John Tavener's The Veil of the Temple

Joel H. Kuznik, NYC, has been writing published articles for 50 years. A native of Jack Benny’s hometown, Waukegan, his childhood idol nevertheless was Rubenstein, whom he eventually heard in Paris in 1975. But by 14, he became fascinated with the organ and Biggs, whom he heard twice in the mid 1950s. He studied organ with Austin Lovelace, David Craighead, Mme. Duruflé, Jean Langlais, and Anton Heiller, and conducting with Richard Westenburg and Michael Cherry, who was assistant to Georg Szell. Highlights of 70 years have included hearing Glenn Gould, Giulini in Brahms’ Fourth at Chicago, Carlos Kleiber’s “Der Rosenkavalier” at the Met, Herreweghe’s unmatchable “Mass in B Minor” at the Leipzig Bachfest, “Tosca” at La Scala, a one-on-one with Bernstein after the Mahler 2nd, and, finally, a birthday toast from Horowitz.

One advantage of retirement is having the luxury of hearing colleagues and ensembles here and abroad. Of course you don’t have to be retired, but the freedom to plan your own time helps. I have taken a number of European musical tours: Italian opera, Paris organs, Bach and Luther, and the Leipzig Bach Festival.
I have also taken two Holy Week-Easter pilgrimages. In the late 1990s I observed Holy Week in London and celebrated Easter in both the Western and Eastern Orthodox rites, first in Naples and then a week later in the Oia, Santorini, Greece. This year I decided to take my pilgrimage in London. These are the options I discovered on the Internet, and from which I made a spreadsheet for daily reference. Choices had to be made, and not everything made the list, such as “Götterdämmerung” at the Royal Opera House, which would have consumed one of my six days.

Maundy Thursday

13:10: Eucharist with music, St. Anne & St. Agnes, Bach chorales
17:00: Sung Eucharist, Westminster Abbey, Byrd Mass & Duruflé
18:00: Mass, Westminster Cathedral, Monteverdi & Duruflé
19:30: Mozart Requiem, St. Martin-in-the-Fields, New London Singers

Good Friday

11:15: Matins & Litany, Temple Church, Lotti & Tallis
14:30: Bach’s St. John Passion, St. John’s Smith Square, Academy of Ancient Music
15:00: Lord’s Passion, Westminster Cathedral, Bruckner, Victoria

Holy Saturday

15:00: Evensong, Westminster Abbey, Victoria
19:00: Easter Vigil, St. Paul’s, Langlais Messe Solennelle
20:30: Easter Vigil, Westminster Cathedral, Vierne Messe solennelle

Easter Sunday

10:15: Matins, St. Paul’s, Britten Festival Te Deum
10:30: Eucharist, Westminster Abbey, Langlais Messe Solennelle
16:00: Early & baroque music, Wigmore Hall, Florilegium, Bach & Telemann
16:45: Organ recital, Westminster Cathedral
18:00: Easter music & Eucharist, St. Anne & St. Agnes, Handel & Telemann

Monday

19:30: Handel’s Messiah, St. Martin-in-the-Fields, Belmont Ensemble

Maundy Thursday

A few blocks behind St. Paul’s Cathedral is St. Anne’s Lutheran Church, an international congregation founded in 1951, worshiping at the church of St. Anne and St. Agnes designed by Sir Christopher Wren after the Great Fire of London (1666) and consecrated in 1680. Built in the form of a Greek cross, this small church was bombed in WWII, but was restored and reconsecrated in 1966 as a Lutheran parish. In addition to its architectural history, famous residents of the parish have included John Milton, John Bunyan, and John Wesley.
St. Anne’s is known for its music, “particularly in the Lutheran tradition of J. S. Bach, Schütz, and Buxtehude.” There are over 100 performances a year, including lunchtime concerts on Monday and Fridays. The core musical group is the Sweelinck Ensemble, a professional quartet under the direction of Cantor Martin Knizia. The St. Anne’s Choir had recently sung Bach’s St. John Passion, and last December their Bach Advent Vespers was featured in a live broadcast on BBC Radio 3; .

Eucharist with Music

Chorale: O Mensch bereit das Herze dein, Melchior Franck
Chorale: Im Garten leidet Christus Not, Joachim a Burgk
Chorale: Durch dein Gefängnis, Gottes Sohn, J. S. Bach
Chorale: Jesu Kreuz, Leiden und Pein, Adam Gumpelzhaimer
Ehre sei dir Christe (Matthäus Passion), Heinrich Schütz
The chorales were interspersed throughout this service and were sung handsomely by the Sweelinck Ensemble accompanied by the cantor on a continuo organ. The concluding Schütz St. Matthew Passion was particularly stirring. Definitely worth a detour from the large churches to hear baroque music with this degree of authentic intimacy.

Westminster Abbey

Westminster Abbey, as glorious inside as it is dramatic outside, had a late afternoon Eucharist that moved the soul. So much can be said about the extraordinary history and presence of this church dating back to a Benedictine monastery in 960. It was later enlarged under King Edward the Confessor and consecrated in 1065 in honor of St. Peter, known as the “west minster” (Old English for monastery) in distinction from the east minster, St. Paul’s Cathedral. This magnificent gothic building is the result of work begun in the 13th century under Henry III and was not completed until 16th century.
Information, including details on the Harrison & Harrison organ (1937, four manuals, 78 stops), can be found at .

Sung Eucharist with the Washing of Feet

Mass for Four Voices, William Byrd
Organ prelude: Schmücke dich, o meine Seele, Bach
Improvisation leading to processional hymn: “Praise to the Holiest in the height” (Gerontius)
Gradual during Gospel procession: “Drop, drop, slow tears” (Song 46, Orlando Gibbons)
During the washing of the feet: Ubi caritas et amor, Maurice Duruflé
St. John 13:12–13, 15, plainsong mode II
Offertory hymn: “O thou, who at thy Eucharist didst pray” (Song 1, Orlando Gibbons)
After the Communion: Dominus Jesus in qua nocte tradebatur, Palestrina
While sacrament is carried to altar at St. Margaret’s: Pange lingua, plainsong mode II
During the stripping of the altar: Psalm 22:1–21, plainsong mode II

Westminster Abbey has an aura resonant with an awe of the divine. The service was without sermon, but so rich in ceremony and ritual that the preaching was in the actions, music, and language of the liturgy—in themselves a powerful message. Here everything seemed so right, from the dignified helpfulness of the ushers to the purposeful solemnity of the clergy—all enhanced by music done so well that it doesn’t call attention to itself because it is transparently integral to the worship and sung in a spirit reflective of the day’s liturgy. One did not just watch, but was drawn into the moment and left with an inner tranquility that spoke the essence of Maundy Thursday.

Good Friday

The weather was London: wet, dank, chilly and bleak—so fitting for the day. The Temple Church was recommended, not because of its recent attention due to the “The Da Vinci Code,” but primarily for its most traditional liturgy and excellence in music. The “Round Church” dates from 1185 and was the London headquarters of the Knights Templar. Their churches were “built to a circular design to remind them of the Church of the Holy Sepulchre at Jerusalem, a round, domed building raised over the site of the sepulchre where Jesus was buried.” The elongated choir was added by Henry III and consecrated on Ascension Day, 1240. The website provides an intriguing history of this unique church with directions and a much-needed map; .

Choral Matins, Book of Common Prayer (1662)
Introit: Crux fidelis, inter omnes, King John IV of Portugal
The Responses, plainsong
Venite, Exultemus, Anglican chant, Edward John Hopkins
Psalm 22, plainsong
The Lamentations of Jeremiah 1:1–2, Thomas Tallis
Benedictus, plainsong
Anthem: Crucifixus etiam pro nobis, Antonio Lotti
Litany, Thomas Tallis

Stephen Layton, director of music, directs a refined choir of men and boys, who were most telling in the Lotti Crucifixus, accompanied on a portative by the organist, James Vivian. The remainder of the service was played on the imposing and very British Romantic organ built by Harrison & Harrison (1924 and 2001, four manuals, 62 stops). The history of The Temple’s organs, including one by Father Smith, can be found on the website.

Back on Fleet Street I hopped on a bus to Westminster, hoping to hear Bach’s St. John Passion at St. John’s, Smith Square, just blocks from Westminster Abbey. A deconsecrated church dating from 1728, it now serves as a popular concert venue. In the crypt is a handy, economical restaurant “The Footstool,” where lunch was being served; .

St. John Passion, Johann Sebastian Bach, sung by Polyphony with the Academy of Ancient Music, Stephen Layton, conductor
Andrew Kennedy, Evangelist, tenor; James Rutherford, Christus; Thomas Guthrie, Pilatus; Emma Kirkby, soprano; James Bowman, countertenor; and Roderick Williams, bass.

This was a superb, masterful performance by a mature choir of 26 and professional soloists. The chorales were sung with care and the arias with sensitivity. The conductor’s tempos were quite sprightly and his approach dramatic, sometimes so much so that the next recitative intruded on the end of a chorale. This was, nevertheless, a fitting and most inspiring way to observe Good Friday.

Holy Saturday—Easter Eve

The Easter Vigil with its roots going back to earliest Christianity is the epitome of the Christian message and worship. It combines a rehearsal of salvation history with the rites of passage for the candidates (Latin, “those dressed in white”) through Baptism and Confirmation, and culminating in a celebration of the “Breaking of Bread” as Jesus did with his disciples after the Resurrection. The Vigil is an extended service with power-laden symbolism—the passage from utter darkness to brilliant light, the anointing with oil in the sign of the cross, the drowning of the self in baptismal waters, “putting on Christ,” and the sharing of the bread and wine in union with the community of faithful.
In London there could be no more fitting place to celebrate the Vigil than the regal diocesan St. Paul’s Cathedral, founded some 1500 years ago in 604 by Mellitus, a follower of St. Augustine who was sent to convert the Anglo-Saxons. It has been rebuilt a number of times with the most recent version begun in 1633 with a neo-classical portico or façade. The current design by Christopher Wren received royal approval in 1675, but was not finished until 1710. Later came the woodwork by Grinling Gibbons for the huge Quire and Great Organ, and in the 19th–20th century the glittering mosaics in the dome, envisioned by Wren. Most will remember St. Paul’s as the site of Prince Charles’s wedding to Diana. It has just undergone a complete renovation at a cost of £40 million in anticipation of its 300th anniversary in 2008; .
The organ was built by Henry Willis (1872) with an extensive renovation and enlargement completed by Mander (1977, five manuals, 108 stops). Not many organs deliver the overpowering experience that this organ can, especially when stops in the dome are added with a sound that not only surrounds, but also envelops worshippers.
The liturgy took place, not in the grand Quire, but “in the round” under the dome with a free-standing altar at one axis and the choir (with a small organ) to the left on risers, surrounded by the congregation.
Upon entry one received an impressive 28-page service booklet. One could only wonder “O Lord, how long?” But the service moved right along in two hours, including baptisms and confirmations. The service began in darkness; only with the procession to the dome by the participants did light begin to dawn as candles were shared. The Vigil had only one lesson instead of the usual nine readings. Then—the dramatic Easter Greeting by the bishop, “Alleluia! Christ is risen,” followed by bells and a thunderous fanfare from the organ—with a sudden blaze of almost blinding light as all the cathedral and the dome with its glittering mosaics lit up.

The Vigil Liturgy of Easter Eve

Setting: Messe solennelle, Jean Langlais
Exsultet sung responsively with the congregation
Song of Moses, Exodus 15, Huw Williams
Gloria in Excelsis, Langlais
Hymn: “The strife is o’er, the battle done ” (Gelobt sei Gott)
Hymn: “Awake, awake: fling off the night!” (Deus Tuorum Militum)
Motet: Sicut cervus, Palestrina
Hymn: “Here, risen Christ, we gather at your word” (Woodlands)
Sanctus, Langlais
Agnus Dei, Langlais
Surrexit Christus hodie, alleluia!, Samuel Scheidt (arr. Rutter)
Hymn: “Shine, Jesus, Shine”
Hymn: “Christ is risen, Alleluia!” (Battle Hymn of the Republic)
Toccata, Symphonie No. 5, Widor

The impact of this service was profound and intensely extraordinary, not as formal as Westminster Abbey, but with no less sincerity. The Langlais setting with the punctuating fortissimo chords from organ was overwhelming. The hymn singing, fueled by the organ’s energy, was similarly dynamic and enthusiastic, and the final hymn sung to the “Battle Hymn of the Republic” went at such an exuberant clip that one had to conduct beats to keep up. How could one divorce one’s mind from the text, “Mine eyes have seen the glory of the coming of the Lord”?
After this high-spirited hymn, the people, with their pace set by an energized Widor Toccata, exited up the center aisle toward the west end, facing the huge open cathedral doors with a gleaming light streaming in from the floodlit street, and walked past the bishop and the font into the light—they were ready for the Resurrection.

Easter Sunday

Sunday was another day, and, thankfully, the sun shone. I arrived at 9:15 am for Westminster Abbey’s 10:30 service to an already long queue. Had I arrived fifteen minutes earlier, I might have sat in the desirable rectangle framed by the choir screen and the chancel. But sitting just a few rows into the transept the sound was less immediate and gripping, and the hymn singing less compelling.

Sung Eucharist

Pre-service: Toccata in F Major, Bach

Setting: Messe solennelle [with brass quartet], Langlais Hymn: “Jesus Christ is risen today, Alleluia,” Lyra Davidica
Gloria in excelsis, Langlais
Gospel Procession: Victimae paschali, plainsong, arr. Andrew Reid
Hymn: “At the Lamb’s high feast” (Salzburg)
Sanctus, Langlais
During the Communion: Agnus Dei, Langlais; Christus resurgens ex mortuis, Peter Philips
Hymn: “Thine be the glory” (Maccabaeus)
Postlude: Finale, Symphonie II, Vierne
This was a straightforward Eucharistic service with fine music well performed. The Abbey Choir was conducted by James O’Donnell, Organist and Master of the Choristers, and accompanied by the London Brass quartet. The organist was Robert Quinney, Sub-Organist. The choir sang with their usual distinction, and in comparing this version of the Langlais, even with brass, to the Vigil the night before, clearly St. Paul’s was the more persuasive and affecting.

In the afternoon I headed to Westminster Cathedral, which according to the Internet performed some impressive music during Holy Week and on Easter that included Monteverdi, Duruflé, Byrd, Bruckner, Victoria, and Vierne’s Messe solennelle. But I regret to say that this Vespers, largely a chanted service and because of that, was an unexpected disappointment, especially since I had read such admiring CD reviews.
The cathedral, its striking architectural style from “Byzantine style of the eastern Roman Empire,” was designed by the Victorian architect John Francis Bentley on a site originally owned by the Abbey, but sold to the Catholics in 1884. The foundation was laid in 1895, and the structure of the building was completed eight years later. The interior with its impressive mosaics and marbles is said to be incomplete, but the cathedral is certainly a visual tableau .

Solemn Vespers and Benediction sung in Latin

Office Hymn: Ad cenam Agni provide
Psalms 109 and 113A (114)
Canticle: Salus et gloria et virtus Deo nostro (Revelation 19:1–7)
Magnificat primi toni, Bevan
Motet: Ecce vincit, Leo Philips
O sacrum convivium, Gregorian chant
Organ voluntary: Fête, Langlais

Unfortunately the printed order of service provided the Latin-English text, but without information on composers or musicians—facts only available on the Internet. The service seemed austere both in its solemnity from the entrance of the choir with many clergy and in its liturgical style.
There is obvious musical talent with a large professional choir of men and boys, but the musicians work with disadvantages. The choir is on an elevated shelf behind the baldaquin and high altar, which distances the sound and at times makes the singing seemed forced, especially by the men. The most disappointing, regrettable aspect was chanting “the old-fashioned way” with “schmaltzy” organ accompaniments on voix celeste or flutes. Solesmes is, by all counts, the gold standard, and after that all else pales. One would have thought the reform of chant in the Catholic Church and after Vatican II would have had greater impact and changed practice.
Martin Baker is the master of music and the assistant organist is Thomas Wilson. The Grand Organ is hidden by a nondescript screen in a chamber above the narthex and was only revealed in the Langlais Fête at the end—like an anomaly, but played with fire and aplomb. The organ was built by Henry Willis III (1922–1932, four manuals, 78 stops) and was restored by Harrison & Harrison in 1984.

Did I have one more service in me? I bravely headed to Trafalgar Square and St. Martin-in-the-Fields for Evensong. This church has a full schedule of services plus over 350 concerts a year. It may date back as far as 1222, and it can lay claim to the fact that both Handel and Mozart played the organ here in 1727. Today one immediately thinks of the Academy of St. Martin-in-the-Fields founded in the 1950s with Sir Neville Marriner.
The church’s activities are amazing, but it is not resting on its laurels. It is the midst of a £34 million campaign (already £24 million in hand) to expand its facilities inside and out to include an outdoor courtyard, a rehearsal space, a Chinese community center, and space for social services. It will also mean a much-needed restoration to the interior of the church to bring it closer to its historic 18th-century conception. In the crypt there is a shop and a café that serves nutritious meals all day.

Choral Evensong

Introit: This Joyful Eastertide, arr. Wood
Responses, Martin Neary
Canticles: Collegium Regale, Herbert Howells
Anthem: Rise heart, thy Lord has risen, Vaughan Williams
Postlude: Victimae Paschali, Tournemire

What a joy! Familiar music well done by a superb, effective choir with first-rate organ playing. A great, satisfying way to complete my Easter celebration. Alleluia! The talented and youthful director of music, Nicholas Danks, is full of enthusiasm. The assistant organist, David Hirst, played the Tournemire with particular verve and drama on the fine organ by J. W. Walker and Sons (1990, three manuals, 47 stops) with its battery of fiery French reeds. I didn’t think I was up for another Messiah this season, but these musicians felt the choir presenting the next night at St. Martin’s was one of London’s finest.

Monday

Messiah, George Friedrich Handel
English Chamber Choir, Belmont Ensemble of London, Peter G. Dyson, conductor
Philippa Hyde, soprano; David Clegg, countertenor; Andrew Staples, tenor; and Jacques Imbrailo, baritone.
Things are moving along in London, and sprightly tempos are in. I found that to be the case with the Bach St. John Passion and here in the quick-paced Messiah, which came in at under two hours performance time—something of a record, I think.
The crackerjack orchestra and youthful soloists were on board, but the talented choir, perhaps under-rehearsed and lacking experience with this lively conductor, struggled to keep up, especially in Part I. “For unto us a child is born” proved that at these tempos “His yoke is easy” was not easy at all! The soloists all did fine work, but the tenor and baritone in particular distinguished themselves with eloquent declamations. In many respects this was a laudable performance brought to a rousing conclusion with “Worthy is the Lamb.”
Continuing in the spirit of Handel, I decided the next day to visit the Handel House Museum at 25 Brook Street where Handel lived in a multi-story house from 1723 to 1759. Here he composed famous works such Messiah, Zadok the Priest, and Music for the Royal Fireworks. It is a modest museum compared to the Händel-Haus Halle in Germany , but certainly worth a visit.
One is treated to an introductory film plus interesting prints of Handel’s contemporaries, two reconstructed period harpsichords (one with a zealous player dashing up and down double-keyboards), the Handel bed recently refurbished, and a current exhibit on “Handel and the Castrati,” with photo-bios of the leading castrati. Handel lived quite well indeed, paying a modest rent of £50 a year and with three servants to dote over him—every musician’s dream!
London is a six-hour flight from the East Coast and offers a plethora of musical possibilities, especially at Christmas and Easter. Others would have made different choices tailored to their interests. For me this was a full, rewarding week, something every musician needs from time to time to refresh the spirit—to capture the energy, vitality, and imagination of others. Europe may not be the bargain it once was. You can’t take it with you anyway, but these can be empowering moments you take to the bank that last forever.

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

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

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

Thursday, May 8

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

Friday, May 9

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

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

Saturday, May 10

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

Sunday, May 11

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

Monday, May 12

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

Tuesday, May 13

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

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

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

Wednesday, May 14

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

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

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

Thursday May 15

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

Friday, May 16

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

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

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

Saturday May 17

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

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

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

Sunday, May 18 (Easter IV)

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

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

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

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

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

Monday May 19

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

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

Tuesday, May 20

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

Wednesday, May 21

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

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

Thursday, May 22

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

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

Friday, May 23

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

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

Saturday, May 24

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

Sunday, May 25 (Rogation Sunday)

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

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

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

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

Monday, May 26

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

Tuesday, May 27

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

Wednesday, May 28

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

by Kay McAfee

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

Twenty-four people traveled to the south and middle of England for the British Organ Music seminar, directed by Christina Harmon, the week of June 24, 2001. The great cathedrals of Winchester, Gloucester, and Liverpool formed part of the itinerary with guide John Norman, formerly of the Hill, Norman, and Beard firm, and now a consultant in Great Britain. Mr. Norman provided brochures and valuable commentary on each instrument prior to arriving at each destination. John Norman studied acoustics under Dr. R.W.B. Stephens at Imperial College, London, and organ under H.A. Roberts. At Hill, Norman, and Beard he learned voicing from Robert Lamb and tonal finishing from Mark Fairhead, working on seven cathedral organs before leaving the firm in 1974. An accredited professional organ consultant and a founding member of the Association of Independent Organ Advisers, Norman is a member of the Cathedrals Fabric Commission for England, of the Organs Committee of the Council for the Care of Churches, and the London Diocesan Advisory Committee for the Care of Churches. He is the author of The Organs of Britain, founder and editor of The Organbuilder, and has been a regular columnist for the Organists' Review for over twenty years.

Winchester

Traveling through the beautiful British countryside by bus, the first stop was Winchester, the ancient Roman city whose cathedral boasts the longest nave in Europe. Restored by King Alfred after the Dark Ages, two of the city's original gates are found around the perimeter of the 11th-century cathedral. The church sits in a sea of grass, and its massive thick-walled Roman-esque transepts and Gothic nave and apse protect the tombs of the early English kings. Jane Austen's tomb lies in the north aisle. Music historians are aware of the role played in the creative additions to ninth-century plainsong by the church in the preservation of the Winchester Troper, a manuscript which today is kept at Cambridge. The beautiful Winchester Bible, an illuminated manuscript, is preserved here. The twelve men of the choir, conducted by assistant organist Sarah Baldock, re-hearsed service music of Morales, Taverner, and Robert Stone pieces for the approaching Evensong service. Then, assistant organist Philip Scriven discussed the Henry Willis organ which was built for the Crystal Palace exhibition in 1851. Purchased at the urging of then-organist Samuel Sebastian Wesley, rebuilds and additions were made routinely by Willis, Heil & Co., and Harrison.

Most recently (1987), a division for the nave was added to create better support for congregational singing, a widespread practice in large English churches whose organ chambers were placed predominately on either side of the choir. Scriven demonstrated the Great Trumpet and Grand Cornet, reeds of the Pedal to 32', ringing 8' (two) and 4' Tubas on the Solo, Nave Trumpet, Great 16', 8', and 4' Trumpets, and the Swell reeds. The strings of the Swell (16', 8', 4') are particularly beautiful. Two Open Diapasons grace each of the four manual divisions, with a third on the Great. Scriven showed how any four of them sound lovely in playing the solo line of Bach's Orgelbüchlein setting of "Ich ruf zu dir." The Claribel Flute of the Great is like a harmonic flute. Participants observed the distinctly effective British practice of using a series of graduated pistons to produce crescendo and diminuendo. Participants played Elgar, Bridge, Wesley, Hollins, Handel, and Bach.

Bath Abbey

At Bath Abbey, organist and master of choristers Peter King explained the 1997 Klais organ, a rebuild of an 1868 William Hill/1895 Norman and Beard/

1914 Hill organ which sits in the north transept of the church. Few churches in England retain the organ atop the choir screen as is the situation at Westminster Abbey, Exeter, Gloucester, and King's College Chapel, and in many others, the screen has disappeared altogether. Since the late nineteenth century, the prevailing ideal has been to create an unobstructed view to the altar from the west door entrance, and many choir screens have been removed.

King told of the history of the 19th-century English Renaissance in church music and the symphonic organ required for the music of Stanford, Parry, and Elgar. Klais retained about half the pipes from the old organ and preserved the Hill, Norman, and Beard Positive division. Some of the 1895/

1914 tonal changes were reversed to revive the Hill sound ideal. The 1914 Thomas Jackson case was preserved. King played Bruhns, Mozart, Saint-Saëns, Ireland, and the Bach/Reger Chromatic Fantasy and Fugue.

Bristol

In Bristol at Saint Mary Redcliffe, a church constructed over a period of 200 years by merchants of the city, the entrance is through the north door of the porch, which dates from the 14th century. Only a fragment of the original medieval stained glass remains, the rest having been destroyed in the Reformation.

In 1726, the firm of Harris and Byfield built an organ which featured one of the country's first pedalboards with an octave permanently coupled to the Great. The present instrument by Harrison (1911) is considered one of the finest examples of that firm's work and of the Edwardian ideal. It fills three chambers on either side of the choir. Rebuilt in 1990 with few additions other than the upperwork and the console, the organ comprises 71 stops on four manuals. The tonal palette features a Double Open Wood 32' and Open Wood 16' of the Pedal, Corno di Bassetto of the Choir, and Cor Anglais, Orchestral Oboe, and Vox Humana (normally of the Solo division) and a complement of 16', two 8', and 4' reeds on the Swell. The Great Harmonics mixture includes a flat 21st which was peculiar to Arthur Harrison's design. Organist Anthony Pinell played a Ropartz Prelude, a Howells Psalm Prelude, and Fugue on the name Alain by Duruflé. He then assisted participants who played Honegger, Taverner, Howells, and Elgar on this lovely instrument.

Gloucester

Gloucester Cathedral, containing the tomb of King Edward II, was the site of a small Anglo-Saxon monastery until the 11th century, when it became a Benedictine monastery. The present building, ordered by William the Conqueror, dates from 1089. In 1541, the church became the cathedral for Gloucester. The massive Norman pillars of the nave bear red marks from a 13th-century fire. The choir vault is 14th-century perpendicular Gothic style. King Henry II was crowned there as a boy of 9 in 1216, the only monarch ever to be crowned outside of London.

Evensong canticles, Magnificat and Nunc Dimittis, were by Herbert Murrill, with responses by Walsh. The anthem was Herbert Howells' "Like As The Hart." David Briggs, organist of Gloucester Cathedral, improvised the opening voluntary and later chatted about the organ. It is one of a few remaining atop the choir screen and has a long history of adaptations. It has been over the screen since 1715. The 1640 Robert Dallum chair case on the east side of the screen is all that remains of that organ. Thomas Harris built an instrument in 1665 which contained the earliest mixture stop in Britain--200 pipes of that organ remain today. In 1831, J.C. Bishop added pedal pipes, among them a Flute 16' which is possibly the widest scale Pedal Open in Britain. Father Willis contributed to the organ in 1847 and 1888 as did Harrison and Harrison in 1920. Hill, Norman, and Beard restored the organ and electrified the console in 1971 to create one of the most rapid key-responses of any organ anywhere. With the 2000 restoration by the firm of Nicholson, the organ today can be described as neo-Baroque. Briggs mentioned that most English cathedral organs are rebuilt every 20 years or so "in the fashion" of the day. Henry Willis added a pedalboard. The last rebuild made it a Romantic instrument. Harrison & Harrison changed the voicing but kept all of the pipes. The organ has a grand, rolling sound. Briggs demonstrated the seven stops which remain of the Harris organ of 1665: Great Diapasons (one facing east, one west), two 4' Principals, 12th and 15th, and Choir 4' Principal. Briggs described the foundations as "throwing down to the 16'," perhaps because there are many high cut-ups and not much nicking of the pipes. There are nine seconds of reverberation in the nave when it is empty. Briggs played the Symphonie Passion of Dupré, Fantasie and Fugue in G Minor of Bach, and a long, multi-movement improvisation of symphonic scope based upon a hymn tune. One of his generation's most gifted at improvisation, Briggs then delighted his hearers by improvising in the style of other dazzling exponents of this art: Hakim, Latry, Cochereau, Lefebvre.

Hereford

Traveling through the rich Wye valley with its beautiful truck farms and fruit orchards, we arrived at Hereford, the last cathedral town before the Welsh border. The Romanesque cathedral church contains a late-19th-century Henry Willis built at a time when the firm was copying the tonal design of Cavaillé-Coll.

Of 4 manuals and 67 stops, the 1933 Willis rebuild features a console with couplers on tablets which are below the music rack (a copy of the American design). The pedal contains a 32' Double Open Bass, the Great a Double Open Diapason 16' and three 8' Diapasons, and the Swell a Contra Gamba 16'; the powerful reeds are on high wind pressure, and the wide-scale flues have "stringy" tops. With painted pipes which are often described as looking like "rolls of linoleum," the organ is not much altered from the Willis original. John Norman's firm electrified the console in 1978, the rebuild of which was funded by a local cider maker. Peter Dyke, assistant organist and acting principal organist, spoke of former organists John Bull and S.S. Wesley. He then played Purcell, Wesley's "Air and Gavotte," and the theme and two variations of the Brahms/Rogg Variations on a Theme of Haydn.

Every year, the prestigious Three Choirs Festival is held here with performers located at the west entrance and facing the audience which is seated facing the west entrance. Dyke called our attention to an organ which sits on a wheeled platform in the south aisle. For ease of the organist's sightline, the organ is wheeled to the next bay when the festival conductor's position moves eastward as the choral and accompanying ensemble personnel change.

Birmingham

The group then arrived at Birmingham's Symphony Hall which is part of an arts complex built in the late 1980s. The German firm of Klais was installing a large instrument in this beautiful facility. The interior is surely a sister-hall to the Meyerson in Dallas, so alike are the two. At the time the building was constructed, Simon Rattle was artistic director and conductor of Birmingham's famously fine orchestra, and a poster outside the hall featured a large photo of Rattle with two organ pipes, the feet of which extend sideways from his mouth. Wide-eyed, he appealed for donations for the organ. The Klais firm won the contract in 1989. The group enjoyed taking lunch with Philipp Klais, grandson of the firm's founder and a gracious, personable man of great enthusiasm. He considers his firm's "invasion" of England for restoration and new-instrument contracts a great honor. As participants settled into the audience seats of the concert hall, Klais recalled that many "firsts" were achieved by the British: the Swell Box, the modern bellows system, over-blowing flutes, and double-mouthed pipes. As his crew worked behind him, Klais explained that the organ for the Birmingham Hall would be of four manuals and 82 stops with inauguration scheduled for October, 2001. Thomas Trotter and the Birmingham Symphony Orchestra presented three concerts on Friday and Saturday, October 19 and 20. Only the façade was built for the opening of the facility some 11 years ago. Two consoles, one of tracker and the other of electric action, are provided, allowing one of them to be placed within the orchestra. Klais mentioned that he had visited the Meyerson Center in Dallas to study the acoustical properties there. His firm has recently installed a symphony hall instrument in Singapore and will construct another in Madison, Wisconsin.

Lichfield

Next, at Lichfield Cathedral, which sits in a lovely close surrounded by old and new buildings, Andrew Lumsden, organist and master of choristers, talked of the education and appointment of organists for large English churches. Rarely is the number 2 or number 3 organist elevated through the ranks, an exception being John Scott at St. Paul's London. Lumsden was educated at Saint John's College and was number 2 at Westminster Abbey for a time. The duties of Master of Choristers used to include the teaching of Latin and Greek. The choir schools, and the advent of girls' choirs, are enormously expensive.

The original instrument before the present Hill organ of 1884 was on the choir screen and was purchased by Josiah Spode of the pottery-making family. The Hill instrument was placed on the north transept and the pipes of that organ survive into the current one, a 4-manual instrument placed on either side of the choir. A Baroque choir organ was added in 1973-74 and a recently completed 4-million pound refurbishment by Harrison added the nave organ. The Great reeds are on a separate chest under high wind pressure, and there is a wonderful Edwardian Tuba and massive pedal reeds. Lumsden played the Bach "Liebster Jesu" with choir Cornet and Great Open Diapason, Widor Symphonie V "Adagio" with foundations and strings, and Guilmant's March on a Theme of Handel.

Liverpool

The great industrial city of Liverpool was the last stop before returning to London. Ian Tracey, organist for both Saint George's Hall and the Cathedral, treated us to a well-articulated history of both structures and their instruments. Saint George's Hall is a magnificent civic monument to nineteenth-century British pride and opulence. Built in the 1840s for music festivals, the interior was copied after the Baths of Caracalla in Rome and even displays Roman military insignia on its guilded interior doors. A magnificent marble floor is now covered by wood but is revealed on special occasions, increasing the considerable reverberation by two seconds.

S.S. Wesley directed the building of the Henry Willis organ in 1855. Willis was barely 30 at the time and this organ established his reputation. The instrument featured 100 stops, the first radiating concave pedalboard, stop jambs angled towards the player, and thumb pistons. Rebuilds occurred in 1897 and 1931. The organ was dismantled after a bomb damaged the building in 1940. Many pipes were stolen, and in 1957 Henry Willis IV reconstructed the organ. Since 1989 it has been cared for by the David Wells company, with a campaign now on to further restore the organ. Today it has 120 stops, including two percussions. It still retains a classical English Great Mixture and wide scaled Diapasons.

About 200 people will attend organ recitals at any given time. At Christmas, some 1700 people congregate to enjoy dinner parties and carol singing. At other times, Tracey continues the tradition of playing the 1812 Overture while the audience provides the bell and cannon effects. In the 19th century, W.T. Best, notable for his orchestral transcriptions, would play concerts for school children and for adults, who were charged but a farthing to hear the organ. Once, a woman dressed in black appeared in Best's peripheral vision while he played a Spohr overture. He shooed her away. It was Queen Victoria. George Thalben-Ball was organist here for a time. Tracey played a Purcell March to feature the Tuba Mirabilis and double-leathered Diapason, Thalben-Ball's Elegy, and the Bossi Scherzo.

Liverpool Cathedral contains the largest organ in England. Like the National Cathedral in Washington, D.C., Liverpool Cathedral took most of the twentieth century to construct. Like Saint Paul's in London, the church became a national symbol of British fortitude during WWII as Churchill ordered the work to continue on the tower even as Liverpool endured saturation bombing by the Germans. Begun in 1904 and completed in the 1980s, the enormity of the structure is magnified because the nave is very wide, there is an unobstructed view from entrance to altar (1/8 mile), there are two sets of transepts, and the arches under the tower soar to 175 feet. 4000 people can congregate here, as they did when the Queen consecrated the Cathedral in 1978. Giles Gilbert Scott, 18 years old at the time, won the competition for the design. He also designed the Bank Side Power Station (now the new Tate Gallery) in London and the University Library at Cambridge. Henry Willis designed the instrument to accommodate the organist, Henry Goss-Custard, and his considerable gifts for orchestral sonorities. There are 147 speaking stops, 47 of which are reeds, including those on 30 and 50 inches of wind pressure. There are 10 ranks of mixtures on each manual, mutations, and clarinet, bassoon, and flutes, all of which are much more subtle than those at Saint George's Hall. The huge organ is mounted on both sides of the choir and faces into the nave, held up by massive load-bearing piers that were designed to hold two 200-foot towers which were never built.

Little of the organ is changed today, but in 1989 a new moveable console was provided. Tracey demonstrated the five beautiful Open Diapasons of the Great, played the Tournemire Te Deum, Joel Martinson's Aria, and his own transcription of two movements of the Respighi Pines of Rome. Participants played Karg-Elert, Widor and Mulet.

London: Temple Church

Returning to London, participants were greeted by James Vivian, organist at Temple Church, where George Thalben-Ball was organist for over 60 years.  The present organ, a 1927 Harrison & Harrison, was a gift of Lord Glentanner, in whose Scottish castle ballroom it was originally placed. Moved to the church in 1954, a Double Ophicleide was added. In 1989, Harrison revised the Great Mixture and lowered the Great reeds from 15 to 7 inches of wind pressure. The original instrument, a 1684 instrument of 23 stops, was the first 3-manual organ in England. The Echo division (a forerunner of the Swell) had a short compass to Middle C. This and subsequent instruments and their restorations were destroyed in 1941.

Saint Paul's Cathedral

At Saint Paul's Cathedral, the 5 p.m. Eucharist was sung by the choir, with service music by Harold Darke and Introit by Palestrina (Tu es petra). Andrew Reed, the number 2 organist, played for the service. After the church emptied, Huw Williams, assistant organist, led us to the choir loft to demonstrate the 1872 Father Willis organ. Today it is of 108 stops in three parts: the main organ on either side of the choir, the west entrance Trumpet en Chamade and Diapason chorus, and the Quarter Dome Northeast division of 3 tubas and a Tuba Militaire. Willis had split the original Bernard Smith organ of 1697 (a double-sided instrument located on the choir screen) and moved it to its present location on either side of the choir. The case was designed by the architect of the church, Christopher Wren. Willis claimed first use of tubular pneumatic action in this organ. From 1897 to 1900, Willis expanded the Pedal, the pipes of which lie horizontally on the north side of the choir. From 1925 to 1930 the organ was moved to the Wellington monument bay as it was feared that the dome was unstable. Restored in 1960, 1972, and 1977, windchests and other parts of the organ received major overhauls. The Mander company added Diapasons to the quarter dome division. The Swell is particularly fine, an example of an early Willis classic Swell, not deep in the case, and equal to the Great. Williams played Stanford, Howells, and Bossi to demonstrate the colors and families of stops. The finale was Grand Choeur Dialogué by Gigout in which the Royal Trumpets sounded antiphonally with the main organ.

Afterwards, the group proceeded to Saint Helen Bishopgate, near Saint Paul's, where John Norman was the consultant for a new organ. The original instrument was destroyed by an IRA bomb in the 1980s.

Saint Margaret Lothbury

Saint Margaret Lothbury, a small church nestled next to the Bank of England, was our next stop. We were greeted by Richard Townend, who is resident recitalist at Saint Margaret Lothbury and music director for Holy Trinity Church at Sloane Square. Townend was a choirboy at Westminster Abbey and sang for the funeral of Ralph Vaughan Williams in 1958. He studied at the Royal College of Music with Harold Darke and Herbert Howells, and in Switzerland with Lionel Rogg and Guy Bovet. He is also director of music for the Hill House school, which Prince Charles attended.

Saint Margaret Lothbury was designed by Christopher Wren and built after the great fire of 1666. In danger of collapse, it was rebuilt in the 1970s. An organ of two manuals was placed in the west gallery in 1801 by G.P. England and a Choir division was added in 1845 by James Butler. In 1881 Bryceson moved the whole organ to the gallery and added the treble case from the church of St. Mildred Poultry. In 1938, Hill, Norman and Beard added a large Great Open Diapason and discarded the Great Mixture. The console was electrified and detached from the case. In 1983-84, J.C. Bishop and Son, under the direction of John Budgen and Richard Townend, completely reconstructed the organ, restoring the case to its original form. The remaining stops by England and James Butler have been incorporated in a new instrument built in the style of the original. Both Felix Mendelssohn and S.S. Wesley played here.

In 1830, the organ at St. Margaret Lothbury featured the first addition of the bottom 12 notes of pedals in England. It contains warm Open and quiet Stopped Diapasons. According to Townend, the instrument is a quintessential British organ, of "polite" sound and singing quality, but not built for playing polyphony. The Great 4' Flute "bubbles up." In English music whenever a flute is called for, it means a 4' Flute. There is an "elderly" Trumpet. The classic English chorus is 8' Open Diapason, 4' Principal, Twelfth, Fifteenth, and Mixture. The English Cornet is of 3 ranks: 8', 4', 22/3'. The Swell is soft--the Great louder. Adding the Trumpet to the Cornet gives a "Frenchy Grand Jeu." The Cremona with metal resonators, fatter than the French Cromorne, is for solo melodies.

Westminster Abbey

The group attended Evensong at Westminster Abbey to hear responses by Aylesbury, Magnificat and Nunc dimittis by Howells, and an anthem by Stanford. Afterwards, Stephen LePrevost, assistant organist, spoke briefly of the organ as playing time was limited. The organ is a 1937 rebuild by Harrison & Harrison of a William Hill instrument from 1848 and 1884. The first instrument was by the firm of Schrider & Jordan in 1727. The choir Stopped Flute and 4' Flute are reputedly from the Jordan instrument. The Bombarde division was added by Simon Preston and features the borrowing of reeds from the Great and Solo manuals. Participants played Howells, Tournemire, Handel, and Walton.

Westminster Cathedral

The imposing Roman Cathedral of Westminster, loosely based on the design of St. Mark's in Venice, was built in 1901. Past the nave with its three domes, the group gathered in the choir loft which is behind the high altar. Martin Baker, organist of Westminster Cathedral, explained that it costs around $400,000 per year to maintain the choir school. The sound of the famous choir is more "continental," rather than that of the British "hooty" sound. 95% of the music is in Latin, and the boys actually have trouble singing in English after learning the Italianate Latin vowel sounds. The Apse Organ of two manuals accompanies the choir. The large Willis Grand Organ in the west gallery is playable from the Apse Organ through setting pistons from the Grand Organ, but the two-second delay takes some getting used to.

Walking down the south triforium gallery towards the west gallery, we stopped at a bay close to the Great Organ. Comparable to the Liverpool instrument, it was built by Henry Willis III and rebuilt by Harrison in 1984. It features a Double Diapason 16' and three Open Diapasons on the Great. There is a Double Open Bass 32' and Open Bass and Open Diapason 16' in the Pedal. The Swell and Solo both contain beautiful orchestral reeds: Waldhorn, Cor Anglais, French horn, and Corno di Bassetto. The Cor de nuit celestes on the Choir are velvety and beautiful. In 1976, Stephen Cleobury directed the raising of the Apse Organ and part of the Great Organ to concert pitch. In 1985, David Hill, who began the Grand Organ Festival, had all of the Great Organ raised to concert pitch. Baker improvised on "Adoro te devote," and participants played Stanford, Parry, and Mulet.

London options

On July 1, with several Sunday service choices in London, one group of participants returned to Westminster Cathedral for a Festival Mass in celebration of the centennial anniversary year of the church. Kyrie, Gloria, and Agnus Dei, sung by the choir, were by Widor. The anthem was Parry's "I Was Glad," accompanied by both the Great Organ and the Apse Organ. The congregation sang the rest of the Latin Mass from printed plainsong. The 1700 seats of the nave were full. At Richard Townend's church, Holy Trinity at Sloane Square, an orchestra accompanied a Mozart Mass and a youth choir from Alaska participated.

Afternoon choices included hearing recitals at Saint Paul's (John Scott), Westminster Cathedral (Martin Baker), and Westminster Abbey. Participants practiced for and played a recital at Holy Trinity church at 7:00 p.m. Open to the parishioners and public, the program featured music by Walond, Lang, Howells, Rutter, Thalben-Ball, and Vierne. The interior of the church, an arts-and-crafts-Gothic design, features a breathtaking window above the altar which was the largest window ever built by the William Morris Company. Its beautiful stained-glass images were designed by pre-Raphaelite painter Edward Burne-Jones. J.W. Walker & Sons built an organ here in 1891 which was almost totally destroyed during WWII. It was rebuilt in 1966 by Walker, and Simon Preston inaugurated the instrument in 1967.

The British Organ Music Seminar provides participants access to great instruments and their artist-curators. For those unfamiliar with the vast repertoire of British organ music, especially that of the 19th and early 20th century, playing these works on the instruments for which they were conceived is a revelation. The reverberation of the environment, the velvety Diapasons, the exquisite Swell divisions with their strings and orchestral reeds, and the fire of the British tubas resonates long after the experience is past. The hospitality of our hosts was among the finest. At many venues, the church's staff provided a meal, either in the undercroft, or a parlor, or in a great hall. Such is what creates memories surrounding the experience of beautiful music and instruments.           

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

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

Thursday, June 21

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

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

Friday, June 22

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

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

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

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

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

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

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

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

Saturday, June 23

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

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

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

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

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

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

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

Sunday, June 24

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

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

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

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

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

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

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

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

Monday, June 25

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

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

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

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

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

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

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

Tuesday, June 26

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

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

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

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

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

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

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

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

Wednesday, June 27

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

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

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

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

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

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

Thursday, June 28

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

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

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

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

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

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

<www.organsociety.org&gt;.

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

Peterborough, England

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

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

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

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

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

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

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

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

Poland

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

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

Kamien

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

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

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

Szczecin

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

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

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

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

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

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

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

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

Gdansk

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

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

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

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

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

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

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

Olomouc, Czech Republic

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

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

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

Prague

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

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

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

Bardejov, Slovakia

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

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

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

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

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

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

Bury St. Edmunds

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

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

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

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

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

All Saints Collegiate Church, Maidstone

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

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

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

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

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

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

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

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

Westminster Abbey

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

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

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

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

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

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

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

Michael McCarthy

Gordon and Barbara Betenbaugh are organist/choirmasters at First Presbyterian Church in Lynchburg, Virginia. They have recently returned from a 13-week sabbatical in the UK. They also direct Cantate, the Children's Choir of Central Virginia, and Mrs. Betenbaugh is chapel organist and assistant choral director at Virginia Episcopal School in Lynchburg.

Michael McCarthy has recently been appointed director of
music at Washington National Cathedral. We had occasion to speak with him on June
25, 2003, at the London Oratory School where he is currently director of The
Schola of the school, a choir of boys. We attended an 8:00 a.m. rehearsal of
the Beethoven Mass in C and the daily Psalm. Then we had coffee in the lounge
and adjourned to the garden for an interview. We spoke on a variety of topics.

GB: Michael, you said earlier over coffee that you were
going to do a lot of  polyphonic
music when you get to Washington Cathedral.

MM: Yes, I hope it will feature highly in the musical
program. Whilst the composers of the polyphonic era were organists they were in
fact singers first and foremost. They progressed through the choirs to direct,
so they had a distinct understanding of vocal phraseology. I believe that
understanding polyphonic music texturally and structurally is terribly
important to articulating and understanding musical phraseology in general.

GB: What are your plans for the Psalter at Washington
Cathedral?

MM: In Washington the Psalter must do two things. Firstly,
it must reflect the wealth of great chant writing throughout the world, but
secondly and significantly it must reflect the history of the place in which it
has evolved and composers associated with that particular place, either locally
or regionally. The heritage of the cathedral needs to be at the heart of such a
book.

GB: Well, what are your hopes and dreams for Washington?

MM: Well, I don't know. I'm not going on a crusade either
for my own self or for the sake of Washington. I'm just going to do a job and
to do it to the best of my ability. It is easy to want to aspire to be like
other famous cathedral choirs. Whilst ambition is, of course, positive in
nature, it can be damaging. There is much work to do in Washington. Rather than
try necessarily to emulate the great cathedral choirs such as Westminster or
St. Paul's, it is important to identify our own unique strengths and
characteristics and build on those. At the end of the day our central role is
to help enhance the work of the cathedral by uplifting prayer.

GB: The crux of good choir training is first of all
knowledge of the voice. I think it's important to note that they were wise
enough to get a vocal culturist instead of just an organist that was a skilled
trainer.

MM: Yes, I think that the heart of good choral singing is
good choral technique. I really believe that my strength in this post will be
an understanding of essential technique. There are a lot of services to get
through and if the children are having vocal trouble because they haven't been
taught how to use the instrument it slows things down. If you can get to grass
roots and teach them about vocal production, then they will have some grasp
about how they can fix their own technical questions. It will speed the process
through, you'll get more music done and to a higher level.

BB: Will you do girls choirs as well?

MM: Yes, I'm there to do all the choral music basically.

GB: Several times during my time at Washington Cathedral as
a Fellow in music during Evensong with just the boys singing, there were a couple
of "train wrecks." Things didn't go too well. However, it would be
fixed the next time around.

MM: I think you have to expect that if you're going to be
the train driver. Occasionally the train will come off the rails and that will
be the case whatever. It happens even with the best choirs. There is no
foolproof way of avoiding this. However, by investing heavily in the
choristers' musical and vocal education you can reduce the level of risk.

BB: What system does Washington Cathedral have in place for
teaching the probationers?

MM: The probationers will train for about two years. Part of
their weekly routine would be to attend Evensong. They will also be given a
fairly intensive course in music theory and sight-reading as well as vocal
instruction. Gradually they will come up to speed at which point that up so
that they can slipstream into the main choir.

GB: Jim Litton, the "Man for All Seasons," interim
choirmaster, has certainly made your job much easier.

MM:  I got to
know Jim well over the past six months. He is a real gentleman and a man of
great integrity. In a very short space of time I appear to have acquired a very
good friend. He's retiring now, but I'm not entirely sure he's quite worked out
the definition of retirement yet! I understand he's going to Princeton to look
after one of their choirs for a term.

GB: Four of our choristers from Cantate, the Children's
Choir of Central Virginia, auditioned and were accepted into The American
Boychoir. We've worked with Jim there through the years and have great respect
for his abilities.

MM: He's a real gem!

GB: Tell us about your work singing in professional choirs.

MM: I have sung for about 15 years now with The Sixteen.
They are a choir I have been with for most of my working life. Sadly, that came
to an end two nights ago with a fairly big party following a concert in the
northernmost island of Scotland--that was fun. I'm still recovering! The other
well-known choir would be the Monteverdi Choir. I have been involved with them
for about five or six years now. The last three of them I've been the choir
manager, so I deal with the contract booking of all the singers, and work
closely with John Eliot Gardiner, personnel and a little bit of programming.
Along with that there are a few other London-based choirs, the English Consort,
the Gabrieli Consort, for whom I have done occasional work. One other newish
choir I sing for is the Cardinall's Musick. Andrew Carwood is the director. We
went to school together, were at Christ Church Oxford as lay clerks for a time
together, and are life-long friends. When we were at Christ Church he formed
the choir which is a now well established and well known touring group. I
suppose those are my main singing groups.

BB: Tell us about your film and TV projects with The Schola.

MM: Through my singing contacts I've been able to nurture a
relationship with the film companies for the possibility of bringing the boys
in to record. Harry Potter has been a little bit of our lives, but certainly
Lord of the Rings the last two years has been the bulk of it. It's a very
unpredictable business. The phone rings, and they'll want something next week.
It could be Lord of the Rings, it could be a documentary about driving safely
on the right hand side of the road (laughter). It could be anything really.

BB: Do you normally have to put in extra hours for prep?

MM: Yes, with the film stuff it always comes at short
notice, so you can't just manipulate their time in school. Their education
comes first. With the concert work you'll see it coming up six months ahead,
and you'll just work it in to the schedule. I think it's only fair to try and
make sure that you achieve what you want to achieve in the time you've got. If
you go asking for extra time it needs to be for something really quite important.

GB: Do you have another rehearsal at the oratory besides the
40 minutes?

MM: No, that's it, Monday to Friday, and then an hour before
Saturday mass. There are occasions when we are putting on concerts where we have
to get professional singers in, so we rehearse in class time, but this is only
once or twice a term. The discipline is to use the time as well as you can and
not intrude into any other time. It's important for the choristers to get away
from music as well and to be children. That is really important. Take someone
like James O'Donnell (Westminster Abbey) who's fantastic with the kids. Never
for one moment does he forget that he has 8 to 13-year olds in front of him,
but yet he treats them like adults when they are working. The boys really
respond to it--they respect him and he respects them and the results show.

GB: Do you have anything specific about Washington that
you'd like to share?

MM: Accepting that job has been a huge decision personally
to give up a singing career that has taken me all over the place and provided
some wonderful music making experiences. The job at Washington is huge, but the
potential there goes beyond any other place I have seen. You can work with
children from age four and put together a program at a junior level. At the
other end of the scale you could then have a student choir of 16-18 year olds
who will have had a considerable amount of experience with sight reading, and
vocal pedagogy. I have not seen any other program anywhere that has that sort
of opportunities that are there.

I'm very lucky to be able to have the task of taking this
program forward. If it works it could be spectacularly successful. I hope so,
if not for my sake then for the next person. I'm conscious, as I've been
conscious of both the choirs I've built in the past ten years, that the person
who really cuts their teeth with the choir probably at the end of the day
doesn't get to enjoy the benefits of their labours. It would be my hope that
the next director of music 10 years, 20 years, 100 years down the line will
inherit a strong program and will then be able to take the choir on to another
level. We'll see.

GB: Well put!

MM: In the UK if you drove around every church that had a
professional sung service on Sunday morning in London you'd be counting 20 or
25 cathedrals and churches. This is music sung by essentially professional (or
thereabouts) quality singers. In Washington there isn't really that depth in
numbers so the pool of excellent choral singers is quite small. A wonderful
thing to be able to do in Washington would be to nurture and widen the net of
teenage singers as a way of investing in the future, possibly through advanced
choral courses to prepare potential choral singers.

BB: The RSCM is having their first course for handpicked
older youth at the cathedral this summer.

GB: One of our sopranos (a 17-year old) is in it.

MM: It may be through the RSCM that the cathedral can offer
real support. This is something that I look forward to exploring with Ben
Hutto. In England there is a well-known and well organized choral course for
16-18 year olds at Eton College near Windsor. It does excellent work in
providing a focus for young singers. To be able to invest in the musical
education of the choristers at the cathedral and see them return one day as
professional singers or as professional people for whom singing is a big part
of their lives would be truly rewarding.

GB: We need that really badly. I hope it can happen. It will
be exciting.

MM: For every ten singers that we will have trained I hope
that at least one or two of them might go on to be singers/directors
themselves. As I prepare to start my work at Washington this particular aim has
to be somewhere well down on the list, but it's something to work towards. I
look forward to the challenge very much.

Our interview ended with the burning question of the day as
to whether Michael's 1-year old daughter would speak American English or the
Queen's English. There was much laughter as this point was debated. The results
remain to be seen. We wish Michael well in his new post and welcome him to our
side of "the pond." We feel confident he will be very successful in
Washington. As we left the oratory school, he was on his way to a rehearsal of
the Stravinsky Mass.

Several weeks later, Michael conducted his last service at
the oratory. Gordon sang with the boys plus professional men in the Beethoven
Mass in C. The performance was exciting in that wonderful room. At the
conclusion of Mass the choir parents hosted a going away party for Michael in
the garden.