and have had vastly different experiences at both schools. At Trinity, the focus was on studying music in a broader context—a liberal arts school; I took classes in all sorts of things: science, math, philosophy—it was wonderful, and I made friends with all sorts of people studying all different subjects, and I can’t say enough positive things about how that can affect one’s perspective on making music. But I really felt I was ready to study music in a much more intense environment, and Juilliard was a great choice for that. I love being in New York City, being at Juilliard, and working with Paul. It’s been very rewarding.

JR: Has it been an opportunity to learn a lot of new repertoire, or just refine what you already know?
CH: One of the unique things about the Juilliard program is that we’re required to perform a new piece each Thursday morning in our organ studio class, which is open to the public. And that was definitely a big draw to go there, to learn a lot of repertoire. It can sometimes be difficult to learn a piece very deeply when you’re going through so much music so quickly, but you can always bring things back to Paul and work on them more, and of course work on them more on your own, which is where the real music happens, spending time getting to know the music very intimately. To touch on the last question again, even though I’ve been lucky to have these opportunities to record a CD and study in France and work under management, which I’m incredibly grateful for and excited by, I believe one never really stops learning. Juilliard has been a wonderful place for me to grow more as a musician, and I hope to continue to do that for the rest of my life.

JR: You have a website, and a presence on Facebook—do you find that these media help build your audiences?
CH: I’m not sure, but I do think they’re incredibly important tools. How many people are on Facebook now? I have no idea, but there’s no reason not to take advantage of it and to be communicating in the world where most people are interacting today. I don’t know if my online presence necessarily helps build my audience, but it certainly doesn’t hurt it. It certainly helps attract younger people.

JR: Do you notice that your audience has a younger demographic than that of other organists?
CH: I don’t think so, not yet at least, but attracting younger people to classical music is something I feel very strongly about. And one of the greatest things I experienced at Trinity was bringing my friends who weren’t musicians to my organ concerts, and getting them excited about it. They responded very positively.

JR: Would that be the Houli Fans?
CH: The Houli Fans grew out of that, from friends of mine who weren’t musicians, but who came to my organ concerts and got excited by the music and discovered something far more fantastic than they ever expected to. I would have never guessed some of my college friends would greet me by humming the opening bars of Vierne’s Second Symphony—or talk to me about how fascinating a Bach fugue was. Houli Fans has caught on in a very organic way, and audiences everywhere I go are interested to hear more about it. At Trinity, students came to the concerts and saw that I loved performing, thought the music was exciting, and they responded by getting more people to come! This is such a good sign for organ music, to see people, of any age, who don’t know anything about organ music responding to it. I think in a way the organ may stand in a better place now than it ever has, I suppose you could say—it has been so dismissed and ignored for so many years, that now it stands to be rediscovered. We’ve all been in situations where people ask about being an organist. They really don’t know what that is, they don’t know what that means, what we actually do. When they hear exciting classical organ music, they’re so wowed by it—it’s true. I’ve played recitals this year and people come up to me and say, “This was my first organ concert and it was way better than I ever expected!” I tell them, “Now go tell somebody else. And come back again and bring them!” Once people discover what’s going on, they’re excited by it. And that’s a really good sign.

JR: Do you see any special role for technology such as iPods or YouTube to advance organ music, or are those just tools like a CD would be?
CH: I think what’s important is reaching as many people as you possibly can. And people are on Facebook, on YouTube—a lot of people are using these things, and if we ignore them (and I’m not suggesting we necessarily are), you’re ignoring a big part of your audience. So I think it can absolutely help. YouTube is a fantastic resource for hearing and seeing performances—it’s an incredible archive of music and musicians and organs and all kinds of music, not just organ music, and quite a tool for marketing and advertising. Everything links to something else, and people can see you and discover other organ music and other performances.

JR: Well, back to the Houli Fans. What are they up to these days?
CH: We have shirts and hats and coffee mugs, and people are really responding well to it. Everywhere I’ve been this year I hear “Oh, I’m going to join the Houli Fans” and “I’m your newest Houli Fan” and things like that. And I find that both musicians and non-musicians want a very fun way to connect with the performer and somehow be involved in the performance. It’s fun!
And there’s nothing wrong with having a little bit of fun, or with classical music being fun. It’s been fun for centuries!

JR: You also have an interest in musical theater. Do you have much time for that any more?
CH: No, not right now, in graduate school, and with a busy performance schedule. But I did a lot of it in high school—I was music director of several shows. That was a lot of fun, and actually a really great learning experience. And I did a lot of it in college, too—music directing, performing on stage, singing, dancing, and all of that. I really enjoy it. At the moment I don’t have plans to do it professionally, but it’s a small passion of mine. I particularly love the music of Stephen Sondheim, and, coincidentally, I’m going to be inaugurating the organ at the Sondheim Center for the Performing Arts in Fairfield, Iowa.
I think there’s a lot that musicians can learn from theater, both from straight drama and musical theater, about how to approach a musical score, similar to the way an actor takes a script and analyzes everything that’s going on to create a character, and perform that character night after night. I try to approach music the same way—take the score and truly consider how to create a musical experience—in a way . . . a whole play. Not necessarily a story, but create the kind of experience I’d like to have as a listener. I think there’s a lot we can learn from theater and the other arts.

JR: Of what you’ve worked on so far, is there any particular repertoire you found a difficult nut to crack—you mentioned finding the character and learning how to bring that out; is there any music that’s been, say, a little more opaque for you?
CH: One of the most incredible things about the organ literature, and one of the most daunting, is the centuries that it spans. All this repertoire and all these different styles—personally, I think it’s impossible to be fluent in and to perform all these styles in a convincing way. Maybe it’s possible; I’d like to be wrong. When I’m learning a piece in a different style that I haven’t studied before, I try to approach it with respect for the scholarship that’s been done on it and its performance practice, but also perform it in a way that feels honest to me, so that I can perform it and convince the audience of the music. I don’t think there is much value in performing something just because you think you should—that you should play so-and-so’s music. Well, what if you don’t like so-and-so’s music? A lot of people may like so-and-so’s music, and a lot of scholars may say it’s important . . . But I don’t have to perform everything under the sun.

JR: In one of Gavin Black’s regular columns in The Diapason, one of his points was that if you don’t really like something, why waste your time learning it? Life’s too short—unless you’re in a competition and it’s required.
CH: At the same time, I’ve learned some pieces—I’m not sure I can name a specific one—where I’m not sure about it at the beginning, or I think I’m not going to like the piece. But then after I learn it I think, “Wow, now that I’ve studied it, and learned more about what the composer was trying to do, and found ways to make it come alive for my own performance, it really is a good piece.” And sometimes I decide to learn a piece, starting off by thinking it’s a great piece, and then after becoming more familiar with it, decide “This isn’t right for me.” It works both ways.

JR: You’ve already recorded two CDs—are you preparing any other recordings? What are your other plans for the future?
CH: I hope to be able to keep recording, and I hope to be able to continue performing. I really enjoy traveling and meeting new people, but most importantly, I love performing and bringing music to an audience. I believe it’s more like making music with an audience. Sometimes I even tell that to the audience too—I thank them for making music with me, since I can’t do it by myself, and since I get so much joy from performing. Eventually, I’d love to be teaching and sharing my love of organ music with others in any way I can.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

On Saturday, June 2, Christopher Houlihan kicked off his six-city tour of the six Vierne symphonies with two recitals at the Church of the Ascension on Fifth Avenue in New York City

On Saturday, June 2, Christopher Houlihan kicked off his six-city tour of the six Vierne symphonies with two recitals at the Church of the Ascension on Fifth Avenue in New York City. This church has been since 2010 the home to a large and very successful Pascal Quoirin organ. There is no doubt that the program performed on it that day will stand as one of the greatest of its career.

There were two recitals with three symphonies apiece. First, we heard the odd-numbered symphonies. After a leisurely dinner break, the even-numbered were offered. In addition, a shorter intermission was inserted before the final symphony on each program. The programming design is astute, as it balances early, middle, and late works; the recitals were well matched in terms of sheer musical heft.

A native of Somers, Connecticut, Houlihan earned a bachelor’s degree at Trinity College in Hartford, where he studied with John Rose, and a master’s degree at the Juilliard School,  studying with Paul Jacobs. He is Artist-in-Residence at St. Ignatius of Antioch Episcopal Church in New York. During concert season 2010–2011 he performed at two AGO regional conventions, made a European tour, and inaugurated the new pipe organ at the Sondheim Performing Arts Center in Iowa. His first recording, made after his sophomore year in college, was reviewed by David Wagner (The Diapason, January 2009, pp. 19–20). An interview with Houlihan was published in the November 2011 issue of The Diapason (“A Conversation with Christopher Houlihan,” by Joyce Johnson Robinson). Christopher Houlihan is represented by Phillip Truckenbrod Concert Artists.

To play all six Vierne symphonies is a formidable undertaking, as anyone who has learned even one of them will understand. The sheer audacity of the project—all the greater, as it comes from a man not yet twenty-five years old—is enough to elicit several bravos. The recitals themselves elicited quite a few more.

I arrived at Ascension about fifteen minutes early. It was a warm day, and I soon shed my blazer. I’d chosen a seat discreetly removed from the bulk of the audience, in order to write uninhibitedly without raising curiosity or causing distraction. Dennis Keene, the gracious music director of Ascension, politely remanded me to an acoustically ideal seat in the center of the nave. Before the recital began, Keene was visible in the narthex and aisles, warmly greeting audience members. He was clearly relishing his role as host, and was a most gracious and friendly presence.

There was an attractive Vierne 2012 booklet, listing the entire tour itinerary, the ordering of the recitals, and biographical information on both Vierne and Houlihan. Also, a smaller printed program gave the history and specifications of the Manton Memorial Organ, as the Quoirin at Ascension is officially called. (See The Diapason, November 2011, pp. 1, 30–32.) Finally, I was also given a button to wear, with the same tour logo as on the booklet. Others in the audience were wearing another pin, with the words HOULI FAN in large letters. I was struck at the forthrightness and cleverness of the marketing side of the tour, which extends to a very savvy Internet presence as well. Many friends and well-wishers of Mr. Houlihan were in attendance.

It was just a minute or two after three o’clock—on the very day when, seventy-five years before, Louis Vierne had died at the console—that Dr. Keene announced the artist, and Christopher Houlihan emerged to warm applause. He began without spoken preliminaries, and launched into the First Symphony.

First Symphony

From the first notes, on the Swell, I was impressed. The opening movement was played with the dignity and restraint called for. The registrations were expert: silky-smooth crescendi and decrescendi, complete mastery of the swell-boxes. The mutual chemistry of organist, composer, and instrument was apparent from the start.

It must be acknowledged that not everything was perfect in subsequent movements. In particular, I think we may envision Vierne’s characteristic chromaticism as carrying the emotional content of the music; but the form of the movements, and in particular the rhythmic aspect of the music, provide a vital intellectual balance. One of the most important functions of Vierne’s characteristic ornamented ostinati, for example, is precisely to provide relief and emotional distance, while building up positive energy. Absent these, we are apt to find ourselves in a sea of existential chromatic anxiety.

At certain moments, this rhythmic element was not yet as completely well-controlled as it might have been. Even in a lighter and lyrical movement, such as the pastorale—where the singing line was exquisite, and the registrations both authentic and really beautiful—I missed the rhythmic shaping that would have strengthened what is otherwise, honestly, a rather light movement. Something similar came up in the scherzo-like fourth movement, marked allegro vivace. Here, the common performance issue (at least for organists) of cramping smaller note values caused some problems in the upward arpeggios. (I have always found the scherzo in the Twenty-Four Pieces to have more musical depth than this movement. There is scant room here for even the smallest drop in fluency.)

Also, Vierne is very fond of what I like to call his “cello solos”:  brief transitional bridges in the pedal. There were times when I missed the point of these. They were always accurate, never fear: Houlihan has formidable pedal technique, as he would often demonstrate. But they didn’t always take on the full rhythmic shape, and structural import, that they might have.

I suspect that all of these issues, whatever their cause, will settle out during the remainder of the tour. Taken all together, they are light in the balance next to the positives.

Third Symphony

In the Third Symphony, after a somewhat more aggressive take on the first movement than I would personally choose, there was a beautiful and convincing cantilène. Here, Houlihan’s real affinity for this music shone, with elegant shapings of the phrases, a loving and lingering touch on the solo voices, and other signs of great art. The penultimate movement in this symphony was simply gorgeously done, on all levels, and the familiar finale was just right.

Fifth Symphony

After a brief intermission, we heard the Fifth Symphony. I’d taken advantage of the break to re-seat myself in a more secluded spot. I was rather closer to the Swell and farther from the rest of the organ, but found I could compensate without much trouble. In addition, I was by now convinced of how deeply Houlihan “got” this organ. The first movement was masterful—in terms of its spacious breadth and harmonic language, clearly later and reminiscent (to me) of Sowerby. By this point in the recital, Houlihan seemed to be “in the zone.” Gone were the minor uncertainties, the feints at too much aggression or too much reserve. The scarifying last movement, in particular, he handled with both musical depth and technical insouciance—making one of Vierne’s most devilish moments look easy.

After a well-earned standing ovation, there was a substantial dinner break; perhaps even longer than necessary. I walked with a colleague to a favorite nearby diner, and then a post-prandial coffee. The evening recital began right on time, and again I seated myself in a new location, this time on the left side, nearer the Great. Here, the combination action was surprisingly noisy at times, but it was a nice vantage point overall.

Second Symphony

The recital opened with the Second Symphony, which Houlihan played from memory. He made a good, strong start of it, which he carried through to the end; despite, again, a little rhythmic “crowding” in a few spots. In this movement, the transitional passages and contrasting materials were handled perfectly. 

The second movement—one of the most extraordinary and affirmative things Vierne ever composed—contained some wonderful registrational and interpretive moments. The second largo section is represented in my notes as “bell-like . . . luscious . . . dreamy.” The agitato sections presented almost too great a contrast to these; a study in emotional struggle, though on the fast side. The scherzo showed great insight into the pathos hidden inside Vierne’s merriment. The cantabile gave us altogether new sounds, not heard before in this recital; the use of supercouplers and tremulant was fascinating. The left-hand melody, on a reed, was exquisitely musical. Finally, the finale took off very convincingly and thrillingly after a strikingly rubato opening. There was no doubt that, again, Houlihan can cut to the emotional heart of a piece and communicate it to an audience; witness the tremendous applause this piece met at its conclusion.

Fourth Symphony

The brooding Fourth Symphony, so unlike anything heard previously, came off very well indeed from start to finish. The first movement brought out the crepuscular mood perfectly, as did the subsequent “allegro to nowhere” (my nickname for it). The menuet was played flawlessly if a little quickly; my notes read “a diamond, but Vierne is an opal.” But overall, the emotional content of this symphony came across in all its complex darkness. Houlihan’s vision led him to a strong, almost rough, reading of the final movement—technically perfect, and an honest and believable interpretation of the psychology of the work.

Sixth Symphony

Finally, after the briefest of technical problems in the organ, the Sixth Symphony crowned the day. Here, rhythmic precision and control were the order of the day, without any detriment to the emotional element. The second movement was shaped beautifully; and the scherzo was masterfully controlled, and came out in all its Halloween glory. The penultimate movement ended with simply gorgeous registrations: shimmery and ghostly, fear yielding to a moonrise.

As for the final movement, I wonder if a new tradition is in the wings? Several of us who were seated near the back found ourselves standing during the final pages, watching the entire gestalt of the performance, especially the pedal passages. These were pulled off as well as they ever have been before, ever. The fact that we were standing helped us to see, and also saved us the trouble of jumping up as the music concluded. Needless to say, the whole house was on its feet in a second.

This ambitious program of all six Vierne symphonies is a musical event that should be experienced if at all possible. It will long be remembered, I am sure, as one of New York’s all-time great organ recitals. I daresay the same will be said, or has already been said, in the remaining cities on the itinerary. Bravo to Christopher Houlihan for taking on such a massive project, and for carrying it off with so much intelligence, artistry, and communicative power. Houlihan has a bright future indeed, and it was a joy to witness this milestone in his career.

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

Pittsburgh is a very attractive American city, situated between the Allegheny and Monongahela rivers, which meet to form the Ohio River at the tip of a Manhattan-like triangle of land that is the downtown. Home to 151 high-rise buildings, two inclined railways, and a staggering 446 bridges, it is more than ketchup and paint, and I recommend a visit. You will fall in love with the city, its museums, vistas, churches, and the organs!

Monday evening, June 21, 2010
The convention began with an evening concert preceded by a wandering bus ride o’er the hills of Pittsburgh through the campus of Carnegie Mellon and the magnificent architecture of the University of Pittsburgh. Soon we arrived at Calvary Episcopal Church, a huge building designed in 1904 by Boston architect Ralph Adams Cram. One of the great Gothic Revival churches in America, its 208-foot-long interior seats 1,000 people. The present organ, a huge 4-manual Lawrence Phelps Casavant, Opus 2729, dates from 1963, with modifications and enlargements in 1991, 2004, and 2010.

The recitalist was Peter Guy from Australia, who began with the hymn How shall I sing that majesty to the tune Coe Fen, which I hope will make its way into hymnals soon. The concert began with Duruflé’s Prelude, Adagio, and Chorale Variations on “Veni Creator.” Flutes bubbled about the church as soft solo reeds soloed beneath. The Adagio was announced with a somber Trumpet, then that gorgeous string passage. The variations were played with grace, tenderness, and power. The console was moved into the crossing, and those of us sitting in the transept could not help but notice that, good Aussie boy that he is, Guy played in his stocking feet!
Bach’s Fantasia and Fugue in C Minor, BWV 537, came next. The organ’s principals were warm and expansive as he used the swell shades to good effect, although the registrations did get a little muddy. Guy then played a piece by Australian composer Keith Noake (1915–1968): Introduction, Pastorale, and Fugue on Leoni—a good demonstration of some solo stops. In the Pastorale we heard the clarinet against the Swell strings. The Fugue was announced with, I believe, the powerful Trompette Royale on the Great. A majestic ending brought the piece to a close.
A charming Cantilène by Salomé was next, with a solo on the oboe and a sort of oom-pah accompaniment on a Choir flute and soft pedal. Guy closed with Gothic Toccata, by another Australian composer, Graeme Koehne (b. 1956). Its C-minor tonality had loads of fire and color—a virtuoso performance! A standing ovation demanded an encore: Angelic Whispers by W. R. Knox, from the 1930s.

Tuesday, June 22
The day began in pouring rain as we made our way to Bellevue, Pennsylvania, and the Roman Catholic Church of the Assumption of the Blessed Virgin Mary on the Beautiful River. The Romanesque church features a splendid fresco of Mary ascending into heaven surrounded by saints, apostles, and angels. The acoustics were wonderful for the 1964 3-manual Casavant of about 41 ranks.

The recitalist was Ann Labounsky, who began with Langlais’ famous Hymne d’actions de grâce “Te Deum”. It was marvelously played with great expansiveness. We then sang the hymn Holy God, we praise Thy name (Grosser Gott)— all seven verses. The Pittsburgh area was in the midst of a heat wave, and the humidity and heat made for some colorful tuning issues in the many non-air-conditioned churches we would enter during the convention. This one was no exception. The reeds complained, but Ms. Labounsky soldiered on, took charge, set a good tempo and led us well.
She ended with Six More Pieces for Organ, op. 133, by Pennsylvania composer Joseph Willcox Jenkins (b. 1928). We would hear his fine music several times during the week. I. Sonatina showed the principal choruses. II. Arioso used the strings and a soft solo reed. III. Ludus Angelorum used an Alleluia chant from the Roman Missal. The clear and focused registrations at mf level were well chosen. IV. Ochone used the Great 8′ Principal as a solo over soft foundation stops. A plaintive bagpipe-like cry was heard, then the solo principal returned with an answering phrase by a solo reed. V. Dona Nobis Pacem began with the flutes. Soon we heard the Cornet on the Choir. This organ is very much of its time, but the voicing is very refined. VI. Toccata (“This Service Ends, Let Yours Begin”) brought the piece to an end. Very enjoyable music, beautifully played, and on a fine mid-20th-century organ!
The second stop of the day was at St. John’s Evangelical Lutheran Church in Perrysville for a recital by the church’s own organist, Charlotte Roederer. The organ is a 2-manual, 7-rank, tubular-pneumatic Estey, Opus 1558 (1917). An unusual feature is the Swell 8′ Oboe, which is reedless. Roederer began with Variations on Tallis’s Canon by Franklin D. Ashdown (b. 1942), which provided a good demonstration of the tiny instrument’s resources. Each of the three Great stops (all are at 8′ pitch) has twelve Haskell basses. The tone of this fine little organ, rich and full, was more than able to accompany a church full of OHSers. Those old boys building organs at the turn of the 20th century knew what they were doing.
Then came a beautiful little Prelude, op. 19, no. 1, by John Knowles Paine, which Roederer played with careful attention to phrasing and elasticity. Dudley Buck’s Concert Variations on “The Star-Spangled Banner,” op. 23, followed, beginning on the gentle Swell Salicional. The hymn was Praise to the Lord, the Almighty (Lobe den Herren). We sang the first verse in German, as we were in the home of this German congregation. Roederer led us skillfully.
We then went to Hartwood Acres County Park, site of a large Cotswold-style limestone mansion, which houses a 2-manual Aeolian player organ, Opus 1091 (1909), now under restoration. There was a fun circus-like self-playing instrument on the grounds that entertained us during our meal.

The first stop of the afternoon for my group was Nativity Lutheran Church, Allison Park, to hear James Heustis Cook demonstrate the church’s M. P. Möller Opus 10656-T (1970). That “T” stands for tracker! This organ proved to be a surprise favorite of the convention! With 2 manuals and pedal and 18 ranks, it was beautifully voiced, a joint venture between Möller and G. F. Steinmeyer & Co. of Germany. Page 143 of this convention’s Atlas tells of a political brouhaha that raged around a pastor of this church who barricaded himself within its walls, a labor dispute, and some of the organ’s pipes. It is quite the story.
We heard a marvelous concert on this wonderful little organ. The chairs had been turned around so that we faced the organ. Cook began with Bach’s Fantasia in C, BWV 570, played expressively on a nicely voiced 8′ Principal. Next was a setting of Ein’ feste Burg ist unser Gott, by Johann Nikolaus Hanff (1615–1711), which featured a solo on the Trumpet stop. We then returned to Bach for Nun freut euch, lieben Christen g’mein, BWV 734, very well played with a fine, clear flute on the Great, and the Swell 4′ Krummhorn coupled to the pedal.
J. G. Walther’s Lobe den Herren, den mächtigen König der Ehren used the organ’s very fine principal chorus. We then sang the hymn to that tune. It was appropriately played and the organ was more than adequate to the task of accompanying a church full of OHSers. The “Let the Amen” was hair-raising!
There followed Two Pieces for a Musical Clock by Franz Joseph Haydn: Marche and Presto. The “cute” factor was very much in play—I liked the 4′ Koppel Flute. Next was a favorite of mine: Hermann Schroeder’s setting of Schönster Herr Jesu; Cook played it with tenderness and grace. In the Scherzo from Vierne’s Second Symphony, Cook’s nimble fingers flew over the keys. Music for a Sunday Morning by Allen Orton Gibbs (1910–1996) followed, beginning with energetic mf sounds for Prelude (Psalm 122:1); Offertory (Prayer) had contrasting A and B sections; Postlude (Psalm 117) was a rollicking dance-like piece.
Cook closed with two movements from Dan Locklair’s Rubrics: “. . . and thanksgivings may follow” used the 7-bell Zimbelstern, mounted in front of the 8′ Principal façade pipes; it seemed to dance along with the jazzy rhythms of this wonderful music. “The Peace may be exchanged” brought this outstanding recital to a gentle end.

We were then divided into two groups. Somehow there was a scheduling snafu (these things happen), and my group arrived at St. Benedict the Moor Roman Catholic Church in Pittsburgh an hour early, so we enjoyed some down time. We admired the many beautiful African touches that adorned the grand old building. The organ in the balcony was a 2-manual Derrick & Felgemaker, Opus 95 from 1872; I counted 22 stops. Moved to St. Benedict’s in 1958, by 1990 it fell into disuse. The Harmony Society, directed by John Cawkins, restored the instrument. It is used only occasionally. OHS’s Steven Schnurr presented the congregation with an OHS Citation of Merit.
Kevin Birch began with Flötenkonzert, op. 55, by Johann C.H. Rinck. I. Allegro Maestoso: the Great Principal chorus played in dialogue with a very pleasant-sounding Swell Stopped Diapason. II. Adagio used the lovely Melodia. III. Rondo (Allegretto) alternated between full Great and Swell 8′ and 4′ flutes. Full organ with reeds brought this attractive music to a close. Next was Liszt: Consolation in D-flat, which used more of the foundation stops—then came Ave Maris Stella. The gentle and sweet little Keraulophon had to compete with the church’s fans; the fans won. (It was quite warm and humid.) The hymn Hail, Holy Queen enthroned above (Salve Regina Coelitum) is a sentimental favorite of mine, taking me back to my ‘younger and more vulnerable years’. A Beethoven Scherzo followed. It sounded like a glockenspiel—utterly charming.
In the Intermezzo from Rheinberger’s Sonata IV, op. 98, the lovely melody sang out on the Swell’s Bassoon/Oboe. This is a fantastic organ, and yet the choir sits at the opposite end of the church in front of the old altar surrounded by a piano, an electronic instrument, and a drum set.
Birch closed his program with Fantasie-Sonate No. 2 by Samuel de Lange Sr. (1811–1884). I. Maestoso used full plenum with reeds in music reminiscent of Guilmant. II. Andante provided another visit with the beautiful flutes of this organ. III. Allegro con fuoco brought back big forte sound alternating with a smaller sound on the Swell, and a fugue. A superb demonstration recital on a superb organ!
A delicious dinner was served on board a riverboat, The Gateway Clipper, as we cruised up and down the wonderful rivers, enjoying the skyline, the lights, and the magnificent sunset. Those of us with cameras had a great time!

Wednesday, June 23
Calvary United Methodist Church in Pittsburgh was our first stop. The 3-manual, 32-stop Farrand & Votey, Opus 734 (1895), was given an OHS Citation of Merit. The church is very beautiful with huge Louis Comfort Tiffany windows. James Hammann’s recital featured music by Horatio Parker. Parker’s Sonata in E-flat Minor, op. 65, was an excellent demonstration piece with its changes in tone color and dynamics. The Doppel Flute and Swell Cornopean were prominently featured in the first movement. The second movement, Andante, was a dialogue with the flutes, Clarinet, and Vox Humana. Hammann is no stranger to instruments like this, and he used its resources very well. The Allegretto began with a humorous conversation between the flutes and the clarinet. I could see many smiles around the room. The Doppel Flute dominated the chat. The sonata closed with a fugue, which built to full organ as it proceeded at a modest pace. The Charles Wesley hymn Forth in Thy Name, O Lord with the tune Pixham by Horatio Parker (from The Hymnal 1940) closed the program. It was well led, and sung with enthusiasm. Pity it did not reappear in the 1982 Hymnal.
Our bus caravan drove northwest of Pittsburgh through forested hills and valleys to the city of Beaver, and Holy Trinity Lutheran Church, a mid-1950s building in the style of a New England meeting house. The one-manual and pedal eight-stop Felgemaker organ, Opus 665 (1898), has survived a series of moves and fires that causes one to salute its durability. Dana Hull and John Cawkins supervised its revitalization. Today it stands in the rear gallery. Richard Konzen presented an eclectic program of music from Gabrieli to Distler. He began with a lively Praeludium in C by Johann Christoph Kellner, in which flutes were soon joined by the Open Diapason 8′ and the Fifteenth. Gabrieli’s Ricercar arioso IV featured the Open Diapason in fine style, with well-articulated and elegant playing. Next came Dreissig Spielstücke für die Kleinorgel by Hugo Distler:
1. Schnelle was announced with 8′ and 2′. In 2. Schnelle, the warm Melodia took over. 3. Gehende began on the Dulciana; he then added the 4′ flute for a bit before returning to the beautiful Dulciana.
4. Flincke was a jolly little canonic thing on flutes 8′ and 4′ with the Fifteenth.
Next came that great hymn, All my hope on God is founded, with its tune Michael by Herbert Howells. Konzen followed with a great favorite by Pietro Yon: Humoresque ‘L’Organo Primitivo’. He closed with Bach’s Prelude and Fugue in D Minor, BWV 539, which worked quite well on this organ—Felgemakers are amazing instruments. This was a very well-played program.

The afternoon began at First Presbyterian Church in New Brighton, with a recital by Andrew Scanlon on the church’s fine 2-manual, 17-register Hook & Hastings Opus 2548 from 1928, which stands at the front of the church. Scanlon began with three of Six Pieces by Joseph Willcox Jenkins (b. 1928). Deo Gracias showed the usual Hook powerful presence—the forte sound was arresting. Arioso used the organ’s soft sounds—the oboe and strings, etc. were lovely. Rondeau alternated between the 8′ and 2′ flutes and other quiet effects.
Next was Bach’s Fantasia and Fugue in C Minor, BWV 537. Scanlon played it in the style of the 1920s, with shades and such. He used simple, clear registrations—each musical line was carefully delineated. The marvelous fugue moved at a good clip, with only a small use of the shades—good Bach playing. He then played a piece new to me: Fideles from Four Extemporizations by Percy Whitlock—very calm and soothing music. I loved the strings on this organ. There was a small chime at the end.
The hymn was God moves in a mysterious way (London New). The organ was a trifle too heavy in places, but otherwise it was well done. Scanlon closed with Langlais’ Three Characteristic Pieces. Pastorale-Prelude featured the Oboe and some of the organ’s softest sounds. Interlude used the fine Swell Dolce Cornet III. Bells featured many of the stronger sounds, building to a grand “peak” of sorts. A fine demonstration of a great organ!
We then went to St. John’s United Evangelical Protestant Church in Zelienople to hear organist Gregory Crowell and cellist Pablo Mahave-Veglia, with the church’s sweet little Joseph Harvey organ from 1838. Harvey was a Pittsburgh organbuilder. This one-manual (no pedal) organ has four stops and stands in the rear gallery. Crowell began with Voluntary (Adagio) by Charles Zeuner, played on what sounded like the Stopped Diapason, followed by Festival Voluntary from Cutler & Johnson’s American Church Voluntaries (1856). From Sanahin by Hovhaness, he played VII. Apparition in the Sky (Bird-like) on the 4′ Principal.
Some Mendelssohn followed: Andante religioso from Sonata in B-flat, op. 65, no. 4; Adagio non troppo from Lied ohne Worte, op. 30. The hymn was I would be true (Aspiration); the tune was new to me. We were instructed to sing the last verse pp so that we might hear the cello obbligato, which used material from Mendelssohn’s Song without Words. It was lovely. A Fugue in D Minor (1778) by Wilhelm Friedemann Bach followed, and the concert ended with a fine reading of Vivaldi’s Sonata VI for Cello and Continuo in B-flat Major, RV 46.
The next recital was one I had looked forward to for a long time. Paul Matthew Weber played the 1969 Flentrop organ (2 manuals, 22 stops) at Center Presbyterian Church in Slippery Rock. I was his first organ teacher, and was proud to see him become a Biggs Fellow to the New Haven convention. He would go on to study at Lawrence University and then at Yale, where he earned his DMA. I shall try to be impartial in this review. Actually, that will not be a problem, as his recital was brilliant. The heat that afternoon was oppressive and the organ fought back, but none of us minded. Weber began with the Offertoire sur les grands jeux from François Couperin’s Parish Mass. The reeds were as unhappy with the heat and humidity as we were, but we paid no attention to their complaining—Paul’s wonderful sense of the French Baroque style carried the day.
Next was Sweelinck’s variations on Mein junges Leben hat ein End. Weber began with the Hoofdwerk Prestant 8′, then the Brostwerk 4′ Koppelfluit, then flutes 8′ and 4′, and led us on a fine tour of this very good organ. His playing was clear and controlled, with imaginative choices of color. Brahms’s Herzlich tut mich erfreuen, op. 122, no. 4, featured a dialogue between the Hoofdwerk principals 8′ and 4′, and the Brostwerk flutes 8′ and 4′. We then sang Weber’s setting of that hymn, which he led with great strength. He closed with Buxtehude’s Toccata in G Minor, BuxWV 163, played with a wonderful sense of drive and energy. Immaculate technique and musical line propelled this rousing music to an ebullient conclusion. Well done!
The evening concert took place at Grove City College’s Harbison Chapel on its 4-manual Kimball organ, Opus 7102 from 1931, which stands in chambers on either side of the chancel. The organ had fallen into disrepair, but has been beautifully restored by the Thompson-Allen Company. The console was updated by Nelson Barden & Associates; with solid-state switching and combinations, it is now more practical for teaching. With the air hot and humid, the doors and windows were left open, which allowed fireflies to enter the chapel, adding an enchanting touch to the evening.
It is always a joy to hear Thomas Murray, a regular at OHS conventions. He began with Rhapsody on a Breton Theme, op. 7, by Saint-Saëns. Murray is a master of the orchestral style. His flawless use of expression shades and tone color is the stuff of legend. This piece was a delight. He then played one-time Yale faculty member Paul Hindemith’s Sonata II. Clean registration with contrasting statements highlighted this performance. I loved the growl of the lowest notes of the Swell 16′ Bassoon. Widor’s Symphonie II followed. Murray opened the first movement (Praeludium Circulare) with the huge First Open Diapason 8′ forcing its way into the long room. Other 8′ opens followed. Pastorale playfully danced before us on the beautiful Oboe, which provided whimsy and bliss. He moved the Andante right along—mostly mf, he built it quite smoothly to a good ff and back. Quieter sounds finished the piece, with the French Horn playing the theme. The Finale showed plenty of dash in the hands and feet—it was a splendid performance!
After the intermission, Michael Barone presented Prof. Murray with the OHS Distinguished Service Award for 2010, a richly deserved honor. We leapt to our feet to applaud this great musician!
The second half offered transcriptions by Edwin H. Lemare: Im Garten from Rustic Wedding Symphony, op. 26, by Karl Goldmark (1830–1915). The strings, Vox Humana, and French Horn were heard doing what they do best. Murray did what he does best: bring the most out of this music and organs of this type, making the music sparkle and glow. The next transcription was Scherzo, op. 70, no. 3, by Heinrich Hofmann (1842–1902), a delightful confection; at the end, we even heard the harp.
We then heard a 2008 work by Dan Locklair: Glory and Peace—A Suite of Seven Reflections, commissioned by the Association of Anglican Musicians. Murray gave the premiere performance at Walt Disney Concert Hall in Los Angeles. The movements are inspired by the great George Herbert hymn King of Glory, King of Peace. I. King of Glory, King of Peace (Prelude) used the Tuba Mirabilis in a steadily moving section rising to a ff then backing down to strings and a 32′. II. “. . . seven whole days . . .” (Pavane) used foundation stops. III. “. . . I will praise Thee . . .” (Galliard) is a dance with harp and a faint trace of “America”. IV. “. . . I will love Thee . . .” (Aria) used the Swell Trumpet singing with warmth over some flutes. V. “. . . with my utmost heart . . .” (Scherzo) had playful flute sounds occasionally interrupted by a single chime, which he employed with wit and grace; the harp got the last word. VI. “. . . I will sing Thee . . .” (Trio) was more charm and fun. VII. “. . . e’en eternity’s too short to extol Thee” (Finale) had big full sounds—a joyous romp! A great piece, a great organ, and a great organist! And to add to the magic of the evening, fireflies gracefully led the way back to our buses.

Thursday, June 24
After a lovely climb through more of Pittsburgh’s beautiful neighborhoods, we arrived at the spectacular Gothic Revival Episcopal Church of St. Andrew, Pittsburgh’s second oldest Episcopal church, formed in 1837. Their present building dates from 1906 and features a chancel window, “Christ Blessing Little Children,” by Tiffany Studios. The organ is a 4-manual Skinner, Opus 202 (1913). Beginning in 1992, organist/choirmaster Peter Luley began rebuilding and expanding the organ in the Skinner style. We had two performers that morning: Donald Wilkins and Charles Huddleston Heaton.

Donald Wilkins performed music by Pittsburgh composers. First was a sturdy Postludium Circulaire by Henry Gaul (1881–1945), followed by Western Pennsylvania Suite (1958) by Ruel Lahmer (b. 1912). I. Dunlap’s Creek moved along gently on softer foundation stops. II. Fading Flowers was quiet. We heard the melancholy nature of Skinner’s solo stops, including Oboe and French Horn. III. Bellevernon was somehow reminiscent of Aaron Copland, and built itself to IV. The Spacious Firmament, which brought this nice piece to an end.
Gloria Te Deum by Nancy Galbraith (b. 1951) is in the style of a French toccata. Next was Joseph Willcox Jenkins’ Cantique Joyeux from Trois Cadeaux, op. 206 (2005), which featured the brilliant Fanfare Trumpet above the west doors. It calmed itself down to a pp and then made its way back.
We then switched organists. Charles Huddleston Heaton began with Dupré’s Prelude and Fugue in G Minor, op. 7, no. 3; he played it very well, but I could have done without the fanfare trumpets at the end of the fugue. Prelude on Christmas Carol by Morgan Simmons (b. 1929) followed. It is a gorgeous setting of that wonderful carol tune by Walford Davies sung to O Little Town of Bethlehem—worth getting! Fanfare-Improvisation on Azmon came next and led into the hymn O for a thousand tongues to sing.
The next stop was St. James Roman Catholic Church in Wilkinsburg, which greeted us with a peal of its bells—something we used to do all the time at OHS conventions, but have for some reason or another abandoned. Bring it back, please! Will Headlee performed on the church’s large Möller organ, Opus 9628 (1962), in a program entitled “Homage to Ernest White (1901–1980).” The music came from White’s collection Graveyard Gems (St. Mary’s Press, 1954). The organ is interesting for, among other things, its Swell division divided on either side of the altar. Headlee began with Allegro pomposo by Thomas Roseingrave, which marched along nicely. Adagio by Josef Hector Fiocco featured a mini-Cornet sound that was clear and light. Thomas Arne’s Flute Solo showed off the fine Positiv Koppel Flute 4′.
Then came two pieces by Pachelbel: Prelude in D Minor and Ciacona in D Minor. One was aware of the top-heavy sounds of this era of organbuilding. Headlee gave his usual fine performance, with loads of freedom and clearly articulated fast runs. Next, the Gigout Scherzo in E Major from Dix pièces. It put me in mind of an old all-French Biggs LP I owned back in college, which was recorded at St. George’s Episcopal Church in NYC on a Möller of similar vintage.
We then heard Clérambault’s Basse et dessus de trompette from Livre d’orgue on the Great Trompet. After a bit, he added the Harmonics III, giving the Trompet a different character. Brahms’s O Welt, ich muß dich lassen, op. post. 122, no. 3, used the pretty strings, followed by Messiaen’s Dieu parmi nous. The piece worked surprisingly well on this organ. But, oh, those high-pitched mixtures! The hymn Lift high the cross (Crucifer) ended this fine program.

The next recital of the morning was at St. Therese of Lisieux Roman Catholic Church in Munhall, with Stephen Schnurr, who gives an astonishing amount of his time and talent to the OHS. The organ was a 1960 2-manual, 33-rank Casavant designed by Lawrence Phelps. The main part of the organ is in the front of the church in a chamber to the right of the altar. There is a floating nave division at the far end of the long nave, to help support congregational singing. Dr. Schnurr opened with Bruhns’s Präludium in G Major. He played it very well, gradually unveiling the resources of the organ. The only reed stop in the sanctuary divisions is an 8′ Krumhorn on the Swell. The trumpets are in the Bombarde division back in the nave. Next was a setting of Nun freu’ dich, liebe Christen mein’, S. 21, by R. E. Bach, who flourished in the 1740s. It sounded a great deal like JSB’s setting, which elicited a chuckle or two from us.
Next, A Gigue for the Tuba Stop (2004) by Donald Stuart Wright (b. 1940), a pleasant piece, played amicably. The hymn was Lord, you give the great commission (Abbot’s Leigh). This rather gentle neo-baroque organ didn’t stand a chance trying to accompany the OHS in spite of Schnurr’s best efforts. Then, a lovely setting by Edwin H. Lemare of My Old Kentucky Home (Stephen Foster). Unfortunately our bus drivers took it upon themselves to start their engines and move about the parking lot, ruining Stephen’s charming performance and the recording of same. This problem would continue throughout this convention, and was a source of annoyance for all of us. Schnurr closed with Petr Eben’s Moto ostinato from Musica Dominicalis (1958), which worked quite well on this style of organ.
We had lunch and the annual meeting at the Pleasant Hills Community Presbyterian Church, followed by a recital on the church’s fine Holtkamp organ (1970, 2 manuals and 23 stops). The organ stands in the front of the church behind the altar. James M. Stark, co-chair of this convention, was chairman of the committee that produced this organ. Our recitalist was George Bozeman, who has played multiple times for the OHS and who always manages to insert a bit of whimsy along with solid choices of literature. He began with a piece perfectly suited to this quintessential Chick Holtkamp organ: Hindemith’s Sonata I (1937). This organ is a warm-sounding neo-baroque instrument, and Bozeman used it wisely. I especially enjoyed movement II, Sehr langsam, in which the Cromorne sang its sad song from the swell box—a beautiful tone, used very expressively. The full plenum thrilled but did not dominate. This was an excellent organ for this music.
Next came a bit of humor: Bozeman’s own transcription of A Day in Venice, op. 25, by Ethelbert Nevin (1862–1901). It began with: Alba (Dawn), which led into Gondolieri (Gondoliers), with its 12/8 rhythm taking us down some pretty canal. Canzone Amorosa (Venetian Love Song) used the 8′ Principal in the tenor range, with strings and flutes accompanying. Buona Notte (Good Night) brought it to a close with dark, thick chords giving way to lighter strings and plucks on the Great 8′ Gedackt. Who knew a 1970 Holtkamp organ could be a romantic instrument? George Bozeman did! Well done!
The hymn was A stable lamp is lighted (Andujar). Bozeman closed this well-prepared and carefully thought-out program with Bach’s Prelude and Fugue in E Major, BWV 877, from The Well-Tempered Clavier, Book Two. In the prelude, he demonstrated each of the delicious sounding 8′ and 4′ flutes of this organ. For the fugue he used reeds and foundations—solid, well-defined.
After dinner at the Sheraton Station Square Hotel, we went to the evening event at one of Pittsburgh’s most opulent churches, East Liberty Presbyterian Church, for a recital by Paul Jacobs. This is no ordinary Presbyterian church. It is a huge, vast building in Gothic style built in 1930 to plans by Boston architect Ralph Adams Cram, who was given an unlimited sum of money to spend by the donors, B.B. Mellon and his wife, Jennie King Mellon. Our Atlas quoted architectural historian Walter C. Kidney: “Though building with Presbyterian money . . . [Cram] so designed the chancel that on half an hour’s notice [it] could be set up for a Catholic or Anglican High Mass.” Indeed, carvings and statues were on display all over the building. And the 4-manual, 140-rank organ—the largest we heard at the convention—was to die for. Originally an Aeolian-Skinner, in 2004 Goulding & Wood was awarded the contract to rebuild the organ and reverse changes made in the 1970s. In addition, the acoustics were improved.
Paul Jacobs began with Mendelssohn’s Sonata in F Minor, op. 65, no. 1. The Allegro moderato e serioso was grand and spacious. The peaceful Adagio was restful and quiet. The Andante–Recitativo showed the soft solo and chorus reeds. Jacobs added more and more reeds. His pacing was perfect as the sounds grew grander from this massive organ with seemingly limitless resources. It was, by turns, thrilling and terrifying.
We then sang the hymn The church’s one foundation (Aurelia). The organ seemed a little loud from where I sat. Next, a piece not in the program: Prelude in F Minor by Nadia Boulanger, which showed the strings and foundation stops. He gradually added upperwork before bringing it down to 8′ flutes. Jacobs then moved into Franck’s Finale in B-flat, op. 21. He took the beginning at a dazzlingly fast tempo. I don’t approve of his registrations in Franck, but he sells the music. Who am I to tell Paul Jacobs how to play the organ? I confess that I did like the Flauto Mirabilis used as a solo stop.
During the intermission many of us stepped up to the console to have a closer look. It stood in the center of the chancel. The pipes were high up in chambers on both sides. We were amused to find a drawknob labeled “Console Fan”. When drawn, cool air blows onto the player. Not a bad idea!
After intermission, Jacobs acknowledged the presence of all three of his organ teachers: George Rau, John Weaver, and Thomas Murray. He also introduced his 92-year-old grandmother, and urged all of us to encourage our friends and relatives to attend arts events.
We then heard this remarkable young musician play Liszt’s Fantasy and Fugue on “Ad nos, ad salutarem undam.” Jacobs used the huge variety of tone color at his disposal. It was a grand tour that was at times poignant and at times exhilarating. Young and old, we were all agog over this man’s talent and profound musicianship. We leapt to our feet and cheered. He had given his all to this great music, this great organ, and to all of us. For an encore he played a Bach Fugue in C Minor.
Apart from Jacobs’ playing, what impressed me most was his willingness to meet with all the young people who were present and who clamored to sit on the bench and have their pictures taken with him, this glittering star of the organ world. The Biggs Fellows were thrilled at the gracious generosity of his spirit. He seemed not to have any other concern in the world but to spend time with them—a lesson for all of us!

Friday, June 25
Friday morning began with a drive to the Verona United Methodist Church for a recital by Carol Britt on the church’s 2-manual, 12-rank Wirsching organ (1915). The organ sits in a balcony directly above the altar: the console faces some Tiffany-style windows, with the pipes on either side. A lovely “Coronation” tapestry hangs down to the altar.

We began by singing When morning gilds the skies (Laudes Domini). Britt opened her program with Four Compositions (3. At Twilight, and 4. The Swan) by Charles Albert Stebbins (1874–1958): movement 3 featured the sweet little Oboe; in the fourth movement, the gentle Salicional moved gracefully. Next came Variations on “Les Beaux Mots” by John David Peterson (b. 1946), which had a bit of a French Baroque tambourin style. Then we heard Lemare’s transcription and paraphrase of Stephen Foster’s Massa’s in the Cold, Cold Ground, with the organ’s only reed, the Swell Oboe 8′, playing in the tenor register. The piece ended on the Swell Stopped Diapason with the occasional chime. Britt closed with Mendelssohn’s Sonata III. Such wonderful music, beautifully played, and a very good demonstration of the organ.
All Saints Roman Catholic Church in Etna was our next destination. This Lombard Romanesque (basilica style) church was built in 1915 to plans by John Theodore Comes of Pittsburgh. Six towering granite columns line each of the side aisles. The organ came from the Organ Clearing House, acquired by the church’s organist and OHS member J. R. Daniels (also a co-chair of this convention): an 1895 Hook & Hastings, Opus 1687, of 2 manuals and approximately 23 ranks. Patrick Murphy restored the instrument, completing it in December 1995. It stands in the rear gallery, and the acoustics favored the organ quite well.
Russell Weismann began with Mendelssohn’s Prelude and Fugue in C Minor, op. 37, no. 1, which he played very well, with just the right blend of clarity, drive, and grace. Next was Folk Tune (no. 2 from Five Short Pieces), by Percy Whitlock. The Salicional accompanied flutes on the Great, then the Oboe in the tenor range. The sounds were warm and filled the room. The hymn, Father, Lord of all creation, was sung to the tune Geneva, and included an imaginative reharmonization. Weismann closed with Dudley Buck’s Concert Variations on the Star Spangled Banner. We had the surprise of a Zimbelstern in about the third variation. I’ve never heard anyone else do that. It worked very well. He played with expression and artistry!
We then split into three groups. My group went to First Unitarian Church in Pittsburgh to hear its Wirsching organ built in Salem, Ohio in 1904: 2 manuals and about 21 ranks. The organ was donated by Andrew Carnegie, and Clarence Eddy played the dedication recital. The building is quite handsome, with splendid beams. The organ is at the front, situated in a gallery with an arched recess. Recitalist Mark W. Frazier began with the hymn Sing praise to God who reigns above (Mit Freuden Zart). We were only a third of our usual size, but Frazier played as though the entire convention was singing in this smallish church—needless to say, he drowned us out. The first piece was the Passacaglia, no. 11 from Rheinberger’s Zwölf Charackterstücke, op. 156 (1888). He carried it along quite well.
Next up were Two Chorale Preludes by Roland Leich (1911–1995). Mein Herz, gedenk’, was Jesus thut used a charming 4′ flute. The program listed three movements including a pastorale; the reeds were used well. Die ganze Welt brought it to a close. Frazier then played Légende (2010), which was written especially for this concert by Luke Mayernik (b. 1981). It was full of dark mysterious colors on the Oboe and foundation stops. The middle section called for a Cornet-like sound. The final part took us back to the beginning, and ended on the strings—a good demonstration piece.
We then heard Frazier’s own composition, The Whimsical Frustretude (1995), a happy bit of music with a tongue-in-cheek setting including bits of “Woody Woodpecker”—I liked it a lot! The last piece was Toccata on “Litaniae Sanctorum” (2009) by Robert Farrell (b. 1945)—an exciting work nicely played. Frazier provided well-written and much appreciated program notes, as there was a lot of new music on this fine concert.
There was a symposium on “An Organ in 18th-century Western Pennsylvania: Joseph Downer’s ca. 1788 Chamber Organ”—an organ that only exists in pieces. A distinguished panel of organ historians discussed this instrument. Slides were shown of what remains of the organ, along with what these experts could piece together of the instrument’s history.

My group then went to Pittsburgh’s Temple Rodef Shalom, a large building dating from 1907. The W. W. Kimball Company built the 54-rank, 4-manual organ. Sadly, the instrument is in poor condition and awaits proper restoration. Recitalist Donald Fellows, organist at St. Paul Roman Catholic Cathedral, told us that many of the stops were unusable or had several silent notes. He put on a fine concert nonetheless. The organ stands in a front balcony, which rises above the Bima and the Aron Kodesh. Two menorahs are mounted near the railing, and there are ornamental en-chamade pipes all across the façade. Inside the case is a stop called, appropriately, Tuba Shophar, not playable just now.
Fellows began with Grand Chorus from Twelve Pieces by Theodore Dubois, in which we heard what there was of the Tutti. Next was Balletto del Granduca by Sweelinck, with five of its variations; all were played with great skill and style. I liked the soft flutes and Swell reeds. Then, music by Ernst Bloch: V. Un poco animato from Six Preludes, which presented more of the softer stops. Then A Partita on Laudate Dominum by Richard Proulx—nice individual sounds like the Swell 4′ flute and a beautiful Oboe. We then sang the hymn Sing praise to the Lord (Laudate Dominum), which sounded grand beneath the dome of this great worship space.
The final banquet took place in the palatial spaces of the Carnegie Music Hall, an extraordinary building in Italianate style. The Grand Foyer, added in 1907, was set up for our banquet: a gilded hall with a 50-foot ceiling lined by green marble columns from five countries. We, however, entered the Music Hall first: a lovely jewel-box of a space with red seating for 1,950 people and two balconies. On stage was the huge console of the 126-rank organ. Originally a Farrand & Votey (1895), the organ was rebuilt by
E. M. Skinner in 1917. Aeolian-Skinner did further rebuilding in 1933 and in 1950, adding percussions.
James Stark, in his fine lecture complete with PowerPoint illustrations, told us that the organ had been silent for 20 years. You can imagine our surprise when J. R. Daniels sat down at the console—he played a Fanfare by Michael McCabe that led us into the singing of Eternal Father Strong to Save (Melita). Emotions ran strong throughout that beautiful and historic room. It was one of those “only at OHS” moments. The older folk headed for the beautiful banquet area while the young folk had a field day with this huge and very grand instrument. They soon joined us, happy and smiling at their good fortune! We can only hope that this historic and noble instrument can be blessed with the thorough restoration it so richly deserves. The banquet was fantastic. We felt like royalty!
And then came what was for many of us one of those unforgettable OHS recitals: Wolfgang Rübsam in recital on the huge 4-manual Beckerath organ with its 32′ facade (1962) at St. Paul Cathedral. Our fine Atlas told us that it is “the first mechanical-action organ to be installed in a North American cathedral in the 20th century.” We have the late cathedral organist, Paul Koch, to thank for acquiring this fine organ. It inspired countless organs in the years that followed. It has been restored quite elegantly by Taylor & Boody, who began work on it in 2008. An OHS Historic Citation of Merit was presented by Stephen Schnurr.
Herr Rübsam’s concert was a dandy. He opened with two movements from Vierne’s Symphony No. II in E Minor, op. 20. The Allegro sent volleys of sound through the majestic arches of this great and reverberant building. Rübsam’s famed strength and sense of rhythm plumbed the depths of this fantastic music. As always, he was in complete control of music, instrument, and building. The Chorale movement began on the glorious 16′ foundation stops. It picked up speed and energy, giving us bigger reed sound, contrasting sections of loud and soft, building to a huge ending—it was thrilling.
Next came Franck’s Fantasie in A. It was marvelous hearing him turn this very German organ, with its faint neo-Baroque accents, into a French instrument, which says a great deal about Prof. Rübsam and about Rudolf von Beckerath. With the fine restoration by Taylor & Boody, the organ sounds better than ever.
Then came some Rheinberger (for my money, nobody plays this composer better than Wolf Rübsam): Sonata No. 5 in F-sharp Minor, op. 111. I. Grave-Allegro moderato: the music rumbled through this great cathedral; one was nearly overcome by its sheer force. II. Adagio non troppo used one of the gorgeous principals for a solo in its tenor range. III. Finale (Allegro maestoso) began with a shockingly big sound. He made it roll and roar—utterly fantastic. Can you tell that I enjoyed this recital? His performance served the music first, not himself. It ended in a blaze of glory.
Then Rübsam did something he does as well as anyone on the planet: improvise. This was entitled Polyphonic Improvisation on Rendez à Dieu. There were five pieces, each in the style of a different composer. They were utterly convincing. You would have sworn that he had discovered a never-before-heard chorale prelude from the Clavier-Übung, or that Clérambault had written a third suite. It was a tour de force of the highest magnitude. 1. Chorale was played on the warm 8′ Principal, a beautiful harmonization. 2. Bicinium followed, the evening’s first use of the Cornets in the manner of a French Baroque “Duo” with 16′ in the left hand. 3. Cantus Firmus Soprano had the melody on a strong RH Cornet while the LH accompanied on an 8′ Principal, with Pedal 16′ and 8′ in the manner of a Bach chorale prelude. It was magnificent! 4. Aria: Cantus Firmus Alto was a quiet little thing on what were, I believe, flutes 8′ and 4′. 5. Organo Pleno, c.f. Tenor, and what an organo pleno it was. Then we sang the hymn New hymns of celebration (Rendez à Dieu). Rübsam never used the same harmonization twice in playing this tune. Brilliant! His leadership was extraordinary.
Next, Bach’s Pièce d’Orgue, BWV 572. I’m especially fond of the Gravement section, as it was played at our wedding when my wife came down the aisle. Rübsam made this great music lift us to higher realms as it moved through the great spaces of the building. The Lentement was like a huge peal of bells.
Rübsam closed this extraordinary recital with two movements from Widor’s Symphonie III in E Minor. The Adagio was a welcome relief from the much louder music that preceded it. The 32′ purred under strings and a solo flute, for a lovely effect. Finale pierced the quiet spell cast by the Adagio and he was off—incredible and brilliant playing. I was reminded of notes I took after hearing him play at the Dallas AGO convention in 1994 on the Fisk organ at SMU. His playing transported us to a place where we could see into another realm greater than our own, but being ordinary mortals, we had to turn back and wait our time. It was an awe-inspiring evening!

Saturday, June 26
This was an extra day for the convention, so the group was smaller, but we had a full and interesting time. We began in the charming town of West Newton (est. in 1731) at the First United Methodist Church to hear its 1905 Austin organ (tubular pneumatic), with 2 manuals and 11 ranks. Three young men played: Joseph Tuttle, Dimitri Sampas, and Adam Gruber. Sadly, the room’s acoustic is quite dead, but the organ held its own and has many beautiful sounds. Gruber went first with a Rheinberger trio, but the organ decided to add a bit of its own in the form of a cipher on what sounded like a 16′ Gedackt in the pedal. In spite of that, he played with good attention to the independent lines. He then played a Passacaglia by his teacher, Dennis Northway (who does a superb job shepherding the young Biggs Fellows at these conventions). The piece has many humorous elements: twitters and trills. Sampas played an Offertory by Boëllmann, and the Mendelssohn Prelude and Fugue in G. The Boëllmann was played on the 8′ Open Diapason—a big, bold sound—alternating with the Swell Geigen 8′. He moved the Mendelssohn along nicely, and kept the many strands of the fugue in order. Tuttle proved to be quite a skilled improviser. He used a hymn composed by a founder of this church. We heard more of this organ’s sounds—the strings and flutes were attractive. The improvisation was well conceived and well played!
Our next destination was back in Pittsburgh: Holy Rosary Roman Catholic/St. Charles Lwanga Parish, occupying a very handsome Ralph Adams Cram Gothic building from 1930. The first organ was a 2-manual, 48-register 1901 Hook & Hastings from their previous church. Presently, there is a 1956 3-manual Casavant, Opus 2311, located in a front side gallery. The church finds itself nowadays in an African-American neighborhood, so there are beautiful African sacred art objects decorating the building. Recitalist Jonathan Ryan began with a spirited performance of Bach’s Prelude and Fugue in D Major, BWV 532 at breakneck speed—he took off like a rocket! The prelude ended mp. The fugue continued at the same tempo, but with full plenum. The organ is very typical of Casavants of this period: a warm, clear tone. The closing section brought things to ff and full pedal. Sadly, there was a cipher.
Next was a charming French noël: Où s’en vont ces gais bergers? by Claude Balbastre. The organ was well suited to this literature. I wish he hadn’t used the shades on the softer parts, as they rendered them nearly inaudible because fans were running (but were finally turned off; churches need to be instructed on using fans during organ conventions). I wish more performers would use these marvelous noëls; they are great demonstration pieces. His playing was excellent. Next, in Pastorale and Toccata (1991) by David Conte, the generous acoustic of this tall stone space enhanced the Great Hohlflöte 8′ with the Swell strings in a pensive section. A livelier section followed, with a return to the flutes. Ryan played it with great movement and feeling. The Toccata started with somewhat dissonant chords. He controlled all the elements very well.
The hymn was My song is love unknown to the tune by John Ireland, Love Unknown. Then came something completely different: George Shearing’s I Love Thee, Lord. He closed with The World Awaiting the Savior from Dupré’s Passion Symphony, op. 23. Alas, the cipher returned; a pity, as it ruined the recording of an otherwise fine performance.
We then went to Trinity Lutheran Church, on the north side of Pittsburgh, whose present building dates from 1960. The organ stands in the back of the smallish church: a charming Jardine from 1863 that had quite a history of moves here and there; 2 manuals and an 18-note pedalboard, and 11 stops. The case was honey colored, and the façade pipes were painted a deep maroon. Christopher J. Howerter began with Opening Voluntary by James Cox Beckel (1811–1880), which featured a broad, warm sound. For Trumpet Air, by James Bremner (d. 1780), the blower was turned off and the organ was pumped by hand. The blower came back on for The Sufferings of the Queen of France, op. 23 by Jan Ladislav Dussek (1760–1812). This was programmatic music “expressing the feelings of the unfortunate Marie Antoinette, during her imprisonment, trial . . .” Scherzo, from Grand Sonata in E-flat by Dudley Buck, was nicely played and showed the organ well. The hymn followed: Rejoice, the Lord Is King! (Jubilate). He ended with Postlude in C by Walter H. Lewis (fl. 1890s). This was a real period piece, sounding like something a community band would play on a Sunday afternoon concert in a park. It sounded great on this organ, bringing out all its personality. We then had a hymn sing of some early Western Pennsylvania hymns.
After dinner, the final concert of the convention was held at Eastminster Presbyterian Church. The organ was a 4-manual, 1955 Aeolian-Skinner, Opus 1266 with six divisions, situated at the front of the church. The Steinway Model D was courtesy of Trombino Piano Gallerie. Performers were Neal Stahurski, organ, and Yeeha Chiu, piano. Stahurski began the evening with an arrangement of Simple Gifts by Charles Callahan that was grand and spacious and would please most any congregation. Chiu then played two pieces by Chopin: Polonaise in C-sharp Minor, op. 26, no. 1, and Waltz in C-sharp Minor, op. 64, no. 2. She is a fine player and showed good attention to musical detail and line.
Stahurski returned to play a Gerald Near arrangement of the Largo from Bach’s Concerto for Two Violins in D Minor, which featured piano and organ. I especially liked the beautiful Oboe stop, which sounded delightful alongside a solo flute in this very familiar music. We then heard the organ alone in a three-movement Suite by Jehan Alain. I. Introduction et Variations used flutes and soft foundation stops in dialogue; the variations explored other sounds in the organ. II. Scherzo began on a flute stretching into the octatonic-scale harmonies Alain loved so much. Then the quicker notes took over and he leapt about on the Swell reeds, and played with great flourish! III. Chorale began with widely spaced chords. Stahurski controlled it all very well, leading to a full sound, then backing away. A crashing big chord brought to a close.
A piano piece followed that was not listed, and I did not catch the name. Then Duo Concertant for piano and organ by Naji Hakim; they played the second movement, Andante. It is very clever, bouncy music that used the piano and organ sonorities quite well. The organ registrations were snappy and charming. Both piano and organ sounded surprisingly well in the heavily cushioned and carpeted room. We then heard piano and organ in an arrangement by David Schwoebel of It is well with my soul. If your church sings this hymn, they will enjoy this grand setting. Pure Technicolor! We then sang Eternal Father, Strong to Save. Stahurski played it very well; his last verse was ablaze with light and color.
The concert ended with Dupré’s Variations on two themes for piano and organ, op. 35, which used a host of colors from the instruments. Challenging music for both artists: the organ sounding like an orchestra in both a leading and subordinate role, the piano, likewise. This was a brilliant end to the concert and to the convention.

Overall, it was a good convention. The hotel, food, transportation, venues, instruments, and artists were first rate. The 186-page Atlas was filled with fascinating essays, information, and fine photography; the program booklet was well laid out—I liked the performers’ bios and photographs at the back of the book, saving more space for specifications and programs; and the hymnlets were large and easy to read. My hat is off to the fine committee who put the convention together and made it run smoothly.
For future conventions, I would suggest that there be consistency in the listing of something as simple as number of stops and ranks. That is not always apparent. Also, OHS convention speakers should wait until everyone is seated before making announcements, use a microphone, and talk slowly, especially in reverberant rooms. Buses should not move about during concerts when church windows are open, thus ruining recordings and performances. Finally, I’d like us to go back to the practice of ringing the churches’ bells before the concerts start. It is another introduction to a musical and often historical sound the building can make.
I look forward to this summer when the OHS will be in Washington, D.C. It should be another fine event! OHS conventions are always a great bargain, with world-class instruments and performers, outstanding scholarship, and great food. Everything is done for you. See you in D.C.! ■

Photos by Len Levasseur

Marijim Thoene received a DMA in organ performance/church music from the University of Michigan in 1984. She is an active recitalist and director of music at St. John Lutheran Church in Dundee, Michigan. Her two CDs, Mystics and Spirits and Wind Song, are available through Raven Recordings. She is a frequent presenter at medieval conferences on the topic of the image of the pipe organ in medieval manuscripts.

Francine Maté has lived in Washington, D.C. for 26 years. She has been organist/choirmaster and director of the Bach Festival at Grace Episcopal Church in Georgetown, Washington, D.C. since 1998.

Thomas Marshall is instructor of organ and harpsichord at the College of William and Mary in
Williamsburg, Virginia, where he also serves as organist/associate director of music at Williamsburg
United Methodist Church. He holds degrees in organ/harpsichord performance from James Madison University and the University of Michigan. His teachers include Carol Teti, Richard McPherson, Marilyn Mason, and Edward Parmentier.

It was sad to see four days of music-
making in which each performer invested every fiber of his or her being into producing sounds that dazzled, soothed, and transported the listener come to an end; however, as the poet Kenneth Rexroth said, “It is impossible to live in a constant state of ecstasy!” Certainly the four days of the AGO national convention provided the listener with the opportunity to be swept up in ephemeral and fleeting beauty that can be recalled as sacred moments in time.
There were several pre-convention programs that set the stage for the opening program at the National Cathedral, two of which were the organ recitals on July 4 at Grace Episcopal Church in Georgetown by Thomas Marshall, who played the complete organ concertos of J. S. Bach, and at the Basilica of the National Shrine of the Immaculate Conception by Roland Maria Stangier of Essen, Germany.

July 4
Thomas Marshall
In his performance of J.S. Bach’s complete organ concerti, Thomas Marshall gave us a glimpse of a young Bach, a brilliant organ virtuoso and composer who filled his organ concerti with scintillating, pyrotechnical dances and lyrical melodies. This pre-convention event was part of the Seventeenth Bach Festival at Grace Episcopal Church in Georgetown, directed by Francine Maté, organist and choirmaster at Grace. Marshall made this music his own by adding eloquent ornaments, shaping and moving tempi. All of the concerti were played with a rhythmical vitality.
However, it was the seldom-heard Concerto in C Major, BWV 594, an arrangement of Vivaldi’s “Grosso Mogul” Concerto in D Major (op. 7, no. 5, RV 285a), which was the most riveting and tantalizing. Here the forces of the concerto form, tutti vs. soli, become a new genre for the organ—all of the movements are expanded to new dimensions and the dialogue between soli divisions are more intense. In the slow movement, Marshall added a few ornaments to the already ornamented coloratura melody and seamlessly bound the melody to the accompaniment. In the third movement, he reflected the contrasts between the formal and mannerly tutti section and the soli sections with registration that recalled full ensemble vs. gossamer strands of birdsong. Marshall’s formidable technique and sense of drama made the voices within this transparent texture shimmer. His CD, The Organ Concertos of Johann Sebastian Bach, is available through Arts Laureate, <A HREF="http://artslaureate.com">http://artslaureate.com</A&gt;.

July 5
Opening Convocation
On July 5 at 7:30 am, tour buses pulled away from the Marriott Wardman Park Hotel, carrying over 2,000 organists and organ music enthusiasts to the opening convocation at the National Cathedral, featuring the Washington National Cathedral Choir, Cathedral Voices, Michael McCarthy, director of music, Scott Dettra, organist, and the Washington Symphonic Brass with Phil Snedecor, music director. The prelude music was riveting in its grandeur and freshness: Ancient Airs and Dances, Suite No. 3 (Passacaglia and Air di Corte) by Ottorino Respighi; Symphony No. 3, op. 27 (I. Finale: Allegro) by Carl Nielsen, featuring the Washington Symphonic Brass and A. Scott Wood, conductor; and a commissioned work, Theme and Variation on “Le P’ing,” by Michael Bedford, winner of the 2010 AGO/Holtkamp award in organ composition. Bedford incorporated a variety of compositional styles in his poetic interpretation the text of Psalm 19:4b–5: bird song, elements of jazz, a fiery toccata, and floating arabesque figures. The television screens that focused on the performers, especially the feet and hands of Scott Dettra, gave a welcome immediacy to the performance.
The processional hymn, Lasst uns erfreuen, was sung with great gusto as the pageantry began. Eileen Guenther, president of the American Guild of Organists, commented that the convention was really international in scope, for it included performers, lecturers, and guests from many countries. Ronald Stolk, the AGO 2010 convention coordinator, thanked all of the many volunteers who gave generously of their time and worked tirelessly in planning the convention. The commissioned hymn, Great Voice of God (music by Mary Beth Bennett, words by Shirley Erena Murray), aptly expressed the text: “Great voice of God in all your good creation, make us your instruments of blessedness.” It was introduced by a brass ensemble and percussion, and the hymn verses were sung in alternatim with the instrumental ensemble.
The Reverend Dr. Thomas H. Troeger, AGO national chaplain, spoke of his own profound love of J. S. Bach, and said there are things technology cannot solve—the need for a discerning heart and a mind to be attuned to the spirit of the living God. He concluded saying: “Every time you make music you are calling people back to the better spirit—to beauty, wonder and joy.”
The commissioned anthem, Exultate iusti by Rihards Dubra, like Michael Bedford’s anthem, is an exemplar of text painting. Here the texts of Psalm 33:1–6, 8–12, 18, and 20–20 are exquisitely reflected in multiple resources and textures: an orchestra with solos for chimes, muted trumpets, a counter tenor, a children’s choir, full chorus, kettle drum, xylophone, and organ. This score is a great addition to the repertoire of sacred music.
The service closed with the joyous and triumphal hymn, As Newborn Stars Were Stirred to Song, introduced by a brass choir, with words by Carl P. Daw, Jr. and music by John Karl Hirten. The organ voluntary, Festival Fanfare by Kenneth Leighton, was deftly played by Scott Dettra. The energy and stamina of the cathedral organist is amazing, for later in the day he would play at the Bach Vespers as well as at the opening concert at the National Cathedral, where he played Samuel Barber’s Toccata Festiva, op. 36 and the demanding organ part in Paul Paray’s Mass for the 500th Anniversary of the Death of Joan of Arc.

Workshop, Dr. Leo Rozmaryn
The workshop “From Brain to Fingertips: Neuro-Muscular Control,” given by Dr. Leo Rozmaryn, addressed the physiological processes involved in organ playing and gave some helpful advice on how to avoid injuries. Dr. Rozmaryn, a surgeon, has worked in the field of what he calls “Music Medicine” for thirty years. He pointed out how the brain of a professional keyboard musician is different from a non-musician’s brain. A keyboard player has more gray matter: the “corpus callosum”—the division between the right and left parts of the brain—is much bigger than in a non-musician. He defined the debilitating injury of focal dystonia, saying that it is a neurological disorder originating in the brain that causes loss of coordination and motor control in the hand, and that some of the following has been effective in its management: retraining, i.e., changing one’s technique by way of the Dorothy Taubman method; instrument modification; botulinum injection; and physical therapy. He praised the work of Sandy Austin, a physical therapist at Arlington Hospital, for her success in working with injured musicians.
Dr. Rozmaryn began his second session by recommending Janet Horvath’s award-winning book, Playing Less Hurt, for musicians on how to avoid injuries. He admonished organists to pay attention to their bodies, saying that when injured musicians come to him, they tell him they don’t have time to eat a balanced diet, to exercise, or to get a good night’s sleep. He advises every organist to remember they are athletes. They should have music in one hand and a gym bag in the other. In music schools in Scandinavia, musicians do aerobics after 40 minutes of practice.
He discussed a number of injuries common to organists and possible treatment modalities. Some common ailments and possible treatment included low back and neck problems due to poor, static posture for long periods of time. He suggested taking frequent breaks and avoiding drooping shoulders. To avoid carpal tunnel syndrome, he advised keeping the wrist in neutral position and to never practice for longer than 30 minutes at a time. If surgical intervention is necessary, you should not use your hands for four weeks following surgery. He suggested Richard Norris’s book on the topic, Return to Play, and the website <A HREF="http://www.theorthocentermed.com">www.theorthocentermed.com</A&gt; for doctors and hand exercises. For cubital tunnel syndrome he suggested sleeping with arms outstretched, and for thoracic outlet syndrome he suggested arm rolls.

July 6
Hymn Festival
The cavernous National City Christian Church was packed with standing room only for the hymn festival, “We Believe in One God,” led by Bruce Neswick. The prelude included five demanding hymn arrangements played by the Virginia Bronze Handbell Ensemble, directed by Carol Martin, the National Brass Quintet, and percussionists Doug Wallace and Bill Richards. Especially memorable was ‘Twas in the Moon of Wintertime, arranged by Cynthia Carlson. Here the handbells were augmented with a marimba and tiny wind chimes. The spirited and energetic commissioned work, Doxology on Conditor Alme Siderum for handbells, brass quartet, and tympani arranged by Hart Morris, set the tone for the entire festival of hymns.
Bruce Neswick’s choice of hymns and organ descants reflected his keen awareness of the best of the repertoire: Christ is made the sure foundation, descant by Richard Wayne Dirksen; The stars declare his glory, descant by Richard Proulx; Of the Father’s love begotten, introduction by Gerre Hancock and descant by David Willcocks; and Lord, you give the great commission, introduction for brass and organ, solo organ, interlude for brass and organ, and descant by Bruce Neswick. The anthem, O risen Christ, still wounded by Bruce Neswick and commissioned by Christ Church Virginia, was performed by the Cantate Chamber Singers directed by Gisèle Becker, and is another great addition to sacred literature.
The final hymn, Lord, you give the great commission, sung exuberantly by over a thousand and joined by brass and soaring organ descant, was truly the most fervent prayer imaginable: “Lord, you bless with words assuring: ‘I am with you to the end.’ Faith and hope and love restoring, may we serve as you intend, and amid the cares that claim us, hold in mind eternity.” The concluding voluntary, Neswick’s improvised toccata, was stunning and a fitting Amen to the festival of readings and hymns of the liturgical year.

Jean-Baptiste Robin and Elizabeth Blakeslee
In the elegant and historical St. John’s of Lafayette Square, Jean-Baptiste Robin, organist of the Royal Chapel in Versailles Palace, and Elizabeth Blakeslee, harpist in the National Symphony Orchestra, performed music by Debussy, Jehan Alain, Robin, and a commissioned work by Rachel Laurin with assurance and remarkable virtuosity. The delicacy and transparency of Debussy’s Prélude à l’après-midi d’un faune transcribed for harp and organ by Robin were apparent in the dry acoustic at St. John’s. Robin performed Alain’s Trois Danses from memory and gave a meticulous rendering of the score, observing Alain’s fiendishly demanding tempi markings.
I wish Robin had written more about the “23 reflecting modes” that he created and alluded to in his program notes describing his own composition Cercles Réfléchissants (“Reflecting Circles”). The two movements he played from this work reflect his unique compositional vocabulary, which in turn hinted at mysterious shifting wind movements. In her commissioned work, Fantasia for Organ and Harp, op. 52, Rachel Laurin interwove the intimate color palettes of the harp and organ with remarkable dexterity, especially in the second movement when flutes 8′, 4′ and 2′ played in dialogue with the harp. The same balance was present in the third movement in a totally contrasting mood—triumphant chords on the organ vs. powerful chords and flourishes on the harp.

Ezequiel Menéndez
Historic Organs in Argentina
Ezequiel Menéndez gave an informative and intriguing lecture on “Historic Organs in Argentina: A Hidden Treasure” that reflected his many years of research and study on the subject. He began by stating that in Buenos Aires, within one square mile one can see organs from France, Germany, England, and Italy. During the Age of Enlightenment, Argentina was the richest country in the world, and people from all over Europe settled there and brought with them their culture, which included pipe organs from their own countries. The inventory of pipe organs in Argentina built by famous builders is impressive: there were 39 organs from Italy, one built in 1868 by Serassi for the Church of Monserrat; 101 organs from Germany; and a Cavaillé-Coll was shipped in 1885 to a Jesuit church in El Salvador and moved in 1912 to the Basilica Del Santissimo Sacramento in Buenos Aires.

July 7
Morning Prayer
Attending Morning Prayer in the large reverberant sanctuary of St. Patrick Roman Catholic Church was a beautiful way to start the day. The Psalms were sung in by the choir (the Countertop Ensemble, directed by Chris Dudley) in alternatim with the assembly. The masterful and thoughtful improvisations on the antiphons played by Ronald Stolk, director of music at St. Patrick, were a welcome contrast to the austerity of the reading of the lessons and the intoning of the Psalms and Canticles. I wished he had played more.

Worship Service for Children
The Worship Service for Children, featuring the Children’s Chorus of Washington directed by Joan Gregoryk, held in the 1860 Calvary Baptist Church, was choreographed with amazing precision. Following the organ voluntary composed and played by 22-year-old Justus Parrotta, the choir of young singers (30 girls and four boys) quietly processed down the two side aisles, and Dr. Gregoryk, without saying a word, motioned her choir to begin singing the canon Dona nobis pacem, then cued each section of the audience to join in singing the canon, which was an effective introit. A portion of the text was repeated as an antiphon throughout the singing of Psalm 85. The program—music from the Taizé Community, Mendelssohn, an African-American spiritual arranged by Moses Hogan, and Jewish song by Allan E. Naplan—was sung with enthusiasm and from memory. Dr. Gregoryk is obviously a strict taskmaster to present such a polished choir with excellent diction, good blend, and good pitch. She also communicates her joy in the music, which was mirrored in the faces of her singers. Parrotta’s spirited playing of the first movement of J.S. Bach’s Concerto in A Minor, BWV 593, was a perfect ending to this program.

Isabelle Demers
For me, Isabelle Demers’ memorized recital was one of the most memorable recitals of the convention. St. Patrick’s Roman Catholic Church was a perfect venue for her program: Prélude from First Symphony, op. 36 by Rachel Laurin; Three Psalm Preludes, op. 32, Set 1, No. 2, by Herbert Howells; Symphonic Chorale on “Jesu, meine Freude,” op. 87/2, Introduzione (inferno), Canzone, Fuga con Corale, by Karg-Elert; Organ Symphony No. 2, op. 20, by Louis Vierne; Scherzo and Toccata from First Symphony, op. 36 by Rachel Laurin. Demers made each work her own, investing herself in the music, from Howells’s quiet lyricism to Karg-Elert’s diabolical roar. Her brilliant technique served always to make the music soar. This gift was especially apparent in Rachel Laurin’s Toccata. The audience was dazzled by her magnificent performance.

July 8
Nathan Laube
Nathan Laube opened his recital at the National Presbyterian Church with his transcription of Johann Strauss’s Overture to Die Fledermaus. Laube’s deftness at registration was apparent as each section flowed seamlessly into another. He is a gifted dramatist, and succeeded in catching up the audience in the dance. After thunderous applause he announced that the day was his 22nd birthday, and we all promptly sang “Happy Birthday.” His performance of Joseph Jongen’s Sonata Eroïca pour Grand Orgue, op. 94, and Charles Tournemire’s L’Orgue Mystique, Cycle de Noël, Suite No. 7, op. 55, also showed him to be a master at registration as he moved smoothly from one section to another.
The tour de force of his concert was his performance of Maurice Duruflé’s Suite pour Orgue, op. 5. His playing was flawless, inspired, and for want of a better word, transporting. As an encore he played Chopin’s Etude in C-sharp Minor, op. 10, no. 4, and met with even more thunderous applause.

Isabelle Demers
Max Reger workshop
Isabelle Demers’ workshop on Max Reger’s Orgelbüchlein was held at St. Paul’s Episcopal Church, an elegant, isolated chapel in Rock Creek Parish, surrounded by a cemetery. Ms. Demers gave an overview of Reger’s chorale preludes, alluding to those suited for church services and those better suited for concerts. She discussed aspects of Reger’s life and how events shaped his compositional style, his quirkiness and spirituality. In her handout, she ranked each of the 52 preludes according to difficulty and listed the timing of each. It was enlightening to hear some of Reger’s chorale preludes played from memory by Ms. Demers in this reverberant space on the mechanical action organ II/27 built by Dobson.

Marijim Thoene received a DMA in organ performance/church music from the University of Michigan in 1984. She is an active recitalist and director of music at St. John Lutheran Church in Dundee, Michigan. Her two CDs, Mystics and Spirits and Wind Song, are available through Raven Recordings. She is a frequent presenter at medieval conferences on the topic of the image of the pipe organ in medieval manuscripts.

July 5
Jonathan Biggers
Jonathan Biggers, who holds the Edwin Link Endowed Professorship in Organ and Harpsichord at Binghamton University, began his program with Craig Phillips’s Fantasia on “Sine Nomine” (2007). This work was commissioned by the University of Iowa to honor Professor Delbert Disselhorst’s retirement, and is based on the tune by Ralph Vaughan Williams. Among the many interesting sections of the piece are octave “D” leaps in the fugue, which refer to Delbert Disselhorst. Dr. Biggers ended his performance of the work with a brilliantly played toccata.
The Passacaglia by Leo Sowerby (from the Symphony for Organ, 1930) is similar to Sowerby’s posthumous passacaglia, which was edited by Ronald Stalford. The earlier passacaglia from the symphony is less tight than the posthumous piece. Biggers’ interpretation, however, provided a convincing musical continuity in the multi-variation work.
National Presbyterian Church is a modern edifice that provided a stark contrast to the Gothic style of Washington National Cathedral, the site of the opening service just 1½ hours before Biggers’ recital. The present building was designed by Harold E. Wagoner, with the main sanctuary seating 1,260. The church’s cornerstone was laid by President Eisenhower on October 14, 1967; the first worship service at this site took place on September 7, 1969. The organ at National Presbyterian Church is an Aeolian-Skinner, Opus 1456, IV/115, installed in 1970. From 1987 to the present, the organ has been rebuilt and added to by the Di Gennaro-Hart Organ Company.
Biggers’ recital ended with the Reger Phantasie und Fuge d-moll, op. 135b. It was thrilling and brought the full house to a rousing standing ovation! Biggers repeated this program at 11:30 am on July 5.

Paul Jacobs
Next was a marvelous recital at St. Anne’s Catholic Church by Paul Jacobs, chairman of the organ department at Juilliard School of Music. St. Anne’s is a lovely church located a few blocks north of National Presbyterian Church. Jacobs’ recital was performed by memory, and was absolutely perfect. The 1999 Létourneau three-manual organ is in the rear gallery. I was sitting close to the gallery in the back of the church, and it was relatively easy for me to simply turn around and watch him. However, there was a giant screen in the front of the church, and by watching the big screen, Jacobs was magnified and in full view for the entire audience. The program included the Reger Sonata in D Minor, op. 60 (1901), Prelude in F Major (1912) by Nadia Boulanger, and the Franck Final, op. 21 (1866). Jacobs was treated to a rousing standing ovation at the end of his flawless performance.

Bach Vespers at St. Paul’s Lutheran Church
The Washington Bach Consort
The venue for the Bach Vespers at St. Paul’s Lutheran in Washington, D.C., was perhaps similar to what the setting might have been like in the Thomas-kirche during Bach’s tenure in Leipzig. St. Paul’s, like the Thomaskirche, has lovely stained glass. I thought the light illuminating through the stained glass on this day was very similar to the way the stained glass in the Thomaskirche looked the times I have been fortunate enough to be there.
J. Reilly Lewis, director of the Bach Consort, conducted the vespers service. Lewis has been a Bach icon on the East Coast for many years. His performances are always very musical, and his interpretation of Bach’s music is impeccable.
Scott Dettra was the organist for this service. He serves as organist and associate director of music at Washington National Cathedral, as well as assistant conductor and keyboard artist of Washington Bach Consort and the Cathedral Choral Society. Dettra was organist for the opening service at 8:30 am on Monday, organist for this service, and organist for the evening concert back at the National Cathedral. He is an outstanding musician, and his ability to seamlessly go from the cathedral organ to the Johan Deblieck continuo organ for his continuo part in the Bach cantata at St. Paul’s, up to the organ loft at St. Paul’s to play the St. Paul’s Schantz three-manual organ, and then to the cathedral again that evening, was more than remarkable.
The St. Michael’s Day Vespers service began with the organ prelude, Toccata in F, BWV 540/1 of Bach, played splendidly by Lewis. This was followed by the Bach Kyrie, BWV 233A, and the complete Cantata BWV 130, Herr Gott, dich loben alle wir. The Bach Consort, as always, sang with great exhilaration and musical conviction. All chorales in the service were sung in German by the congregation—the singing by the organists at this service was marvelous. The service also included a fine sermon, prepared especially for organists, by St. Paul’s pastor, The Reverend Dr. John Witvliet.

Opening Concert
Washington National Cathedral
The opening concert of the convention was performed at Washington National Cathedral by the Cathedral Choral Society and members of the National Gallery Orchestra conducted by J. Reilly Lewis. This program was a continuation of
J. Reilly Lewis’ 25th anniversary as conductor of the Cathedral Choral Society.
The program began with Scott Dettra performing the Toccata Festiva, op. 36 (1960) by Samuel Barber. Dettra performed this work with excitement and verve as if he had rested and prepared all day in order to wow this audience of 2,000-plus organists.
The second and major work on the program was Paul Paray’s Mass for the 500th Anniversary of the Death of Joan of Arc (1931). The acoustics of Washington National Cathedral provided the perfect venue for this monumental work. The lyricism of the Kyrie was quite beautiful, and the Cathedral Choral Society’s superbly blended voices filled the glorious space of the cathedral. Even though the cathedral was full to capacity in both the morning opening service and the concert that evening, one could hear a pin drop due to the intensity of listening that all organists possess, and which we exhibited on this day.

July 6
David Higgs
The United States Naval Academy
The recital by David Higgs was flawless, so very musical, and the audience of organists was so breathtakingly attentive, as was the case at all of the recitals and concerts at the convention. This organ was originally built by the Hutchins Organ Company in 1908, and rebuilt by the Möller Organ Company of Hagerstown, Maryland. Many renovations were made this past year, and the organ is currently 268 ranks with two consoles.
I typically would rather hear Bach played on a mechanical action instrument, but Higgs’s playing of the Passacaglia in C Minor, BWV 582, was a masterpiece of performance and pure musicality. His drive and care given to the monumental work was simply thrilling. The final piece on the programmed portion of the recital, Widor’s Symphony VI in G Minor, op. 42 “brought the house down” with the audience’s immediate standing ovation. How could there be more excitement to come? Ah, yes!! The encore, In a Persian Market by Albert Ketèlbey and arranged by Frank Matthews, just swept us off our feet, literally! “Persian Market” was not only “fun” music, but the magnificent organ at the Naval Academy Chapel has theatre organ stops. The polite, reserved and attentive organists of all the previous recitals and concerts, became “out of control” with enthusiasm for this piece! All the bells, drums, whistles, and stops were pulled out!
The United States Naval Academy Chapel holds 2,000 people, and of the 2,200 attendees at the convention, 2,000 of them attended Higgs’s recital. One of the many marks of great organization came at the end of the concert when the 2,000 organists were bused back to the Marriott in Washington after the concert. Kudos to Dr. Carol Guglielm for orchestrating this important, and most complicated transportation event—there were 35 buses waiting to pick up 2,000 organists after David Higgs’s program!

Pre- and post-convention events
Among the numerous pre-convention events was the first part of the 17th Annual Bach Festival at Grace Church, Georgetown, of which I am the director. My colleague and friend, Roland Stangier from Essen, Germany, performed in our Bach Festival on July 3, and 23 hours later performed a completely different program at the Basilica of the National Shrine of the Immaculate Conception. Professor Stangier’s recital in the Bach Festival was entitled “Bach and His European Colleagues.” Grace Church is home to an A. David Moore 1981 two-manual mechanical action instrument. Composers on Stangier’s program included Pablo Bruna (Spain), Samuel Scheidt (Germany), Andreas Kneller (North Germany), Gaspard Corrette (France), Giovanni Battista Pergolesi (Italy), Charles John Stanley (England), and J.S. Bach (Trio Sonata in D Minor). Professor Stangier, as his usual practice, ended the recital with an improvisation.
Stangier’s program was full of variety and nuance—he is a very energetic and musical performer. His performance of Bach’s trio sonata was full of ornamentation that I had never before considered. This made the work fresh and new, even though the works of Bach rarely need any new performance ideas.
I presented Professor Stangier with two themes on which to improvise that were from the concert I had performed at 3 pm in our festival that afternoon: 1) the “Nun komm der Heiden Heiland” chorale tune, and 2) the lilting flute melody from the famous “Sheep May Safely Graze.” Stangier wove these two themes into a tightly knit piece. I only wish we could have a score of his superb improvisation. However, in today’s world of the instant reproduction of just about anything, it is a nice thought to consider that an improvisation can simply be as ethereal as Washington, D.C.’s cherry blossoms.
Professor Stangier performed his basilica recital on the 172-rank, four-manual electro-pneumatic Möller organ. His program began with the four Schumann Sketches, opus 56, written in 1846. It has been in vogue for several years now for organists to write and perform their own transcriptions of orchestral works. Particularly popular is Gustav Holst’s The Planets, written in 1914. Stangier performed his transcription of “Venus, the Bringer of Peace” and “Jupiter, the Bringer of Jollity”—what beautiful transcriptions to showcase both the basilica’s organ and Stangier’s playing! And, not to be forgotten as well, the inside of the basilica is breathtakingly beautiful! Following the Holst transcriptions were the Fantasie and Fugue in C Minor by Alexander Winterberger (1834–1914) and the Grand Choeur by Zsolt Gardonyi (b. 1946). Stangier ended the program with another one of his dynamic improvisations. Tonight he was given the Ubi Caritas et amor Gregorian chant and an Irish folk-song as his improvisation themes.
Jeremy Filsell performed all of Vierne’s symphonies at St. Patrick’s Catholic Church in Washington D.C. on the church’s 1994 44-rank Lively-Fulcher organ. Although I was back at my job at the Library of Congress on Friday, July 9 and was unable to attend Dr. Filsell’s program, this was indeed a monumental endeavor. Word from colleagues who were able to attend was that Filsell, in his usual style, performed every movement of every symphony with great splendor.
Another notable post-convention event was a performance by Isabelle Demers of her own transcription of Tchaikovsky’s Romeo and Juliet at Capitol Hill Methodist Church on July 9. From friends I know who attended, it sounds as if I missed another splendid event.

Francine Maté has lived in Washington, D.C. for 26 years. She has been organist/choirmaster and director of the Bach Festival at Grace Episcopal Church in Georgetown, Washington, D.C. since 1998.

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July 5
Kimberly Marshall
For her recital at St. Columba’s Episcopal Church on the first day of the convention, Kimberly Marshall played a well-selected program for a 1981 Flentrop organ, displaying the well-balanced specification. Her unique and outstanding knowledge of the remote corners of the literature for the organ produced a recital with great variety and interest. Dr. Marshall is a treasure among us all for her ability to combine brilliant performance with good scholarship in an intelligent and informative way. This was a delightful and perhaps surprising recital.

Jason Roberts and Michael Unger
For some with “first-day-bus-issues” sometimes associated with these very large AGO conventions, the change in order of both performers and pieces being played was confusing to latecomers to the recital at Chevy Chase Presbyterian Church. Jason Roberts, 2008 winner of the AGO National Competition in Organ Improvisation, and Michel Unger, 2008 winner of the AGO National Young Artists Competition in Organ Performance, together presented a program demonstrating the true art of improvising, whether from score or indeed on the spot. Organ performers are too quick to define “improvisation” at the organ as the art of totally extemporized composition, when much is added to the printed score by the performer who can sense the improvisatory nature that CAN be brought to all music.

July 6
Diane Meredith Belcher
The recital by Diane Meredith Belcher on the Létourneau organ (2000) at the Church of the Ascension and St. Agnes was performed with elegance, showing great attention to careful and tasteful phrase development throughout. Her inclusion of a voluntary by English composer William Russell (1777–1813) was refreshing. Her performance of all six fugues on the name B-A-C-H, op. 60, of Robert Schumann, gave the audience a clear impression of the compositional prowess of this composer, now enjoying the 200th anniversary of his birth. While this music may be a bit too “academic” for the average organ recital audience, this venue gave an “organists only” audience the opportunity to hear all of these pieces well knit together in a fine and exciting performance.

The Woodley Ensemble
The Woodley Ensemble, under the artistic direction of Frank Albinder, presented a fine and varied program of choral music from many lands, including Sweden, Russia, Scotland, Israel, Estonia, England, New Zealand, Indonesia, and, of course, the United States. The ever-growing number of choral ensembles, both amateur and professional, has also given rise to the composition of unusual and wonderful music for all to experience both as performer and listener alike. The featured work for this concert was by American composer Leo Nestor—a large-scale anthem for SATB chorus and organ. While mainly for concert use in its entirety, it would be useful to find some selections from this work excerpted for use during the Pentecost season in churches as well.

This AGO national convention did an outstanding job in making a variety of workshops and seminars available. The Washington, D.C. chapter is also to be commended in its presentation of both pre-convention and post-convention events. Of particular note was the stunning performance by Julie Vidrick Evans of all six organ trio sonatas by J. S. Bach. For most organists, the inclusion of one or two of these technical masterpieces is daunting, let alone ALL of them, performed in this instance with technical mastery. The seventeenth annual Bach Festival presented by Grace Episcopal Church brings fine performances of the works of Bach and other related composers to a steadily growing audience each summer after summer, under the direction of the church’s organist/choirmaster, Francine Maté. ■