Kenneth Jones organ construction in progress

by Herbert L. Huestis

Herbert L. Huestis, Ph.D., is a graduate of the Eastman School of Music, where he studied with David Craighead. He is a pipe organ technician in British Columbia and Washington State, where he specializes in restoring and renovating vintage reed stops.

A common story of many an American organ builder's career is that they apprenticed in America and subsequently traveled to Europe where they experienced the work of the old masters in Groningen, Arlesheim, Upsala, or some small village in Friesland. Having embraced these historic ideals, they returned to America to establish themselves as builders of modern tracker organs.

Martin Pasi's pursuit of the art of organ building is a similar adventure in reverse. He was born the fifth of six children on December 21, 1953 in Bregenz, Austria, on Lake Constance. Martin trained at Rieger Orgelbau in Schwarzach, just six miles from his home, then discovered the fervor and passion of historic organ building in America. Ultimately he fulfilled his dream of becoming an organ builder near Tacoma, Washington, where he builds organs that are very much in the spirit of the old masters.

After completing a business course in high school, Martin worked in a local office long enough to discover that the world of commerce was not for him. His father, Kassian Pasi, had been a wood worker and to Martin, working with his hands made more sense than filling out forms. Rieger Orgelbau was near his home and he applied for an apprenticeship. (See sidebar on European training for organ builders.) His first year at Rieger was spent in the woodworking department building organ cases. At the end of that time, he completed a case on his own. In his second year, he was assigned to the console division, then in general assembly. As an apprentice in that department, Martin began to travel with pipe voicers to do field installations of new organs.

It was his good fortune to assist a voicer who was impressed with his skill and his ear. This led to an assignment in the voicing department for the remainder of his apprenticeship. Work in voicing took him to Australia, Africa, the U.S., and many places in Europe. On one occasion he was sent to voice an organ in Liberia--the organ blower was not installed correctly, and had burned out! To complete the voicing, the organ had to be pumped by hand.

On a trip to Cleveland, Ohio, Martin visited Charles Ruggles' organ shop to borrow some tools. By chance he met Charles' sister Barbara and the rest is an organbuilder's fairy tale. They were married and traveled coast to coast voicing for Rieger. With his fate sealed by marriage, he joined the Karl Wilhelm shop and moved to St. Hilaire, Quebec.

In his new home, Martin discovered vastly different aspects of North American and European organ building. Acoustics (or a lack thereof) were apparent; however, one of the real benefits that Martin discovered in his new homeland was that churches are heated. A winter installation or rebuilding project in a frosty European cathedral can be a real trial and it was a relief to work in comfortable surroundings during the winter! The reader can imagine how quickly pipes heat to the voicer's touch when they are far below room temperature--and how many times they have to be cut before the pitch stabilizes.

Martin's initial curiosity about historic organs began when he met Susan Tattershall, who was working in Rieger's restoration department. In 1986, while working on the west coast, he met David Dahl and Paul Fritts at Pacific Lutheran University in Tacoma, Washington. There, he discovered the energy and commitment to the historic style of organ building that is the hallmark of David Dahl, Paul Fritts, and Ralph Richards. He joined the firm of Fritts & Richards as a pipe maker and participated in the construction of several major pipe organs in Washington, including Gethsemany Lutheran Church in Seattle, the University of Puget Sound in Tacoma, and the University of Washington in Seattle.

By 1990, Martin was able to open his own shop with fellow organ builder Halbert Gober, whom he had met some years previously at Karl Wilhelm's shop in Quebec. They were joined by Markus Morscher, a master woodworker that Martin had known in Austria. They had the good fortune to buy a surplus elementary school, complete with classrooms, offices and gymnasium. The school had been closed, so Martin went directly to the school board with a proposal to put an organ shop there. This small school building became an organ shop with all the "extras," including a complete pipe making facility, capable of turning out hammered lead pipes. Eventually, Halbert Gober returned to Canada to open a shop of his own in Toronto, Ontario, where, like Martin, he makes hand crafted organs.

Throughout his organ building career, Martin Pasi has encouraged young organ builders to come to his shop for additional experience in the "journey" phase of their European training. A number of aspiring organ builders have spent a year as a journeyman in Martin's shop before returning to Europe for their "Master's" study.

It is especially notable that Martin looks at pipe making as the most integral and to some extent, mystical element of the organ building process. Since the success of pipe making springs from the pouring of the metal, much care has to be taken from the very beginning. Even the choice of a casting day is somewhat folkloric. Some say the stars have to be in order and certain astrological signs should agree. Martin finds no fault with these considerations.

His drawings show strong respect for the pipes as the foundation of the organ. The facade usually comprises many pipes, including the principal rank which is the heart of the organ. He feels that every aspect of pipe making affects the ultimate beauty of the organ and that personality of the organ is formed from the casting day onwards. He says that he builds organs the only way he knows how--from the pipes outward.

He makes his pipes the same way they were made in the fifteenth century. This process starts with the first sweep of molten metal down the length of the casting bench. He describes the process with a characteristic understatement:

     "Casting to thickness is not that hard, really. You have to have a steady hand as you guide the liquid metal down the canvas. It's a matter of how fast or slow you go."

Martin points out that most organ factories plane pipe metal to thickness. But control of the casting process allows him to pour the metal directly to thickness and hammer it for stiffness and its best tonal qualities. The metal that is destined for the top of each pipe is scraped so that the upper rim of the pipe will be thin for cone tuning. Relatively few organ builders master the art of casting metal to exact thicknesses required for a full range of organ pipes, without resorting to a planer.

Martin's pipes are made of metal that is mostly lead, with a very small percentage of antimony and other metals. This gives the lead a stiffness that it would not have if it were absolutely pure. In his shop, scales and patterns are calibrated in traditional ways, but he is no stranger to the computer. He keeps careful records of historic organ scales that will be applicable to his organs. This is evident in the wide variety of reed stops which he has made. But there is also a strong sense of uniformity in his organs. There is a sound that is present in every one which must surely come from his homeland. It is a pure and deep fundamental tone like the baryton horn that Martin played during his school years near the shores of Lake Constance.

Opus List

Opus 1    Table Regal 8' (Residence, Dr. Craig Cramer)

Opus 2    2 manuals and pedal. 18 stops, Coral Isles Church, Tavernier, Florida. (Completed Summer of 1992)

Opus 3    2 manuals and pedal, 9 stops, Jannine Cansler residence, Portland Oregon. (Completed June of 1993)

Opus 4    2 manuals and pedal, 29 stops, Trinity Lutheran Church, Lynnwood, Washington. (Completed February 1995)

Opus 5    2 manuals and pedal, 24 stops, Lola Wolf residence, Kirkland, Washington. (Completed July of 1996)

Opus 6    1 manual, Sitka, Alaska. (Restoration of Kessler organ from Estonia, 1844)

Opus 7    2 manuals and pedal, 27 stops, First Church of Christ Scientist, La Mesa, California. (Completed February of 1997)

Opus 8    3 stop continuo organ, St. Mark's Cathedral, Seattle, Washington. (Completed 1996)

Opus 9    2 manuals and pedal, 7 stops,  St. Augustine's in the Woods Freeland, Washington. (Completed November of 1997)

Opus 10   2 manuals and pedal, 30 stops, West Vancouver United Church Vancouver, British Columbia. (Completed Spring of 1998)

In Progress

Opus 11   2 manuals and pedal, 32 stops with 32' in pedal for St. Augustine Catholic Church, Spokane, Washington. (Completion in May, 1999)

Opus 12   2 manuals and pedal 12 stops, residence organ for Mr. Richard Kirkland in Pasadena, California. (Completion in Fall of 1999)

Opus 13   2 manuals and pedal, 29 stops, Bedford Presbyterian Church, Bedford, New York. (Completion in Fall of 2000)

Opus 14   3 manuals and pedal, 54 stops (dual temperament), St. Cecilia RC Cathedral, Omaha, Nebraska. (Completion in Fall of 2002)

A Thumbnail Sketch of European Training in Organ Building

Briefly, here are the steps involved in a European training program in Organ Building:

Sign up a 4 year "apprentice" contract with a major organ building firm.

Enroll in the "Instrumentenmacherschule" in Ludwigsburg, Germany (or its equivalent). Attend a three month period of instruction each year.

Pass exam for "journeyman papers" (Gesellenbrief) for organ building.

Spend 3 "traveling" years as journeyman organ builder. The organ builder is on his own, participating in recognized organ builder's shops.

Attend Instrumentenmacherschule for one additional year. The applicant is expected to build an organ entirely on his own and complete course work that includes "business theory."

John Bishop

John Bishop is executive director of the Organ Clearing House.

The hands of an artist
Wendy and I are just back from a vacation in Greece. Our daughter Meg has lived in Athens for three years, and we’ve visited several times. With her help, we’ve had a wonderful introduction to Greek history and culture. There are plenty of difficulties associated with living in Greece—the current economic crisis there is fueling labor strikes and deadly protests, and plenty of that was going on during our visit, just a few blocks from Meg’s apartment. But the deep history of the country is fascinating and moving. As you walk or drive around Athens you constantly rediscover the Parthenon perched high on the Acropolis. It seems there are hundreds of tiny streets that provide distant views of the majestic temple, and you can easily identify which rooftop terraces provide those views.
As you walk, you stumble across countless archeological sites hidden in quiet neighborhoods away from the bustle of the Acropolis. The city’s streets are lined with orange and lemon trees—sounds romantic and smells wonderful, until the fruit ripens and the sidewalks are littered with rotting lemons and oranges.
Greece is not a pipe organ country. There is a large organ by Klais in the Friends of Music Hall in Athens, but the dominance of the Greek Orthodox Church, which does not use musical instruments, means that there are very few organs there. Our vacation was a tour of the Cycladic Islands in the Aegean Sea, which form a political state whose capital is Spathi on the island of Serifos. The population of Greece is about eleven million—ten thousand are Roman Catholics, and most of them live on Serifos. There are dueling cathedrals (Orthodox and Catholic) on hilltops above the city, and sure enough, there’s a small pipe organ in the Catholic cathedral. We climbed hundreds of stairs from the port to the hilltop, and unbelievably we were not able to get into the organ loft.
It’s common in American churches to see a plaque honoring the succession of pastors. A few congregations around us in New England trace that history to the seventeenth century. Organists revere the plaque in the organ loft of the Church of St. Sulpice in Paris where organists are traced back to Nicolas Pescheur in 1601. (This has been easy to maintain as there have been only five organists there since 1863.)1 The plaque honoring clergy in the Cathedral of Serifos goes back to 343 AD. No kidding!
The island of Aegina is a touristy place near Athens, a good stopping point for boats traveling to the more distant Cycladies. It’s a major producer of pistachio nuts (we brought home a couple kilos) and home to some extraordinary archeological sites. The museum in Aegina Town includes decorated pottery from 2500 BC and shows a model of a bronze casting facility from about 1000 BC that was discovered nearby. I was captivated by the idea that such sophisticated techniques were developed so long ago (4500-year-old pottery kilns?), and as the Cycladic islands are volcanic, including a couple that are still active, I wondered what role volcanoes might have had in the development of crafts that depend on intense heat.
One of the most gifted Greek sculptors was Praxiteles. He lived from 400–330 BC, not all that old. But his work was far ahead of his time. As far as we know, he was the first to sculpt life-size female nudes from marble. There’s a legend that he had a romantic relationship with his primary model, Phryne, who came from Thespiae (origin of the term thespian) and was known as one of the most beautiful women of her time. She was the model for Praxiteles’ famous Aphrodite of Credos. Their relationship was explored by Camille Saint-Saëns in his comic opera Phryne. (How did he ever stumble on that subject?)
Praxiteles worked in Athens. His model came from Thespiae, about 150 kilometers away. He worked with marble from the Cycladic Island of Paros, more than 200 kilometers away by water. Think of the logistics of transporting a six-foot block of marble from Paros to Athens just to carve a statue of a pretty woman. It would be difficult enough now with power equipment and hydraulics. Praxiteles produced artworks of staggering beauty and unprecedented liveliness. I suppose his love for the beautiful Phryne brought out the best in him.

Too many cooks
I wonder if there was anyone looking over Praxiteles’ shoulder saying, “Take a little more off the top,” or, “You’ve got the left earlobe too fat.”
We know that happened to Michelangelo as he released David from a huge block of Carrara marble. He was commissioned by the Overseers of the Office of Works of the Cathedral in Florence, and was in fact the third artist to receive the commission. The overseers were very concerned that the huge and wildly expensive block of marble (already named David) was neglected for twenty-five years, lying on its side exposed to the elements. The committee got its act back together, had the stone set upright so artists could see its potential, and went looking for someone to realize the project after the first two attempts failed. Leonardo da Vinci was interviewed, but the twenty-six-year-old Michelangelo got the gig.
Not only was he hired by a committee to produce the piece, but another committee including Leonardo and his colleague/competitor Botticelli was formed to choose the location. There is record of disagreement among the members of the committee before the site by the entrance to the Palazzo Vecchio on Piazza della Signoria was chosen. Apparently Leonardo didn’t get his way.2
So much for the image of the artist toiling in his studio, free to express his deepest emotions through an unlikely medium that he understands better than anyone. It’s a romantic image to be sure, but especially when there’s a lot of money involved and the artwork is for a public place, there are likely to be a lot of spoons in the soup.

I know that guy
Each month I receive several journals with photos of pipe organs on the front cover and I always try to guess the builder before I look inside. I’m often wrong, but there are a half-dozen North American organbuilders whose styles are so clearly recognizable to me that I get them right every time. As most organs are commissioned by committee, I admire those builders who can create and maintain recognizable styles.
I like to think of a pipe organ as an expression of the sensibilities of the builder. I love the process of organ design, when the concept of an instrument gets put on paper. When several companies are invited to submit proposals to a church for a new instrument, it’s interesting to see the various drawings—how each firm would meet the particular challenges of the building. And sometimes we get to see several different concepts by a single builder for a particular instrument.
Organbuilder Lynn Dobson has produced many wonderful pipe organ designs, and as his firm celebrates its thirty-fifth anniversary they have created an online exhibition of many of his drawings, including designs of many organs that were never built. When you scroll through this rich display, you can see projects in various stages of design, from simple back-of-a-napkin pencil sketches to elaborate scale models. Take a look at the designs for the important organ they built for the Kimmel Center in Philadelphia (Opus 76) and you’ll see a drawing and a model (two different designs) that are radically different from the organ that was actually built. You can find this exhibit at www.dobsonorgan.com/dwg/home.html.
Dobson’s exhibition reflects his exceptional talent for design, and it implies thousands of hours of committee work as each design was presented, discussed, criticized, and altered. From first-hand experience I know well the feelings that accompany the rejection of a design by a committee member. One such meeting was held in a newly decorated church parlor, and I wondered if anyone who was speaking up against my design had been involved in creating the cacophony of clash and kitsch, which was that room.
Maybe I flatter Lynn by mentioning him in the same breath with Michelangelo, and to be honest I think Michelangelo is the larger talent, but the idea that a great artwork can be both the expression of its creator and of those who pay for and “consume” it, is one of the most interesting facets of the organbuilder’s trade. And that a personal style can transcend the whims and pressures of dozens of committees reflects both artistic integrity and conviction.

Stop, look, and listen
Visual design is only part of the job. A pipe organ is both an architectural element and a musical instrument. Ideally, there’s some relationship between an organ’s appearance and its musical content—but sometimes a building’s architecture doesn’t allow it. It’s easy to picture the stark contemporary building owned by a congregation that would be best served by an organ of classic style. Sometimes an ornate classic case looks good in such building—it’s possible to make a case for the organ to serve as the only beautiful thing in the place! But organbuilders often place organs with classic influence in contemporary buildings.
As we’re talking about Dobson, take a look at their instrument for the Church of St. Peter Claver in West Hartford, Connecticut: www.dobsonorgan.com/html/instruments/op85_westhart ford.html. The stoplist is classical, even predictable, but the case is pure contemporary. And by the way, in this design Dobson has dealt with one of the most common problems. Pipe organs are about height, and contemporary American church buildings often have low ceilings. The organ in West Hartford implies a struggle between the organ and the ceiling.
We often hear of a pipe organ that was designed by the local organist, a source of pride for a congregation. This usually means that the organist wrote up the stoplist, likely subject to discussion with the builder. If an organbuilder has a recognizable visual style, he would certainly have a signature tonal style. So how does it work if the Request for Proposal from a church includes a stoplist? What if the organbuilder doesn’t agree with the concept implied by that stoplist?
One good reason for including a stoplist in an RFP is to solicit proposals that are easy to compare. Once several proposals are studied and a builder is chosen, then it’s time to work on final specifications. So it’s back to the committee. I know of one large organ built several years ago whose stoplist was the product of many hours of conversation in a small bar across the street from the church.

Who brought the camel?
So what good comes from artworks designed by committee? You know the old saying, “A camel is a horse that was designed by a committee.” If too many people, especially those who know little or nothing about organs, are involved in planning an organ, whose art is it? Or is it even art? An organbuilder can withdraw a proposal if he’s not happy with the concept the client insists on, but you can’t eat a withdrawn proposal. How many of us have produced projects we disagree with? If you have a story, send me a message at john@organclearing house.com.
Our current project was greatly influenced by the church’s organist, whose insight into what an organ console can be was an education for me. Adding a half-dozen clever and unusual controls increased the organ’s flexibility exponentially. The time we spent together planning the project before any screws were turned or leather was cut was a collegial creative process that I think enlightened us both.
We often think of the artist as independent. Of course, art of a personal scale is usually the purview of the artist. But I wonder if the celebrated portrait artist John Singer Sargent was ever told, “Just don’t make me look fat.” I bet he was, and more than once.
Monumental art, including pipe organs, is almost always a community effort. There is usually a central creative force, but when there is a committee involved to raise and spend money responsibly, they usually insist on a role in the planning. If organbuilders are competing for a project, they must decide how much they want the job and how much they are willing to compromise their vision of the ideal instrument.
It’s rare for a builder to be given a blank check and a free hand. It would be a special opportunity for a creative person—but also what a huge responsibility. Organbuilders, if this ever happens to you, make sure you build something the church can use. 

Articles, Reports, and Reviews

by author (boldface) and subject

 

Albert Schweitzer Organ Festival/USA. See Spicer.

American Cathedral in Paris. See Ebrecht.

American Guild of Organists. See Palmer.

Andrews, Colin. New Recordings. July 10-11

Apple, Warren. New Organ Music. Mar 13, Apr 12-13, Nov 15, Dec 12-13

Arias, Enrique Alberto. Arthur C. Becker: Sonus Epulantis. Jan 15-17*+

__________. Gregorian Chant Review. May 8-10

 

Bach, J.S. See Crowell.

Basilica of the National Shrine of the Immaculate Conception. See Latona.

Becker, Arthur C. See Arias.

Bethards, Jack. Frederick A. Lake obituary. Sept 6

__________. Organ Design and the Kraft Music Hall. Oct 18-21*†#

Book Reviews. See Collins, Hartman, Marigold, Ogasapian, Speller.

British Organ Music Seminar. See McAfee.

Bulgarian Organs. See Levi.

Butera, Jerome. In Memoriam Wesley Vos. July 2

Butera, Jerome, William Osborne, J. Bunker Clark, Haig Mardirosian, and Ronald E. Dean. Robert Noehren: In Memoriam December 16, 1910-August 4, 2002. Oct 14-17

 

Canadian Organists. See Hartman.

Carillon News. See Swager.

Cavaillé-Coll. See Zuiderveld.

Choral reviews. See McCray.

Coleberd, R.E. Stevens of Marietta: A Forgotten Builder in a Bygone Era. June 18-21*†#

Collins, John. Book Reviews. Feb 8, 10, Nov 11-12

__________. New Organ Music. Dec 12

__________. New Recordings. Mar 11-12, July 11, Oct 10, 12

Continuo. See Crowell.

Crowell, Gregory. New Organ Music. Mar 13, Nov 14

__________. New Recordings. Apr 10, May 12, June 12, Nov 13, Dec 10, 12

__________. Registration and Sonority in J.S. Bach's Continuo Practice. Feb 19-21*†

 

Dickinson, William. University of Iowa Institute for Sacred Music 2002. Aug 20-21*

Distler, Hugo. See Palmer.

 

Ebrecht, Ronald. Lenten series at the American Cathedral in Paris, 1949 and 1950. Dec 20-21*†

Editor's Notebook. Jan 2

Ellis, Laura. New Organ Music. Aug 13, Sept 14, Oct 13

 

Ferko, Frank. An Extraordinary Musical Odyssey: Paul Jacobs' Messiaen Marathon. Apr 14-15*

Fisk Opus 116. See Palmer, Zuiderveld.

French Organ Music Seminar. See McAfee.

 

Gault, Robert. 1878 Sagar Organ, Central Presbyterian Church, Eugene, Oregon. June 16-17*†

Geffert, Johannes. Toe or Heel? Evidence of Baroque Practices. July 15-17+

Gell, David A. New Organ Music. Jan 12, Feb 14, Aug 13-14, Sept 14, Oct 12-13

Gregorian Chant Review. See Arias

 

Hardwick, Peter. New Organ Music. Apr 12, May 13, June 12-13, July 12-13, Aug 12-13, Nov 14-15, Dec 12

__________. New Recordings. Nov 12

Harpsichord News. See Palmer.

Hartman, James B. Book Reviews. Feb 10, Apr 8, June 8, 10, Aug 8, 10, Sept 12, Oct 10, Nov 10-11, Dec 8, 10

__________. Families of Professional Organists in Canada. May 14-15

__________. Seven Outstanding Canadian Organists of the Past. Sept 15-17

Holland, Jon. New Recordings. Nov 13-14, Dec 10

Huestis, Herbert L. Tech Lines. June 15#, Aug 14, Dec 22*

Hughes, Sarah Mahler. New Organ Music. Feb 13-14, June 14, July 13

 

Jacobs, Paul. See Ferko.

Johnson, Brent. Martin M. Wick obituary, Aug. 6*

Johnson, Jane. See Palmer.

 

Kuhlman, William. Organ Teaching in the Small Liberal Arts College. Dec 17-19*

 

Landrum, Mary Fisher. Sewanee Church Music Conference. Dec 22*

Latin American organs. See Wyly.

Latona, Peter, Robert Grogan, and Geraldine M. Rohling. The Basilica of the National Shrine of the Immaculate Conception Upper Church Organ Renovation Project, Goulding & Wood, Inc. Mar 21-23*†

Lawrence, Arthur. 2001 Summer Institute for French Organ Studies. Oct 22-25*†

Leaver, S. Christopher. Augustana Arts - Reuter Undergraduate Organ Competition. June 14*

Letters to the Editor. Feb 2, Apr 2, May 2, June 2, July 2, Aug 2, Sept 2, Nov 2

Levi, Sabin, and Hristo Buzhev. Organs in Bulgaria. Sept 18-21*†

 

Marigold, W.G. New Recordings. Jan 10, 12, Feb 12-13, Mar 12-13, Apr 10, 12, May 11-12, June 10, 12, Aug 10-12, Sept 12, 14, Nov 12

__________. Book Reviews. May 10-11, June 10, July 10-11, Dec 10

McAfee, Kay. British Organ Music Seminar. Feb 16-18*

__________. French Organ Music Seminar 2001: Paris Week, July 2-9, 2001. Mar 18-20*

__________. French Organ Music Seminar 2001: Alsace Week, July 10-14, 2001. Apr 18-19*

McCray, James. Music for Voices & Organ. Jan 8, Feb 8, Mar 8-10, Apr 7-8, May 8, June 8, July 8-10, Aug 7-8, Sept 10, 12, Oct 8, 10, Nov 8, 10, Dec 8

Messiaen Marathon. See Ferko.

Music for Voices & Organ. See McCray.

 

Nelson, Lee. New Handbell Music. Jan 14, Mar 13, May 12-13, Aug 14, Nov 15

New Handbell Music. See Nelson.

New Organ Music. See Apple, Collins, Crowell, Ellis, Gell, Hardwick, Hughes, Robinson, Schou, Smith.

New Recordings. See Andrews, Collins, Crowell, Hardwick, Holland, Marigold, Speller.

Nigerian music. See Sadoh.

Noehren, Robert. See Butera, et al.

 

Oaxaca. See Wyly.

Oberlin College. See Palmer, Zuiderveld.

Ogasapian, John. Book Reviews. Feb 10, 12, Mar 10-11

Organ Design. See Bethards.

Organ Historical Society. See Wechsler.

Organ Pedagogy. See Kuhlman.

Organ Recitals. Jan 25-26, Feb 28-29, Mar 28, Apr 28-29, May 27-29, June 28, July 24-25, Aug 28-29, Sept 32-33, Oct 32-33, Nov 28-29, Dec 28-29

Organ Restoration. See Wyly.

Overall, Jason. An Interview with Robert Powell. Nov 18-21*

 

Palmer, Larry. Drawings by Jane Johnson: A Retrospective and an Appreciation. Aug 18-19*

__________. Fan-fare: AGO in Philadelphia, July 1-6, 2002. Sept 22-25*

__________. Harpsichord News. Mar 6, 8, Apr 6, June 6-8

__________. Hugo Distler SIXTY Years Later. Nov 22

__________. Jurow Harpsichord Competition, SEKHS, MHKS in Bethlehem. July 14*

__________. Oberlin College opens its new Fisk Organ, Opus 116. Jan 18-19*†

Performance practice. See Crowell, Geffert.

Pickering, David C. The Organ Works of Leroy Robertson (1896-1971). Dec 14-16*+†

Powell, Robert. See Overall.

 

Robertson, Leroy. See Pickering.

Robinson, Joyce. New Organ Music. Jan 12, Oct 12, Dec 12

 

Sadoh, Godwin. The Creative Process in Nigerian Hymn-Based Compositions. Aug 15-17+

Sagar Organ. See Gault.

Schou, Larry. New Organ Music. Feb 14

Sewanee Church Music Conference. See Landrum.

SIFOS. See Lawrence.

Smith, Domecq. New Organ Music. Jan 12, 14, June 13-14, July 12

Speller, John L. Book Reviews. Jan 8, 10

__________. New Recordings. Feb 12, Apr 8, 10, May 11, Aug 12, Nov 12-13

Spicer, David. Albert Schweitzer Organ Festival/USA. Feb 14-15*

Stevens. See Coleberd.

Summer Institute for French Organ Studies. See Lawrence.

Swager, Brian. Carillon News. Jan 6, 8,* Feb 6, 7,* Mar 6,* July 8,* Sept 8, 10, Oct 6-8, Nov 6, 8, Dec 6-7*

__________. 2002 Summer Carillon Concert Calendar. June 24-25

 

Taylor, Herman D., and Williams, Donald W. The University of Michigan 41st Conference on Organ and Church Music. Mar 14*

Tech Lines. See Huestis.

 

University of Iowa. See Dickinson.

University of Michigan. See Taylor, Wagner.

 

Vos, Wesley. See Butera.

 

Wagner, James. University of Michigan 22nd International Organ and Church Music Institute. Jan 14*

Wechsler, Malcolm. Organ Historical Society 46th Annual Convention. May 16-22*

Wyly, James. The Oaxaca Congress 2001: "The Restoration of Organs in Latin America." Mar 15-17*

 

Zuiderveld, Rudolf. Cavaillé-Coll in Oberlin: June 12-15, Oberlin College. Nov 16-17*

Appointments

Ball, Steven,* to Plymouth Congregational Church, Lansing, MI. Nov 3

Basch, Peter J., to St. Ann's Church, Hoboken, NJ. Feb 3

Beck, Janice,* to St. John's Episcopal Church, Detroit, MI. Mar 3

Britanyak, Tom, to authorized service director, Wicks Organ Company, Highland, IL. July 3

Brown, Thomas,* to University Presbyterian Church, Chapel Hill, NC. Nov 3

Budzynski, Eric James,* to the Parish Church of St. Luke, Evanston, IL. Jan 3

Charneski, Jason,* to First Church of Christ (Center Church), Hartford, CT. Apr 3

Christie, James David,* to professor of organ, Oberlin College Conservatory of Music, Oberlin, OH. Aug 3

Coldwell, Maria, to executive director, Early Music America. Dec 3

Cowan, Ken,* to St. Bartholomew's Church, New York, NY. June 3

Decker, Pamela,* to associate professor, University of Arizona, Tucson, AZ. Apr 3

Dexter, Jeffrey D.,* to vice-president, tonal director, Schantz Organ Company, Orrville, OH. Mar 3

Forbes, James A., Jr., to AGO chaplain for 2002-2004. Oct 3

Gastier, Eric J., to vice-president, design and engineering, Schantz Organ Company, Orrville, OH. Mar 3

Giesbrecht, Marnie,* to Professor of Music, University of Alberta, Edmonton, Alberta, Canada. Dec 3

Hamner, William,* to tonal department, Wicks Organ Company, Highland, IL. July 3

Kemper, Margaret,* to Kenilworth Union Church, Kenilworth, IL. Mar 3

Lee, Daewon (David),* to Korea area sales manager, Wicks Organ Company, Highland, IL. Oct 3

Leister, Jason, to assistant to executive director of the AGO. Jan 3

Malinka, Melanie,* to director of music, The Madeline Choir School, Cathedral of the Madeleine, Salt Lake City, UT. Feb 3

Mangel, Curt,* to Curator of the Wanamaker Organ, Philadelphia, PA. Sept 3

Mann, Timothy H.,* to vice-president, marketing, Schantz Organ Company, Orrville, OH. Mar 3

Miller, Charles,* to Asylum Hill Congregational Church, Hartford, CT. Mar 3

Montgomery, Krista, to director of sales and marketing, Shawnee Press, Inc., Delaware Water Gap, PA. Dec 3

Morrison, Alan,* to head of the organ department, The Curtis Institute of Music, Philadelphia, PA. Aug 3

Moser, Rich,* to Ohio and Pennsylvania area sales manager, Wicks Organ Company, Highland, IL. Oct 3

Perlow, Kenneth R., to interim director of Early Music America. Jan 3

Porter, William,* to faculty, Eastman School of Music. June 3

Potts, Nigel,* to St. Peter's-by-the-Sea Episcopal Church, Bay Shore, NY. Nov 3

Rakich, Christa,* to New England Conservatory, Boston, MA. May 3

Ridgell, Robert P.,* to Philadelphia Cathedral, Philadelphia, PA. June 3

Robinson, Joyce Johnson,* to associate editor, The Diapason. Nov 4

Rowley, Naomi, to First United Methodist Church, Appleton, WI. Feb 3

Scanlon, Andrew,* to Fellow in Church Music, Christ & St. Stephen's Church (Episcopal), New York, NY. Oct 3

Schantz, John, to chairman of the board and manager, service department, Schantz Organ Company, Orrville, OH. Mar 3

Schantz, Victor B.,* to president, Schantz Organ Company, Orrville, OH. Mar 3

Shorney, John L.,* to president, Hope Publishing, Company, Carol Stream, IL. Feb 3

Sievert, Jack,* to executive vice-president, Schantz Organ Company, Orrville, OH. Mar 3

Stowe, Linda Morgan,* to School Organist/Director of Chapel Music, St. Paul's School, Concord, NH. Oct 3

Suter, Erik Wm.,* to Washington National Cathedral, Washington, DC. Nov 4

Swist, James, to area sales director, Wicks Organ Company, Highland, IL. Aug 3

Sykes, Peter,* to New England Conservatory, Boston, MA. May 3

Tadlock, Cherry, to Music Editor for Piano and Choral Music, Carl Fischer. Oct 3

Thoene, Marijim,* to St. Paul's Episcopal Church, New Orleans, LA. Jan 3

Trenney, Tom,* to First Presbyterian Church, Birmingham, MI. June 3

Tucker, Dale,* to First Wayne Street United Methodist Church, Fort Wayne, IN. Feb 3

Urban, Christopher,* to First Presbyterian Church, Arlington Heights, IL. Apr 3

Unsworth, Andrew,* to Cathedral of the Madeleine, Salt Lake City, UT. Feb 3

Honors and Competitions

Abrahamson, Dan,* retires from the Reuter Organ Company. Mar 3

Apkalna, Iveta, wins 2002 Royal Bank Calgary Competition Bach prize. Nov  3

Ashdown, Franklin D.,* receives ASCAP awards. Sept 3

Baglivi, Anthony, receives 2002 AGO President's Award. Oct 3

Benedum, Richard, retires from Dayton Bach Society. Feb 3

Blair, Nancy Jane,* honored at retirement from Briarlake Baptist Church, Atlanta, GA. Oct 3

Bolcom, William, and Joan Morris, receive MTNA Achievement Award. June 3

Brunelle, Philip, honored with Minnesota "Sally Award." Mar 3

Carrasco, Laura A.,* receives Mader Fund organ music research grant. June 3

Driskill-Smith, Clive,* wins 2002 Royal Bank Calgary Competition concerto gold medal and Duruflé prize. Nov 3

Dubois, Vincent,* wins 2002 Royal Bank Calgary Competition recital gold medal. Nov 3

Ensemble Amarcord,* wins German Music Competition. July 4

Fassang, László,* wins 2002 Royal Bank Calgary Competition improvisation gold medal. Nov 3

Fedak, Alfred,* awarded prize by John Ness Beck Foundation for composition. Apr  3

Gardiner, Rev. Robert, wins Macalester-Plymouth United Church hymn writing contest. May 3

Harbach, Barbara,* awarded honorary degree at Wilmington College, Wilmington, OH. July 3

Harmon, Thomas, retires from UCLA and First United Methodist Church, Santa Monica, CA. Sept 4

Hocdé, Emmanuel,* wins 2002 Grand Prix de Chartres, J.S. Bach performance prize, and Prize of the Audience. Dec 3

Jordan, Alice Yost, inducted into the Iowa Women's Hall of Fame. Oct 4

Khvoshchinsky, Sergey, wins Plymouth Music Series and the American Composers Forum Christmas carol contest. Jan 3

Kilstofte, Mark,* wins 2002 Choral Ventures program. Sept 4

King, Robert Burns,* honored at fortieth anniversary as organist-choirmaster, First Presbyterian Church, Burlington, NC. Nov 4

Muncaster, Clive, wins Plymouth Music Series and the American Composers Forum Christmas carol contest. Jan 3

Oldengarm, Jonathan, wins 2002 Royal Bank Calgary Competition RCCO prize and encore prize. Nov 3

Olson, Timothy, wins first prize in AGO National Young Artists Competition. Oct 3

Pearson, Kate, wins Bowling Green State University organ competition. May 4

Porter, Emily Maxson, wins Holtkamp-AGO Award in Organ Composition. Feb 3-4

Reuter Organ Company receives Kansas Chamber of Commerce & Industry Excellence in Manufacturing award, Nov 3, and award from Kansas Department of Commerce & Housing. Dec 4

Rose, John,* honored for 25 years service as college organist by Trinity College, Hartford, CT. July 4

Schalk, Carl, to receive AGO Distinguished Composer Award. May 4

Sitton, Michael,* wins first place in Cantate "Signature Anthem" competition. Dec 3

Stringham, Phyllis,* honored at retirement from Carroll College, Waukesha, WI. Dec 4

Sullivan, Daniel,* awarded first place in Gruenstein Memorial Organ Competition. Oct 2-3

Swann, Frederick,* honored as Performer of the Year by New York City AGO chapter. Dec 4

Thornock, Neil, wins second prize in 2002 Carillon Composition Competition. Sept 3

Trapp, Lynn, receives 2002 Spirit and Truth Award from University of Notre Dame. Oct 4

Trotter, Thomas,* receives Royal Philharmonic Society's Instrumentalist Award. Aug 6

Truckenbrod, Phillip Agency,* celebrates 35th year of operation. Sept 6

Unger, Johannes,* wins St. Albans International Organ Competition. Jan 4

Wallace, Edward A.,* honored at retirement by the Church of St. Michael and St. George, St. Louis, MO. Jan 4

Warland, Dale,* receives Chorus America's Louis Botto award. Aug 6

Wikman, Thomas,* receives honorary degree from the University of Illinois at Chicago, Chicago, IL, July 4.

Obituaries

Bales, Gerald Albert.* Dec 6

Banta, Lorene S. Feb 6

Bruun, Lewis C.* Dec 6

Goode, Jack C. May 6

Gotwals, Vernon Jr. June 6

Herz, Eric. Aug 6

Holzgraf, Lloyd.* Jan 6

Hume, Paul. Feb 6

Kelone, Earl V.* Sept 6

Lake, Frederick A. Sept 6

Lehnerer, Paul Francis. Aug 6

Lohmann, Heinz. Feb 6

Noehren, Robert.* Sept 8

Plummer, Ruth.* June 6

Radford, Jeffrey Paul. Nov 6

Rodgers, John. July 6

Schoenstein, Lawrence L.* May 6

Sherman, Elizabeth Birkshire Brothers. Oct 6

Vos, Wesley M.* July 6

Wick, Martin M.* Aug 6

Organ Stoplists

Austin

Christ Church Cathedral, Hartford, CT. Antiphonal 2/7,* July 1, 18

 

Berghaus

St. John's Ev. Lutheran Church, Chicago, IL. 2/34,* Feb 24

 

Bigelow

All Souls' Episcopal Church, Oklahoma City, OK. 2/22,* July 18

 

Buzard

North Shore United Methodist, Glencoe, IL. 2/17,* Nov 24

St. Andrew's Episcopal Church, Denver, CO. 2/17,* June 1, 22

St. David's Episcopal Church, Glenview, IL. 2/29,* Dec 1, 23

 

Dobson

United Lutheran Church, Red Wing, MN. 2/20,* May 1, 23

 

Edwards

Episcopal Church of the Nativity, Fort Oglethorpe, GA. 2/16,* Aug 1, 22-23

 

Fabry

St. Mary's Catholic Church, Spring Lake, MI. 2/21,* Feb 23

Fabry (Aeolian-Skinner)

Marytown Kolbe Shrine, Libertyville, IL. 3/29,* Mar 24

 

Fenris

Ascension Lutheran Church, Albert Lea, MN. 2/12,* Aug 23

 

Fowler (Casavant)

St. Mary Cathedral, Lansing, MI. 3/50,* Sept 27

 

Goulding & Wood

The Basilica of the National Shrine of the Immaculate Conception, Washington, DC. 4/210,* Mar 1, 21-23

St. John's Episcopal Church, Crawfordsville, IN. 2/9,* Sept 27

Meridian Street United Methodist Church, Indianapolis, IN. 2/14,* June 23

 

Harris and McDonough

St. Augustine By-the-Sea Episcopal Church, Santa Monica, CA. 3/38,* Oct 28

 

Hendrickson

Church of St. Peter, St. Peter, MN. 3/40,* Nov 1, 23

 

Jaeckel

Christ Lutheran Church, Superior, WI. 2/10,* Apr 22

 

Lauck

St. Peter's Cathedral, Marquette, MI. 3/33,* Aug 24

 

Lewis & Hitchcock

First Presbyterian Church, Cumberland, MD. 3/30,* Apr 22-23

 

Lively-Fulcher

St. Olaf Catholic Church, Minneapolis, MN. 3/67,* Oct 27

 

Marceau

Chapel Hill Presbyterian Church, Gig Harbor, WA. 3/58,* Feb 1, 22-23

 

Muller, J.W. (Schuelke)

St. Mary's Catholic Church, Columbus, OH. 2/38,* July 19

 

Murphy

Falkner Swamp Reformed Church, Gilbertsville, PA. 2/14,* Jan 22

 

Nordlie

St. Barnabas Lutheran Church, Plymouth, MN. 2/19,* May 24

 

Quimby

SkyRose Chapel, Rose Hills Memorial Park, Whittier, CA. 4/65,* Oct 1, 26

 

Reuter

Trinity United Methodist Church, Wilmette, IL. 3/63,* Jan 1, 20-21

 

Rieger-Kloss

First Congregational Church, Beloit, WI. 4/65,* Sept 1, 26

 

Schlueter

Lumpkin United Methodist Church, Lumpkin, GA. 2/9,* Dec 24

Stella Maris Catholic Church, Sullivan's Island, SC. 2/23,* Nov 24

 

Schoenstein

Bishop Spencer Place, Kansas City, MO. 2/6,* June 23

Covenant Presbyterian Church, Madison, WI. 3/46,* Sept 28

First Church of Christ, Scientist, Belvedere, CA. 2/11, Dec 24

 

Visser

Concordia University, Austin, TX. 2/22,* Apr 23

St. Luke's Episcopal Church, Alexandria, VA. 2/31,* May 24

 

Wicks

Christ Church, Episcopal, Plano, TX. 3/22,* Apr 1, 20-21

 

Zamberlan

St. Andrew's Episcopal Church, Greencastle, IN. 2/23,* Aug 24-25

Articles, Reports, and Reviews

by author (boldface) and
subject

 

Albert Schweitzer Organ Festival/USA. See Spicer.

American Cathedral in Paris. See Ebrecht.

American Guild of Organists. See Palmer.

Andrews, Colin. New Recordings. July 10-11

Apple, Warren. New Organ Music. Mar 13, Apr 12-13, Nov 15,
Dec 12-13

Arias, Enrique Alberto. Arthur C. Becker: Sonus Epulantis.
Jan 15-17*+

__________. Gregorian Chant Review. May 8-10

 

Bach, J.S. See Crowell.

Basilica of the National Shrine of the Immaculate
Conception. See Latona.

Becker, Arthur C. See Arias.

Bethards, Jack. Frederick A. Lake obituary. Sept 6

__________. Organ Design and the Kraft Music Hall. Oct
18-21*†#

Book Reviews. See Collins, Hartman, Marigold, Ogasapian,
Speller.

British Organ Music Seminar. See McAfee.

Bulgarian Organs. See Levi.

Butera, Jerome. In Memoriam Wesley Vos. July 2

Butera, Jerome, William Osborne, J. Bunker Clark, Haig
Mardirosian, and Ronald E. Dean. Robert Noehren: In Memoriam December 16,
1910-August 4, 2002. Oct 14-17

 

Canadian Organists. See Hartman.

Carillon News. See Swager.

Cavaillé-Coll. See Zuiderveld.

Choral reviews. See McCray.

Coleberd, R.E. Stevens of Marietta: A Forgotten Builder in a
Bygone Era. June 18-21*†#

Collins, John. Book Reviews. Feb 8, 10, Nov 11-12

__________. New Organ Music. Dec 12

__________. New Recordings. Mar 11-12, July 11, Oct 10, 12

Continuo. See Crowell.

Crowell, Gregory. New Organ Music. Mar 13, Nov 14

__________. New Recordings. Apr 10, May 12, June 12, Nov 13,
Dec 10, 12

__________. Registration and Sonority in J.S. Bach's
Continuo Practice. Feb 19-21*†

 

Dickinson, William. University of Iowa Institute for Sacred
Music 2002. Aug 20-21*

Distler, Hugo. See Palmer.

 

Ebrecht, Ronald. Lenten series at the American Cathedral in
Paris, 1949 and 1950. Dec 20-21*†

Editor's Notebook. Jan 2

Ellis, Laura. New Organ Music. Aug 13, Sept 14, Oct 13

 

Ferko, Frank. An Extraordinary Musical Odyssey: Paul Jacobs'
Messiaen Marathon. Apr 14-15*

Fisk Opus 116. See Palmer, Zuiderveld.

French Organ Music Seminar. See McAfee.

 

Gault, Robert. 1878 Sagar Organ, Central Presbyterian
Church, Eugene, Oregon. June 16-17*†

Geffert, Johannes. Toe or Heel? Evidence of Baroque
Practices. July 15-17+

Gell, David A. New Organ Music. Jan 12, Feb 14, Aug 13-14,
Sept 14, Oct 12-13

Gregorian Chant Review. See Arias

 

Hardwick, Peter. New Organ Music. Apr 12, May 13, June
12-13, July 12-13, Aug 12-13, Nov 14-15, Dec 12

__________. New Recordings. Nov 12

Harpsichord News. See Palmer.

Hartman, James B. Book Reviews. Feb 10, Apr 8, June 8, 10,
Aug 8, 10, Sept 12, Oct 10, Nov 10-11, Dec 8, 10

__________. Families of Professional Organists in Canada.
May 14-15

__________. Seven Outstanding Canadian Organists of the
Past. Sept 15-17

Holland, Jon. New Recordings. Nov 13-14, Dec 10

Huestis, Herbert L. Tech Lines. June 15#, Aug 14, Dec 22*

Hughes, Sarah Mahler. New Organ Music. Feb 13-14, June 14,
July 13

 

Jacobs, Paul. See Ferko.

Johnson, Brent. Martin M. Wick obituary, Aug. 6*

Johnson, Jane. See Palmer.

 

Kuhlman, William. Organ Teaching in the Small Liberal Arts
College. Dec 17-19*

 

Landrum, Mary Fisher. Sewanee Church Music Conference. Dec
22*

Latin American organs. See Wyly.

Latona, Peter, Robert Grogan, and Geraldine M. Rohling. The Basilica
of the National Shrine of the Immaculate Conception Upper Church Organ
Renovation Project, Goulding & Wood, Inc. Mar 21-23*†

Lawrence, Arthur. 2001 Summer Institute for French Organ
Studies. Oct 22-25*†

Leaver, S. Christopher. Augustana Arts - Reuter
Undergraduate Organ Competition. June 14*

Letters to the Editor. Feb 2, Apr 2, May 2, June 2, July 2,
Aug 2, Sept 2, Nov 2

Levi, Sabin, and Hristo Buzhev. Organs in Bulgaria. Sept
18-21*†

 

Marigold, W.G. New Recordings. Jan 10, 12, Feb 12-13, Mar
12-13, Apr 10, 12, May 11-12, June 10, 12, Aug 10-12, Sept 12, 14, Nov 12

__________. Book Reviews. May 10-11, June 10, July 10-11,
Dec 10

McAfee, Kay. British Organ Music Seminar. Feb 16-18*

__________. French Organ Music Seminar 2001: Paris Week,
July 2-9, 2001. Mar 18-20*

__________. French Organ Music Seminar 2001: Alsace Week,
July 10-14, 2001. Apr 18-19*

McCray, James. Music for Voices & Organ. Jan 8, Feb 8,
Mar 8-10, Apr 7-8, May 8, June 8, July 8-10, Aug 7-8, Sept 10, 12, Oct 8, 10,
Nov 8, 10, Dec 8

Messiaen Marathon. See Ferko.

Music for Voices & Organ. See McCray.

 

Nelson, Lee. New Handbell Music. Jan 14, Mar 13, May 12-13,
Aug 14, Nov 15

New Handbell Music. See Nelson.

New Organ Music. See Apple, Collins, Crowell, Ellis, Gell, Hardwick,
Hughes, Robinson, Schou, Smith.

New Recordings. See Andrews, Collins, Crowell, Hardwick,
Holland, Marigold, Speller.

Nigerian music. See Sadoh.

Noehren, Robert. See Butera, et al.

 

Oaxaca. See Wyly.

Oberlin College. See Palmer, Zuiderveld.

Ogasapian, John. Book Reviews. Feb 10, 12, Mar 10-11

Organ Design. See Bethards.

Organ Historical Society. See Wechsler.

Organ Pedagogy. See Kuhlman.

Organ Recitals. Jan 25-26, Feb 28-29, Mar 28, Apr 28-29, May
27-29, June 28, July 24-25, Aug 28-29, Sept 32-33, Oct 32-33, Nov 28-29, Dec
28-29

Organ Restoration. See Wyly.

Overall, Jason. An Interview with Robert Powell. Nov 18-21*

 

Palmer, Larry. Drawings by Jane Johnson: A Retrospective and
an Appreciation. Aug 18-19*

__________. Fan-fare: AGO in Philadelphia, July 1-6, 2002.
Sept 22-25*

__________. Harpsichord News. Mar 6, 8, Apr 6, June 6-8

__________. Hugo Distler SIXTY Years Later. Nov 22

__________. Jurow Harpsichord Competition, SEKHS, MHKS in
Bethlehem. July 14*

__________. Oberlin College opens its new Fisk Organ, Opus
116. Jan 18-19*†

Performance practice. See Crowell, Geffert.

Pickering, David C. The Organ Works of Leroy Robertson
(1896-1971). Dec 14-16*+†

Powell, Robert. See Overall.

 

Robertson, Leroy. See Pickering.

Robinson, Joyce. New Organ Music. Jan 12, Oct 12, Dec 12

 

Sadoh, Godwin. The Creative Process in Nigerian Hymn-Based
Compositions. Aug 15-17+

Sagar Organ. See Gault.

Schou, Larry. New Organ Music. Feb 14

Sewanee Church Music Conference. See Landrum.

SIFOS. See Lawrence.

Smith, Domecq. New Organ Music. Jan 12, 14, June 13-14, July
12

Speller, John L. Book Reviews. Jan 8, 10

__________. New Recordings. Feb 12, Apr 8, 10, May 11, Aug
12, Nov 12-13

Spicer, David. Albert Schweitzer Organ Festival/USA. Feb
14-15*

Stevens. See Coleberd.

Summer Institute for French Organ Studies. See Lawrence.

Swager, Brian. Carillon News. Jan 6, 8,* Feb 6, 7,* Mar 6,*
July 8,* Sept 8, 10, Oct 6-8, Nov 6, 8, Dec 6-7*

__________. 2002 Summer Carillon Concert Calendar. June
24-25

 

Taylor, Herman D., and Williams, Donald W. The University of
Michigan 41st Conference on Organ and Church Music. Mar 14*

Tech Lines. See Huestis.

 

University of Iowa. See Dickinson.

University of Michigan. See Taylor, Wagner.

 

Vos, Wesley. See Butera.

 

Wagner, James. University of Michigan 22nd International
Organ and Church Music Institute. Jan 14*

Wechsler, Malcolm. Organ Historical Society 46th Annual
Convention. May 16-22*

Wyly, James. The Oaxaca Congress 2001: "The Restoration
of Organs in Latin America." Mar 15-17*

 

Zuiderveld, Rudolf. Cavaillé-Coll in Oberlin: June
12-15, Oberlin College. Nov 16-17*

Appointments

Ball, Steven,* to Plymouth Congregational Church, Lansing,
MI. Nov 3

Basch, Peter J., to St. Ann's Church, Hoboken, NJ. Feb 3

Beck, Janice,* to St. John's Episcopal Church, Detroit, MI.
Mar 3

Britanyak, Tom, to authorized service director, Wicks Organ
Company, Highland, IL. July 3

Brown, Thomas,* to University Presbyterian Church, Chapel
Hill, NC. Nov 3

Budzynski, Eric James,* to the Parish Church of St. Luke,
Evanston, IL. Jan 3

Charneski, Jason,* to First Church of Christ (Center
Church), Hartford, CT. Apr 3

Christie, James David,* to professor of organ, Oberlin
College Conservatory of Music, Oberlin, OH. Aug 3

Coldwell, Maria, to executive director, Early Music America.
Dec 3

Cowan, Ken,* to St. Bartholomew's Church, New York, NY. June
3

Decker, Pamela,* to associate professor, University of
Arizona, Tucson, AZ. Apr 3

Dexter, Jeffrey D.,* to vice-president, tonal director,
Schantz Organ Company, Orrville, OH. Mar 3

Forbes, James A., Jr., to AGO chaplain for 2002-2004. Oct 3

Gastier, Eric J., to vice-president, design and engineering,
Schantz Organ Company, Orrville, OH. Mar 3

Giesbrecht, Marnie,* to Professor of Music, University of
Alberta, Edmonton, Alberta, Canada. Dec 3

Hamner, William,* to tonal department, Wicks Organ Company,
Highland, IL. July 3

Kemper, Margaret,* to Kenilworth Union Church, Kenilworth,
IL. Mar 3

Lee, Daewon (David),* to Korea area sales manager, Wicks Organ
Company, Highland, IL. Oct 3

Leister, Jason, to assistant to executive director of the
AGO. Jan 3

Malinka, Melanie,* to director of music, The Madeline Choir
School, Cathedral of the Madeleine, Salt Lake City, UT. Feb 3

Mangel, Curt,* to Curator of the Wanamaker Organ,
Philadelphia, PA. Sept 3

Mann, Timothy H.,* to vice-president, marketing, Schantz
Organ Company, Orrville, OH. Mar 3

Miller, Charles,* to Asylum Hill Congregational Church,
Hartford, CT. Mar 3

Montgomery, Krista, to director of sales and marketing,
Shawnee Press, Inc., Delaware Water Gap, PA. Dec 3

Morrison, Alan,* to head of the organ department, The Curtis
Institute of Music, Philadelphia, PA. Aug 3

Moser, Rich,* to Ohio and Pennsylvania area sales manager,
Wicks Organ Company, Highland, IL. Oct 3

Perlow, Kenneth R., to interim director of Early Music
America. Jan 3

Porter, William,* to faculty, Eastman School of Music. June
3

Potts, Nigel,* to St. Peter's-by-the-Sea Episcopal Church,
Bay Shore, NY. Nov 3

Rakich, Christa,* to New England Conservatory, Boston, MA.
May 3

Ridgell, Robert P.,* to Philadelphia Cathedral,
Philadelphia, PA. June 3

Robinson, Joyce Johnson,* to associate editor, The Diapason.
Nov 4

Rowley, Naomi, to First United Methodist Church, Appleton,
WI. Feb 3

Scanlon, Andrew,* to Fellow in Church Music, Christ &
St. Stephen's Church (Episcopal), New York, NY. Oct 3

Schantz, John, to chairman of the board and manager, service
department, Schantz Organ Company, Orrville, OH. Mar 3

Schantz, Victor B.,* to president, Schantz Organ Company,
Orrville, OH. Mar 3

Shorney, John L.,* to president, Hope Publishing, Company,
Carol Stream, IL. Feb 3

Sievert, Jack,* to executive vice-president, Schantz Organ
Company, Orrville, OH. Mar 3

Stowe, Linda Morgan,* to School Organist/Director of Chapel
Music, St. Paul's School, Concord, NH. Oct 3

Suter, Erik Wm.,* to Washington National Cathedral,
Washington, DC. Nov 4

Swist, James, to area sales director, Wicks Organ Company,
Highland, IL. Aug 3

Sykes, Peter,* to New England Conservatory, Boston, MA. May
3

Tadlock, Cherry, to Music Editor for Piano and Choral Music,
Carl Fischer. Oct 3

Thoene, Marijim,* to St. Paul's Episcopal Church, New
Orleans, LA. Jan 3

Trenney, Tom,* to First Presbyterian Church, Birmingham, MI.
June 3

Tucker, Dale,* to First Wayne Street United Methodist
Church, Fort Wayne, IN. Feb 3

Urban, Christopher,* to First Presbyterian Church, Arlington
Heights, IL. Apr 3

Unsworth, Andrew,* to Cathedral of the Madeleine, Salt Lake
City, UT. Feb 3

Honors and Competitions

Abrahamson, Dan,* retires from the Reuter Organ Company. Mar
3

Apkalna, Iveta, wins 2002 Royal Bank Calgary Competition
Bach prize. Nov  3

Ashdown, Franklin D.,* receives ASCAP awards. Sept 3

Baglivi, Anthony, receives 2002 AGO President's Award. Oct 3

Benedum, Richard, retires from Dayton Bach Society. Feb 3

Blair, Nancy Jane,* honored at retirement from Briarlake
Baptist Church, Atlanta, GA. Oct 3

Bolcom, William, and Joan Morris, receive MTNA Achievement
Award. June 3

Brunelle, Philip, honored with Minnesota "Sally
Award." Mar 3

Carrasco, Laura A.,* receives Mader Fund organ music
research grant. June 3

Driskill-Smith, Clive,* wins 2002 Royal Bank Calgary
Competition concerto gold medal and Duruflé prize. Nov 3

Dubois, Vincent,* wins 2002 Royal Bank Calgary Competition
recital gold medal. Nov 3

Ensemble Amarcord,* wins German Music Competition. July 4

Fassang, László,* wins 2002 Royal Bank Calgary
Competition improvisation gold medal. Nov 3

Fedak, Alfred,* awarded prize by John Ness Beck Foundation
for composition. Apr  3

Gardiner, Rev. Robert, wins Macalester-Plymouth United
Church hymn writing contest. May 3

Harbach, Barbara,* awarded honorary degree at Wilmington
College, Wilmington, OH. July 3

Harmon, Thomas, retires from UCLA and First United Methodist
Church, Santa Monica, CA. Sept 4

Hocdé, Emmanuel,* wins 2002 Grand Prix de Chartres,
J.S. Bach performance prize, and Prize of the Audience. Dec 3

Jordan, Alice Yost, inducted into the Iowa Women's Hall of
Fame. Oct 4

Khvoshchinsky, Sergey, wins Plymouth Music Series and the
American Composers Forum Christmas carol contest. Jan 3

Kilstofte, Mark,* wins 2002 Choral Ventures program. Sept 4

King, Robert Burns,* honored at fortieth anniversary as
organist-choirmaster, First Presbyterian Church, Burlington, NC. Nov 4

Muncaster, Clive, wins Plymouth Music Series and the
American Composers Forum Christmas carol contest. Jan 3

Oldengarm, Jonathan, wins 2002 Royal Bank Calgary
Competition RCCO prize and encore prize. Nov 3

Olson, Timothy, wins first prize in AGO National Young
Artists Competition. Oct 3

Pearson, Kate, wins Bowling Green State University organ
competition. May 4

Porter, Emily Maxson, wins Holtkamp-AGO Award in Organ
Composition. Feb 3-4

Reuter Organ Company receives Kansas Chamber of Commerce
& Industry Excellence in Manufacturing award, Nov 3, and award from Kansas
Department of Commerce & Housing. Dec 4

Rose, John,* honored for 25 years service as college
organist by Trinity College, Hartford, CT. July 4

Schalk, Carl, to receive AGO Distinguished Composer Award.
May 4

Sitton, Michael,* wins first place in Cantate
"Signature Anthem" competition. Dec 3

Stringham, Phyllis,* honored at retirement from Carroll
College, Waukesha, WI. Dec 4

Sullivan, Daniel,* awarded first place in Gruenstein
Memorial Organ Competition. Oct 2-3

Swann, Frederick,* honored as Performer of the Year by New
York City AGO chapter. Dec 4

Thornock, Neil, wins second prize in 2002 Carillon
Composition Competition. Sept 3

Trapp, Lynn, receives 2002 Spirit and Truth Award from
University of Notre Dame. Oct 4

Trotter, Thomas,* receives Royal Philharmonic Society's
Instrumentalist Award. Aug 6

Truckenbrod, Phillip Agency,* celebrates 35th year of
operation. Sept 6

Unger, Johannes,* wins St. Albans International Organ
Competition. Jan 4

Wallace, Edward A.,* honored at retirement by the Church of
St. Michael and St. George, St. Louis, MO. Jan 4

Warland, Dale,* receives Chorus America's Louis Botto award.
Aug 6

Wikman, Thomas,* receives honorary degree from the
University of Illinois at Chicago, Chicago, IL, July 4.

Obituaries

Bales, Gerald Albert.* Dec 6

Banta, Lorene S. Feb 6

Bruun, Lewis C.* Dec 6

Goode, Jack C. May 6

Gotwals, Vernon Jr. June 6

Herz, Eric. Aug 6

Holzgraf, Lloyd.* Jan 6

Hume, Paul. Feb 6

Kelone, Earl V.* Sept 6

Lake, Frederick A. Sept 6

Lehnerer, Paul Francis. Aug 6

Lohmann, Heinz. Feb 6

Noehren, Robert.* Sept 8

Plummer, Ruth.* June 6

Radford, Jeffrey Paul. Nov 6

Rodgers, John. July 6

Schoenstein, Lawrence L.* May 6

Sherman, Elizabeth Birkshire Brothers. Oct 6

Vos, Wesley M.* July 6

Wick, Martin M.* Aug 6

Organ Stoplists

Austin

Christ Church Cathedral, Hartford, CT. Antiphonal 2/7,* July
1, 18

 

Berghaus

St. John's Ev. Lutheran Church, Chicago, IL. 2/34,* Feb 24

 

Bigelow

All Souls' Episcopal Church, Oklahoma City, OK. 2/22,* July
18

 

Buzard

North Shore United Methodist, Glencoe, IL. 2/17,* Nov 24

St. Andrew's Episcopal Church, Denver, CO. 2/17,* June 1, 22

St. David's Episcopal Church, Glenview, IL. 2/29,* Dec 1, 23

 

Dobson

United Lutheran Church, Red Wing, MN. 2/20,* May 1, 23

 

Edwards

Episcopal Church of the Nativity, Fort Oglethorpe, GA.
2/16,* Aug 1, 22-23

 

Fabry

St. Mary's Catholic Church, Spring Lake, MI. 2/21,* Feb 23

Fabry (Aeolian-Skinner)

Marytown Kolbe Shrine, Libertyville, IL. 3/29,* Mar 24

 

Fenris

Ascension Lutheran Church, Albert Lea, MN. 2/12,* Aug 23

 

Fowler (Casavant)

St. Mary Cathedral, Lansing, MI. 3/50,* Sept 27

 

Goulding & Wood

The Basilica of the National Shrine of the Immaculate Conception,
Washington, DC. 4/210,* Mar 1, 21-23

St. John's Episcopal Church, Crawfordsville, IN. 2/9,* Sept
27

Meridian Street United Methodist Church, Indianapolis, IN.
2/14,* June 23

 

Harris and McDonough

St. Augustine By-the-Sea Episcopal Church, Santa Monica, CA.
3/38,* Oct 28

 

Hendrickson

Church of St. Peter, St. Peter, MN. 3/40,* Nov 1, 23

 

Jaeckel

Christ Lutheran Church, Superior, WI. 2/10,* Apr 22

 

Lauck

St. Peter's Cathedral, Marquette, MI. 3/33,* Aug 24

 

Lewis & Hitchcock

First Presbyterian Church, Cumberland, MD. 3/30,* Apr 22-23

 

Lively-Fulcher

St. Olaf Catholic Church, Minneapolis, MN. 3/67,* Oct 27

 

Marceau

Chapel Hill Presbyterian Church, Gig Harbor, WA. 3/58,* Feb
1, 22-23

 

Muller, J.W. (Schuelke)

St. Mary's Catholic Church, Columbus, OH. 2/38,* July 19

 

Murphy

Falkner Swamp Reformed Church, Gilbertsville, PA. 2/14,* Jan
22

 

Nordlie

St. Barnabas Lutheran Church, Plymouth, MN. 2/19,* May 24

 

Quimby

SkyRose Chapel, Rose Hills Memorial Park, Whittier, CA.
4/65,* Oct 1, 26

 

Reuter

Trinity United Methodist Church, Wilmette, IL. 3/63,* Jan 1,
20-21

 

Rieger-Kloss

First Congregational Church, Beloit, WI. 4/65,* Sept 1, 26

 

Schlueter

Lumpkin United Methodist Church, Lumpkin, GA. 2/9,* Dec 24

Stella Maris Catholic Church, Sullivan's Island, SC. 2/23,*
Nov 24

 

Schoenstein

Bishop Spencer Place, Kansas City, MO. 2/6,* June 23

Covenant Presbyterian Church, Madison, WI. 3/46,* Sept 28

First Church of Christ, Scientist, Belvedere, CA. 2/11, Dec
24

 

Visser

Concordia University, Austin, TX. 2/22,* Apr 23

St. Luke's Episcopal Church, Alexandria, VA. 2/31,* May 24

 

Wicks

Christ Church, Episcopal, Plano, TX. 3/22,* Apr 1, 20-21

 

Zamberlan

St. Andrew's Episcopal Church, Greencastle, IN. 2/23,* Aug
24-25

A Remembrance

Herbert L. Huestis

Herbert L. Huestis is a graduate of the Eastman School of Music, where he studied organ with David Craighead 40 years ago. After a stint as a full-time church organist, he studied psychology and education at the University of Idaho, obtaining his Ph.D. in 1971. He spent time as a school psychologist, and was subsequently lured back into the organ world and took up pipe organ maintenance with his wife Marianne and son Warren. Now retired, he spends time tuning pianos and reconditioning harpsichords.

News of organbuilder Hellmuth Wolff’s passing on November 20, 2013, was not unexpected, but still came as a surprise and shock. He was 76 years old. Hellmuth had sent a message to let us know that he was afflicted with an asbestos-related lung condition. Twenty years ago, on one of his visits to Vancouver, I had noted that he was not much of a hiker. His respiratory difficulties had been evident for years, but it was a shock to hear that his condition was asbestos-related. Blower boxes? That seemed to be the only source in an organ. However, he may have been installing organs in auditoriums and churches where asbestos would have been disturbed in the bad old days. One can only speculate.

Nevertheless, when the news came, it hit hard. Hellmuth had been a friend for a long time and since the days when I had made a reputation as “The Reed Doctor,” he mentored me on the intricacies of voicing of tongue and shallot, much to my benefit. He was indeed a master of voicing, and to the best of my knowledge, his reputation as one of the finest organbuilders rested entirely on the elegance of the organ pipes, cases, and playing actions in all 50 organs of his making.

Hellmuth Wolff, born in Zurich, Switzerland, September 3, 1937, brought to Canada a strong sensibility of the historical traditions of organ building. While his instruments have modern attributes, they reflect exacting organ building according to authentic principles and practices. He was one of the key players in the revival movement of organ building in North America. He played the piano and received organ lessons from Bernard Lagacé in Montréal.  

He apprenticed with Metzler Orgelbau in Switzerland, then worked for Rieger Orgelbau of Schwarzach, Vorarlberg, Austria, Charles Fisk of Gloucester, Massachusetts, and Otto Hofmann in Austin, Texas, before emigrating to Canada in 1963 to be a designer in the new mechanical action department of Casavant Frères of St-Hyacinthe, Québec. 

He worked briefly with Karl Wilhelm before establishing his own firm in 1968 in Laval, Québec. By 1997, he had built 40 organs, ranging in size from one stop to 50 stops. Wolff’s largest organ is of 61 stops, 85 ranks, which he installed in Christ Church Cathedral, Victoria, British Columbia, in 2005. 

Our professional relationship was that of teacher and student, and our personal relationship was a long-distance friendship. He never gave up trying to teach me French, and though I had written my Ph.D. language exams in French on economic history, one does not learn a language by barely passing an exam, even though the reader can imagine my elation at passing on the first try. Hellmuth sent me Québéçois jokes from the newspaper, which I would figure out after several readings. He never gave up.

Hellmuth was involved in a proposal for a Vancouver church, which brought him to the left coast many times, and to our home. Our daughter Amy-Claire finished her baccalaureate degree at Concordia and found employment when needed, with Hellmuth and Guy Thérien. As an ‘organ helper’ she learned how to lie to the nuns if she had to play hooky and managed to holler in French to her technician supervisor that she had spilled glue on a reservoir. Necessity is the mother of invention; Hellmuth had her make paintings for the door panels of his house organ. She worked on and off at the shop, on everything from high-art painting of organ panels to leathering bellows. One time when I called her, she was sorting trackers.

It was always a pleasure to see Hellmuth and his wife Claudette. They had a lovely old Steinway grand piano that had seen better days. On one visit I tuned it so Bach inventions would sound right, and learned later that he had had it rebuilt. 

I inspired him once and he inspired me many, many times.

Hellmuth always had a sparkle in his eye. It seemed to inspire his organ building team, and it certainly impressed me when I would visit his shop to assist in the voicing of reeds. It was usually summer time, and he would put me out in front, by the large door to his shop, open to the street, first in line when the postman and other callers came looking for him. I tried to learn a new word in French every day. They were not enough, but they helped!

That Vancouver client had contacted a number of organ builders, and the kink in the project was a single donor, who really did not want to see a change in the old organ, at least in appearance. Any organ builder knows that story, and the project eventually devolved into a ‘rebuild’ project by my staff, when it had been earnestly hoped that a Wolff organ would be the result. Snatching defeat from the jaws of victory, we all made the best of it, leaving the Wolff shop preciously short of work, right then.

You might say this resulted in an experiment, carried out with the blessings of organist, technicians, and organ builder. We enclosed two divisions of the electro-pneumatic organ in organ cases from Hellmuth’s shop, and put to rest, at least in our minds, the notion that thick cases make for more expressive pipe divisions. Thin, resonant panels, tracker-organ style, made an extremely expressive result. The organ has tremendous expressive volume from low to high dynamic. Partner James Louder assisted us with planning for construction and installation, and the result was nothing short of fantastic. 

And a lull in work at the Wolff shop was avoided. It takes much humility and resilience to go for that kind of solution to an economic slump—and a long-term friendship between fellow organ builders.

Working on reed tongues with Hellmuth was tremendously inspiring. He would hold each tongue up to the light, check for flat spots, and meticulously curve for the smoothest upturn. He would work with me side by side, then leave me on my own, when I had a sense of what I was doing. Opus 47, the largest organ he made, for Christ Church Cathedral in Victoria, had a wide variety of national reed styles, and offered me the chance to work with a master of reed voicing for which I have always been enormously grateful. He worked side by side with all his employees, which I observed to be the most productive management style possible. My daughter Amy was once again involved in the project—this time, participating in the production of the maquette (scale model), which was an integral part of his organ-building process. 

We would get together for conferences and fell into the habit of chumming with Martin Pasi, always a pleasant experience. 

My visits to the shop came right at the end of Hellmuth’s partnership with James Louder. I liked James very much and was sad to see him depart after 26 years. This happened at the time of my retirement and to my delight James bought my reed-voicing jack, which Martin Pasi had made for me years before. I was always in love with that little one-stop organ, and it had seen many successful jobs come and go. Somehow, I always thought of that voicing jack as a peace offering between two long-term partners in organ building. James wrote a very touching tribute to Hellmuth, which I have quoted, and which appears at the end of this remembrance. 

Hellmuth’s friendship had a domestic quality that I loved very much. He would tell me stories of how he met Claudette Begin at a concert, where she was handing out programs. It was a real romance and made a great story. He and Claudette were very inclusive and treated me like a member of the family, when I visited Laval, and my wife Marianne and I included them in our family when they were in Vancouver. We shall miss Hellmuth very much, and remember him with great fondness, and wish Claudette, Martin, Maya, and his extended family the best possible future in his absence. 

I can only echo the kind tribute from James Louder, who said:

Hellmuth was dearly loved and deeply respected by innumerable lovers of the organ . . . who will mourn his death but will long celebrate his art. Hellmuth’s true monument will be his work, fifty of the finest organs built in our time . . . Thank you for everything, my dear Hellmuth, and farewell.