The American Organ Institute of the University of Oklahoma, Norman, Oklahoma, will host a weekend to honor the university’s alumna, Diane Bish.
Events include a gala dinner on Saturday evening, April 7, in the Fred James, Jr., Museum of Art, and a recital by Miss Bish with choir and brass instruments on Sunday, April 8, in Gothic Hall.
A scholarship has been created in her name, and contributions are being accepted.
For information: www.aoi.ou.edu.
Photo credit: John Sigh
We watch our car’s odometer approach 100,000 miles. It seems like an important milestone, but we’re distracted by traffic, go into a different train of thought, and miss the great event. It reads 100,002.3 and we never felt a thing.
Ten years ago we were anticipating the start of a new millennium. As the year 2000 approached we were told that the language of computer programming did not allow for calendar years above 1999—that we should expect computers all over the world to crash at midnight on January 1. Enough people nervously withdrew money from ATMs that the banking system published concern about the supply of cash. We didn’t even know how we would say what year it was. What would we say, two-oh-oh-one, aught-one, the aughts, the Ohs? Some people planned to be in an airplane at the stroke of twelve, others assured us that the computer-driven air-traffic-control system would collapse at that moment.
And what do you suppose happened? Nothing. My computer kept working as did my alarm clock and microwave oven. I have not met a single person who has any trouble saying what year it is. Planes kept flying and landed safely and the ATM still spat out stacks of twenties. The clock struck twelve, the mouse ran down, hickory-dickory-dock.
We tend to mark our progress in big blocks. If the Baroque era ended in 1750, what did Händel (1685–1759) do for the last nine years of his life? The boundaries are muddy. We do this with the history of the pipe organ. The beginning of the 20th century brought electric action and orchestral playing. The second half of the 20th century was The Revival when some of us got excited about historic performance practices and tracker-action organs, and others felt upset and disenfranchised. A hundred years from now, what will our successors say about the beginning of the 21st century? What would we like them to say? How can we influence that? How do we assess the present state of the art? And most importantly, how do we assure its health and growth so that later generations will have something significant from our body of work to study and assess?
Eighty years ago, more than 2,000 new pipe organs were completed by American organbuilders each year. Now it’s more like 40 or 50. I don’t know how many digital instruments are installed each year now, but I suspect the number balances with the century-old total of pipe organs. We’ve noted and discussed at length the decline of the number of serious students of the organ, and we have watched in horror as venerable educational institutions close their organ departments.
The true test of the state of things is the response of the public. How many laypeople—those who are not professional organists or organbuilders—make it a point to attend organ recitals? I have sat in many a grand church listening to a great musician play a marvelous organ—sharing the thrall with only 30 or 40 other music lovers. At the height of his career, E. Power Biggs noted that twice as many Americans attended concerts of classical music than professional sporting events. Do you think that’s the case today?
All these things are related. While most pipe organs are unique, I suppose that thousands of churches may have identical digital instruments—an organ committee might opt for “no pickles,” but otherwise the choice is pretty limited. I know that many people think this is a good thing—McDonald’s and Starbucks would not be successful otherwise—but I can’t believe that such institutional sameness contributes to the growth of this or any art.
For the second month in a row I refer to the excellent article “Repertoire in American Organ Recitals 1995–2005” by Moo-Young Kim published in the October 2006 issue of The American Organist. Dr. Kim analyzed 249 recital programs totaling 1689 selections as published in TAO. Using statistics and pie-charts, he showed how limited in originality is our recital programming. Is this related to the disappointing attendance at so many organ recitals?
The performance of historic repertoire will always be central to the art of the pipe organ, and each serious player has ambitions about which pieces are next on the practice schedule. This is a good thing. But it’s the art of improvisation that distinguishes the organ. How thrilling for the first time concertgoer to hear the mighty instrument as the vehicle for the creation of new music, right here, right now. What a celebration of human genius! (I’m reminded of Gjon Mili’s time-lapse photograph of Picasso drawing a bull with a flashlight—a masterpiece of the moment—you can see it at
Ours is heralded as the age of communication. International news is instant, a CD or sweater ordered online today is in our hands tomorrow, and we have a fit if a Fed-Ex package is six hours late. We send what we think is an important e-mail and wonder why it hasn’t been answered four hours later. (Is it just possible that our correspondent wasn’t at home? What, no BlackBerry?) But if we limit our understanding of communication to these amazing technological advances, we will fail our art. You cannot communicate the art of the pipe organ by beaming between handhelds.
Here’s the good news. There may not now be many new pipe organs built each year, but most of them are glorious and unique works of art. And hundreds more projects are accomplished each year restoring older instruments to their full artistic potential. Some schools are closing organ departments, but others are revitalizing theirs. Young organists are still taught to base their playing on good scholarship, but as a foundation, not an end. After all, it is about the music. Playing the organ is not a parlor trick—it’s a thrilling vehicle for the expression of an artist and for an audience to experience and absorb.
In what sometimes seems an atmosphere of gloom, I’ve always felt that the pipe organ has a significant future in our society, and my optimism is rewarded as I recently had the privilege to make association with what promises to become an important center of the study of the organ. The University of Oklahoma (OU) has a long tradition of excellence in organ teaching—that is where Mildred Andrews Boggess taught many of today’s finest organists during her 38-year tenure. Now a fresh wind is blowing in tornado country as John Schwandt has joined the faculty of the OU School of Music to lead an exciting new teaching program.
Brainchild of Dr. Schwandt and his long-time friend, theatre organ specialist Clark Wilson, the American Organ Institute has been founded to lift up and celebrate American contributions organbuilding and organ playing. The philosophy behind the institute is to unite the worlds of the classical and theatre pipe organ, advancing the art by emphasizing improvisation in all genres along with the performance of the classical repertoire. A fresh curriculum will include courses in arranging, computer notation, and multiple styles of composition—a return to the classic concept of the complete organist: one-third performance, one-third improvisation, one-third composition.
An integral part of the institute will be the establishment of a fully equipped and staffed pipe organ workshop on campus. This unique facility will be home to the restoration of an important instrument recently acquired by the university for the Paul F. Sharp Concert Hall at the School of Music and will allow students the opportunity for hands-on experiences with organbuilding, even to providing pipe organ maintenance services for the general area, an area not as yet saturated with experienced organbuilders. The next generation of organ students can be well-versed with knowledge of organ history and construction, and the next generation of organbuilders can be well-versed with knowledge of organ playing and composition.
There will be three degree tracks (Bachelor of Music, Master of Music, and Doctor of Musical Arts), each allowing flexible emphasis of applied studies to include classic and theatre organ playing as well as organbuilding. Significantly, the institute enjoys the enthusiastic support of University of Oklahoma President David Boren, Dean Eugene Enrico of the OU Weitzenhoffer Family College of Fine Arts, and Dr. Steven Curtis, director of the School of Music, who are working to build the foundation for this refreshing and innovative approach to the study of the organ.
The School of Music is housed in the Catlett Music Center on the north end of the campus, the entrance to which is a striking contemporary space of cathedral proportions. The Morris R. Pitman Recital Hall and the Paul F. Sharp Concert Hall both open off this grand space as does a corridor leading to the classrooms and teaching studios. This “lobby” is called the Grace B. Kerr Gothic Hall and is home to the Mildred Andrews Boggess Memorial Organ, C. B. Fisk’s Opus 111 (go to
Just a minute—that organ is already in place, and I referred to a “recently acquired organ” that will be installed in Sharp Hall. Ah, the other shoe drops. In the April 2005 and November 2006 issues of this column in The Diapason, I have written about M. P. Möller’s Opus 5819, the massive and singular instrument originally built for the Philadelphia Civic Center. Go to
The organ was stored next door in another large convention hall slated for demolition at a date that was suddenly and significantly accelerated by the needs of the hospital construction. This news was a shock—another demolition deadline—we were going to have to rescue the organ for a second time. In the November 2006 issue, I wrote wistfully about it sitting in storage, looking more like an industrial wasteland than a work of art. But—thanks be—I can say now that as I wrote I knew that a zephyr was over the horizon—a breath of amazing promise. John Schwandt had come over the bow looking for a significant concert organ around which to build the American Organ Institute. Oh boy—have we got the organ for you! (See photo: theatre console, classic console, automatic roll-player.)
It seemed too good to be true. Here’s a huge organ with two consoles, virtually the only large extant instrument expressly intended as both a classic concert organ and a theatre organ with “all the bells and whistles,” drums, cymbals, toys. And there’s a new venue for the teaching of organ playing of all styles.
Meanwhile, the administrators at Penn were preparing to demolish their building, and engaged me in a complicated conversation about what to do with the organ. They were less than entranced with the idea of funding another moving project, but having gone to considerable—really considerable—expense to dismantle, pack, and store it, they were committed to its preservation. When Dr. Schwandt and OU came into view with the possibility of a new home for the organ where it would be properly restored and used as part of a significant educational program, there started a whirlwind of conversations between the two universities. We all have experience with large bureaucracies moving slowly, but picture this. In just four weeks, OU expressed interest in the organ, Penn agreed to make it a gift, and the myriad political and legal details were worked out. Two other important and usual hurdles were instantly checked off—funds were immediately available to move the organ, and first-class space was immediately available in which to store it. The Organ Clearing House lined up a fleet of five semi-trailers, and the 120,000-pound organ was moved to Oklahoma, two days ahead of Penn’s demolition schedule. Yikes! Go to
While we were dismantling the organ a couple years ago, Brant Duddy (Philadelphia area organ technician who had tuned the Civic Center organ for many years) gave me a recording of the recital played on the Civic Center organ by Tom Hazleton for the 1992 convention of the American Theatre Organ Society. Along with several traditional barnburners (high on the list of favorites in Dr. Kim’s TAO article!) is Hazleton’s medley of tunes from Rodgers and Hammerstein’s Oklahoma. What a wonderful way to introduce a venerable organ to its new home. And a quiet aside: Once the organ was in storage, I was in touch with Mr. Hazleton to ask about his experience with it. He was enthusiastic about its preservation and promised to help find it a new home. I asked him for an interview thinking that would enhance a column someday, but before the scheduled date arrived I heard of his death.
Late one evening while the Organ Clearing House was in Norman delivering the organ, Dr. Schwandt played the Fisk organ for us, weaving a creative tapestry around Richard Rodgers’ place-appropriate theme. As the music reverberated in the darkness, I reflected on the magic of improvisation—how a mystery becomes reality, and how important that concept is to the history of organ music. Like Picasso’s bull it’s gone as soon as it’s over, perhaps to be recreated tomorrow but never to be repeated. Improvisation must be the best tool to convince the public that the pipe organ is not just a relic of an earlier age but a vital participant in today’s culture. A fresh vision, a fresh approach, and the rebirth of a renowned institution and a venerable instrument combine to bring new energy to the work of organists and organbuilders across the country.
If you think this is “just another big Möller organ,” take my word for it: There is no other organ like it. It’s simply spectacular—an American monument of artistry in concept and craftsmanship in execution. I hope you’ll join me in Norman when it’s first played there. It’s fun to imagine that future music historians will notice Opus 5819’s rebirth as a significant event. You young students of the organ, here’s the website of the Office of Admission at the OU School of Music: ''
Princeton, New Jersey, April 23-27, 2003
Stephen Leist holds degrees in history from Furman University, where he studied organ with W. Lindsay Smith, Jr., and the University of Wisconsin-Madison. He has served on the faculties of Furman University and Georgetown College, and is currently on the library staff of Transylvania University.
The second symposium to be held at the American Organ
Archives attracted organists, organ builders and organ historians from across
the United States, the United Kingdom, Sweden, Germany and Australia. Organized
by Stephen L. Pinel, Director of the American Organ Archives, and James L.
Wallmann, the five-day gathering of lectures, papers and panel discussions with
generous time to explore the archives was sponsored jointly by Westminster
Choir College of Rider University and the Organ Historical Society.
Those who arrived early to the symposium were rewarded with
extra time to browse the American Organ Archives, the world's largest
repository of organ research materials, or to conduct research on individual
projects. The real opening of the symposium began with a marvelous afternoon
reception in the archive reading room on Thursday, April 24. The reception was
a great opportunity to see old acquaintances and to make new contacts. After
the reception and dinner, participants were transported to Christ Church, New
Brunswick, to hear a recital by Lynn Edwards Butler on the 2001 Richards,
Fowkes & Co. organ of two manuals and 24 ranks. The all-Bach program,
perfectly suited for this organ, was entitled "Hymns for the Seasons"
and featured chorale preludes for the Easter season through Trinity. This
outstanding performance was framed by Bach's Fantasia in c
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Lectures and panel discussions for the symposium were held
at Christ Congregation Church located across the street from the Westminster
campus. The commodious meeting space was ideal, both for location and
acoustics, as no amplification was needed, and speakers did not need to
significantly raise their voices to be heard. Friday morning, April 25, began
with a brief welcome by Allison Alcorn-Oppedahl, Chair of the Governing Board
of the American Organ Archives. The Keynote Address, delivered by Uwe Pape of
Berlin, followed with the topic, "Research on North German Organs and
Organbuilding--History and Current Perspectives." Prof. Dr. Pape, who
manages Pape Verlag and the Organ Databank, gave a detailed presentation on the
beginnings of organ history research in the 1920s and its progress to date,
making thorough mention of a variety of scholars and their work. He also
outlined his own work over the last forty years and his efforts to document
organs in northern Germany and make the information available through his
publications and those of others. The abstract provided in the symposium
handbook is a wealth of information regarding these themes, as well as the
mention of various archives in Germany that serve as necessary finding aids.
One of the continuing problems cited by Prof. Dr. Pape regarding organ research
was the shortage of funds for scholarly work. Much of this has to be done out
of one's own pocket during free time. An additional problem is that fewer
younger scholars in Germany are taking up an interest in the organ. Despite
these trends, the six states of eastern Germany are fertile ground for organ research.
Following the Keynote Address, Stephen L. Pinel presented a
brief report on "Current Developments at the Archives." This report
made mention of the three goals of the American Organ Archives and its
Governing Board, which are acquisitions, processing and maintenance, and
outreach, and what the archive is doing to meet these goals. The archive is
regularly in touch with scholars around the world to acquire publications, and
the use of Internet search engines and the production of a want list have greatly
added to the archive's holdings. Recent acquisitions include Hallens' 1779
treatise Die Kunst des Orgelbaues and
the archives of the Virgil Fox Society (summer 2003). Much of the processing
and maintenance is done by volunteers, but cataloging has been greatly
facilitated by outsourcing to Joni Cassidy of Cassidy Catologing, Inc. Outreach
has been improved with the website and online catalog, the use of Interlibrary
Loan, and frequent reports of activities and news. Stephen Pinel stressed the
importance of protection and stewardship of this collection for future
generations of scholars.
The final presentation of the morning before breaking for
lunch was a panel discussion on "Current Trends in Organ
Scholarship." Chaired by James Wallmann, the panel featured Prof. Dr. Uwe
Pape, Paul Peeters of the Göteborg Organ Art Center in Göteborg,
Sweden, Rollin Smith, and Andrew Unsworth. This discussion focused on research
activities in the Netherlands, Germany, Scandinavia, France and the United States.
Bibliographies of important monographs and other resources were provided in the
handbook, thereby making the handbook a valuable tool to take away from the
symposium. All agreed that the degree of quality was uneven, due in large part
to funding and the organization of societies for investigating and documenting
organs. The most consistent work is probably being done in the Netherlands,
where organists in general seem to be well-educated about the instrument beyond
the repertoire, and government support for restorations includes reports which
are often published. This has served to maintain an active interest in the
organ in society at large, despite very low church attendance. Andrew Unsworth
pointed out that organ scholarship in the United States is steady, but slow,
with the most significant work being done by Orpha Ochse and Barbara Owen. Paul
Peeters explained the interdisciplinary nature of the GOArt Academy by pointing
out their goal of not separating the organ building, research, and music.
Rollin Smith demonstrated that scholarship in France has been predominantly on
French classicism to offset German influence in Baroque music, but that French
scholars are beginning to show new interest in the 19th century. Societies have
been instrumental in producing local and regional inventories of historic
instruments. Much work on the French organ, however, continues to be done by
scholars from other countries.
The afternoon session began with a paper presentation by
John Buschman, Acting Dean of University Libraries, Rider University, on
"The Changing Roles of Libraries and Archives in the New Millennium, Or,
Why Is It So Hard to Get Money These Days?" Likening libraries and
archives to museums and symphony orchestras, Buschman pointed out that these institutions
share a commonality in that they can trace their beginnings and support for
acting in the common good by educating society in individual and democratic
values. In recent years, this has changed as these institutions have become
more market driven to educate individuals for a workforce in an increasingly
technological age. Combined with the new emphasis on technology is a desire for
lower taxes and public spending. The impact on libraries and archives is that
they have had to move away from public funding to other sources of support.
Collection development has been cut with funds being redirected toward
technology. Even proposals for federal funding must emphasize technological
projects. Technological resources have redefined the library as a place of
study. Buschman believes that libraries and archives have inappropriately
followed the marketing model by viewing patrons as customers, with web traffic
becoming justification for more support. Buschman stated that it is essential
for librarians to emphasize public services and service to scholarship, as a
library's effects cannot be quantified, in order to recapture the original
purpose of libraries and reduce suspicion of public motives.
The second session of the afternoon was taken up with the
topic, "Organ Libraries Around the World," featuring Paul Peeters of
GOArt, David Baker of the Royal College of Organists/British Institute of Organ
Studies, and Barbara Owen of the AGO Organ Library at Boston University. Each
panelist explained the particular structure of their institutions and along
with recent activities and needs. Paul Peeters presented a diagram of GOArt's
interdisciplinary approach to research as exemplified by their recent North
German Organ Research Project. He further explained that their current library
needs are primarily books on materials and tools. David Baker's presentation
focused on the RCO/BIOS move to a new home in Birmingham, England, in
partnership with the University of Central England. The new library is tied to
inner-city regeneration by refitting an early 19th-century railroad station and
the "out-of-London" initiative. We were treated to a comprehensive
presentation on collection development policies, accessibility to services and
outreach programs. Barbara Owen explained the origins of the AGO Organ Library
as starting with the gift of a personal library. The collection has since been
expanded by more donations, although its collection has more to do with
organists than organ building. Much of the work is done by volunteers and
work-study students, and the library is currently unable to handle Interlibrary
Loan due to lack of staff. Boston University provides space and Internet
access, which has enabled the library to provide worldwide service. The library
is now occupied with developing an online catalog.
Following the mid-afternoon break, the final panel
discussion of the day was held on the subject of "What Organbuilders Learn
(and Don't Learn) in the Library." Moderated by Jonathan Ambrosino, the
panel featured Jack Bethards (Schoenstein), Bruce Fowkes (Richards, Fowkes
& Co.), Paul Fritts (Paul Fritts & Co.), and Scot L. Huntington (S. L.
Huntington & Co.). The panelists largely agreed that a library does not
teach one how to build an organ, that much still depends on experience.
Documentation helps answer questions about approach and resolve problems with
informed decisions. Printed materials and recordings are a start, but
ultimately, one has to visit the instrument. Printed information can also provide
important technical details.
We were once again treated in the evening to a fine recital,
this time Joan Lippincott performing on the Joe R. Engle Organ, built by Paul
Fritts & Co. (Op. 20, 2001), in the Miller Chapel at Princeton Theological
Seminary. Another all-Bach program, this recital featured the catechism
chorales of the Clavierübung, Part
III framed by the Prelude and Fugue in E-flat. A stunning program from start to
finish, the Fritts organ was ideally suited to the music and space of the chapel.
Opening remarks were made by Martin Tel, the chapel organist, and Paul Fritts.
At Joan Lippincott's request, Martin Tel finished the evening accompanying a
setting of Vater unser im Himmelreich found in the Presbyterian
hymnal, which was rousingly sung by the assembled audience
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The final day, Saturday, April 26, began with a paper
presented by Kelvin Hastie, Secretary of the Organ Historical Trust of
Australia, on "Organ Research, Documentation and Conservation in
Australia: An Overview of the Work of the Organ Historical Trust of Australia,
1977-2003." Dr. Hastie began his talk with a brief history of the organ
culture of Australia, explaining the influence of the 19th-century English
organ builders and their influence on the first Australian builders. Most of
the historic organs in Australia represent this period and style and are modest
instruments, with a few rare examples of large organs among the town halls,
most notably the 1890 William Hill organ in the Sydney Town Hall. Very few
organs came from continental Europe. Dr. Hastie further pointed out that the
first stylistic shift away from the English late Romantic organ came after 1945
when the influence of the organ reform movement appeared in Australia,
particularly represented by the work of Robert Sharp. More imports were coming
from Europe as well. The historic preservation movement came to Australia in
the 1960s, and the following decade saw the establishment of local societies
and a national trust. The OHTA was also established at this time and began a
Gazetteer project to raise awareness of historic organs. Today, about 50% of
19th-century organs survive in Australia, and the percentage is higher in rural
areas. The joining of congregations and church closures continue to threaten
the loss of instruments, but the rate has been low due to successful
relocation. Current documentation projects of the OHTA are the acquisition of
the shop records of Hill, Norman & Beard of Australia and Whitehouse
Brothers, in addition to notebooks and letter collections. A database is being
prepared with the goal of making it available on CD-ROM, though there is no
central holding library. The OHTA has established guidelines for conservation
standards and issues, and conservation and documentation projects now receive
government grants, as organs are classified as cultural monuments. Despite
this, Hastie pointed out, the saving of historic organs "still requires
constant energy and vigilance."
Scot Huntington, a member of the OHS publications committee,
made a brief report on "Current Publishing Activities of the OHS." He
announced that the committee was in the process of hiring a Director of
Publications and an oversight committee has been formed. In the meantime, book
proposals have been received. The goal of the publications committee is better
documentation of American organs through an opus series, a monograph series,
and American works on other organ traditions. Publications currently in
preparation are works on Hinners, Lawrence Phelps, Murray Harris, and Susan
Tattershall's work on Spanish organs. A special 50th Anniversary edition of The
Tracker is being planned along with a history of the OHS. An ongoing project is
the Möller opus list, and a reprint of Eugene Thayer's Organist's
Quarterly Review is almost at the printers.
The closing panel of the symposium was moderated by Laurence
Libin, Curator of Musical Instruments at the Metropolitan Museum of Art in New York.
The panel was made up of all previous panelists and speakers. Libin began by
observing that there was general agreement that documentation of instruments is
a great concern, but there had not been much discussion about what kinds of
information should be preserved and how. One example he mentioned was the
importance of oral histories. Kelvin Hastie stated that the problem in the
United States in terms of documentation was the absence of a methodology. Jack
Bethards raised the issue of going beyond academic work and doing organ
research simply for the fun of it, that there is a joy by itself in reading
older documents. Barbara Owen asked the question, "What does the
instrument itself tell?" The approach of visiting the instrument and then
following the paper trail in her view is a mutually supportive research
process. Paul Peeters and David Baker stressed the interdisciplinary nature of
organ research and the importance of research networks. Peeters specifically
drew the example of the North German Research Project, in which archival
information was very important to understanding the issues of sandcasting pipe
metal and winding systems. Libin suggested the importance of economic and
social issues, such as the function of guilds in stifling or encouraging
development. Baker also added the need for continuous vigilance to protect
archival assets. Scot Huntington added to this theme his own experience in
working with the Möller records, which represented a great deal of
technological change and invention. Jonathan Ambrosino also agreed with the
need to share information, stating that "not to share is to die." The
discussion was then opened to the floor, with symposium participants given an
opportunity to ask questions and raise additional issues. Among the topics
covered were conservation/preservation issues, professionalizing organ
research, and more effective means of disseminating information.
After lunch, the American Organ Archive was open for
participants to browse the collection or conduct research. Interest in the
archive was such that it was difficult to find a seat, and Stephen Pinel was
cheerfully busy providing assistance. I had the opportunity to conduct a little
research of my own, locating some photos for a forthcoming article, and then do
some browsing to while away the afternoon. The archive was again open on Sunday
for those who remained. I came away from this conference excited and refreshed,
not to mention with a host of more questions than when I arrived, which is the
kind of activity a quality conference stimulates. We will all be eagerly
awaiting the next symposium offering.
In closing, it should be mentioned that the American Organ
Archive is a wonderful resource for conducting research, not only on American
organs and builders, but traditions in other countries, due to the
comprehensive nature of the collection. It is significant also for music
history research not necessarily restricted to the organ, as many of the great
composers worked with other media besides the organ. Stephen Pinel and James
Wallmann are to be congratulated for brilliantly organizing a successful
symposium. Hearty thanks are also due to the members of the archive Governing
Board, the sponsors, and all those who assisted with the reception and break
time refreshments, especially Mary Jane Kress and James S. Palmer.
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New York City, September 28-October 1, 2004
Sebastian M. Glück is president and tonal director of Glück New York, Pipe Organ Restorers and Builders, and is editor of the Journal of American Organbuilding, the quarterly publication of the American Institute of Organbuilders.
Wall sconces taking the form of artillery shells line the nave of the Protestant Cadet Chapel of the United States Military Academy at West Point, home of what began as M.P. Möller’s Opus 1201 of 1911. Now IV/380, it incorporates pipework provided by a list of builders from George Edgar Gress to Aristide Cavaillé-Coll. The sheer size of this instrument may very well be its most American characteristic. Since pipework and divisions are added to this organ, not replaced, the organ is a growing compendium of trends. As an agglutinated scheme built up over the past century, an organ of this size must struggle to put forth a distinctive and identifiable character.
Army Chaplain Scott McChrystal (Colonel) spoke about the organ’s history and role at the academy before introducing organist Craig Williams, organ curator Gary Ferguson, and associate organ curator William Chapman.
Mr. Williams’ opening selection was “The Turning on of the Blowers,” a work for eight switches, featuring over 100 horsepower of turbines. The remainder of his program ran the gamut from a Dvorák symphonic transcription to Georgian miniatures. Following the demonstration-recital, a buffet dinner, complete with carvery, was served at the Officers’ Club overlooking the Hudson River.
AIO President Charles Kegg presided over the opening of the convention, marked by the first session of the Institute’s annual business meeting. The routine nature of the early morning meeting was offset by a sumptuous breakfast buffet, the first of many lavish and healthy meals planned by this year’s convention committee (Timothy Fink, Sebastian M. Glück, Allen Miller, chairman Edward Odell, Holly Odell, and F. Anthony Thurman).
Historian, musician, and Organ Historical Society Archivist Stephen Pinel’s history of New York organbuilders, “The Orchard in the Apple,” was a polished, well-researched presentation. It was reminiscent of a Burns documentary, the text so focused and the materials so pertinent that one forgot that the images were still, not moving. Pinel’s access to archival material combined with uncompromising production values set a benchmark for future historical lectures, yet it would be difficult to find something more titillating than the nude image of Ernest Martin Skinner that revealed the legend in a most human light.
Mr. Pinel closed with a requiem for our historical organs, imploring us to help preserve what remains. Few heritage instruments survive unaltered in New York City, despite its nearly unrivaled reign as a center of organbuilding during the Industrial Revolution.
Mike Foley, a champion of the service sector of the organbuilding field, captivated attendees with a dynamic presentation that was at once a business lecture, an ethics seminar, and a motivational gathering. “Minding Your Own Business” mixed life lessons with business advice: fix your mistakes before others find them; voice pipes, not opinions; love every pipe organ you see and hear, and your telephone shall ring. Get to know your clients; make sure that they know you, not just your bid. Above all else, eschew cynicism--or find another calling.
Be as precise in the writing of your contracts as in the keeping of your books, no matter how daunting the prospect. Audit your firm, insure your assets, motivate your staff, and enjoy yourself, and surely thy business shall thrive. More organs are serviced and tuned in a year than are built.
As do so many Europeans, AIO member Didier Grassin has such a subtly poetic grasp of the English language that it leaves this writer envious. His engineering degrees retreat to the background as organists and organbuilders alike marvel at the exquisite beauty of the organs he has designed. “The Canon Rules of Good Organ Case Design” explained the emotional/artistic response as essential to the success of the organ case. Neither frivolous nor luxurious, but necessary, the well-dressed pipe organ must embody architecture beyond utility as a critical component of the complete æsthetic experience of seeing, hearing, and touching The King of Instruments.
The shape of the case, its position within the space, and the breaking of planes in the massing are as important as the desired elements of vertical thrust and a strong focal point. Texture and color, from the grain and hue of the timber, to the play of light on carvings and façade pipes, must invite the observer to touch such a creation. Movement, tension, relief, and proportion--the elements of fine painting, sculpture, and architecture--make a great organ case.
Organist and organbuilder Sebastian M. Glück, editor of the Institute’s Journal of American Organbuilding, ended the lecture cycle with “What Goes Where and Why,” an analytical prescription for organ design based upon the demands of the literature we play. Many organs, even very large ones, are ill-equipped or incapable of accurately performing entire segments of the organ literature because consultants, organists, and organbuilders ignore historical treatises, the musical score, and the instruments for which the music was written.
American organ design continues to be plagued by stops at the wrong pitches in the wrong locations, and in some sectors has yet to recover from the misinterpretations of the “Organ Reform Movement” of the last century. The American “Bach organ” of the mid-1960s is strikingly dissimilar to the organ that Bach might have played in the 1730s, and sadly, the average American organ cannot handle French music of any era with real accuracy. The lecture exposed the pitfalls of grab-bag eclecticism, and outlined the elements of scholarship that are contributing to the success of today’s polyglot masterpieces.
The Bedford Presbyterian Church, a carpenter Gothic 1872 building on The Village Green, is home to Martin Pasi’s 2001 II/29 Opus 13, a freestanding, encased organ with mechanical key action. The demonstration-recital was performed by John Lettieri, AAGO. The two manual divisions are of equal size, the Swell essentially an Oberwerk with the addition of an undulant and shutters. With a warm and generous ensemble, punctuated by two differently pungent tierces, the instrument convincingly handles large portions of the literature. The opportunity for AIO members to tour the instrument revealed meticulous craftsmanship and fine materials throughout.
Back in the mid-1960s, when no American organbuilder was good enough for the nation’s most famous concert hall, a very wealthy woman donated a Flentrop organ to New York’s Carnegie Music Hall. Ultimately rejected by a board of experts, the organ languished in storage for a decade before its adoption by The State University of New York at Purchase. There it languishes today, in an immense storage shed at stage left, its “Moderne Neo-Aztec” casework surrounded by acoustically annihilating drapes. Built on an air caster platform, a crew of ten can, in several hours, move it to the main stage for its annual appearance at a Christmas event.
Robert Fertitta played small fragments of various organ works, and we were informed that the organ had been tonally altered by pressure changes, substitution of some stops, and revoicing after taking up residence at Purchase. The instrument’s curator, Peter Batchelder, served as historian, narrator, and supplemental combination action, and it is his quiet diligence and dedication that has kept that instrument working, in tune, and available to students.
Virgil Fox, Frederick Swann, William Sloane Coffin, Robert Hebble, John D. Rockefeller, Jr., Richard Weagly, Anthony A. Bufano--the list of associations is long when it comes to The Riverside Church. Timothy Smith, DMA, now presides over the V/204 instrument, front and back, that still retains much of the flavor of Aeolian-Skinner Opus 1118 of 1947, the famous instrument from which it evolved. The interior surfaces of the large room, in a squatter-than-accurate version of French gothic, have been sealed to provide a fiery acoustic, adding reverberation and a telling upper end to the original sound. Dr. Smith knows this impeccably maintained organ well, and his technical and musical abilities provided a fine demonstration of its capabilities.
A drive down sumptuous Fifth Avenue along Central Park brought us to Temple Emanu-El, the world’s largest Reform synagogue. Our first stop in the large complex was the 270-seat Beth-El Chapel. Sebastian Glück’s 1997 III/34 Opus 5 in the west gallery was demonstrated by one of the temple’s staff organists, Pedro d’Aquino, as a prelude to the panel discussion, “Metropolitan Marvels: Conservation and Curatorial Practices for the Large Urban Pipe Organ.” Panelists were Joseph Dzeda of Yale University and the Thompson-Allen Company, Gary Ferguson of West Point, and Curt Mangel of the Wanamaker (Lord & Taylor) Store in Philadelphia. Mr. Glück, whose firm maintains some of New York City’s large instruments, served as panel moderator.
Our move into the breathtaking sanctuary provided many attendees’ first visit to a synagogue. This vast, mystical space, a blend of Art Deco and Byzantine æsthetics filled with carving, polychrome, mosaic, and stained glass, can be overwhelming. A rare visual treat was the congregation’s famous Succah, erected on the bimah for the festival of Succot. Sebastian Glück’s demonstration-recital included repertoire of all cultures and eras, including two short works he had written specifically for the instrument. The 2003 IV/135 is Glück’s Opus 7, featured in the November 2004 issue of The Diapason, which retains 66 ranks from the temple’s 1928 Casavant Opus 1322. The largest of three pipe organs in the complex, the symphonic instrument’s style can best be described as Anglo-French Romantic Neoclassicism, using special scales and mixture compositions to overcome the acoustical stone that lines the 2,500-seat room.
With nearly 20,000 restaurants in New York City, conventioneers were set free for dinner on the fashionable Upper East Side before returning to the buses.
The second half of the Institute’s annual business meeting always includes a presentation on the state of the pipe organ industry by Dr. Robert Ebert of Baldwin-Wallace College. Based upon surveys filled out each year by the AIO membership, trends are tracked in areas ranging from the number of rebuilds, to number of electronic organs replaced by real pipe organs, to the number of new ranks built, to which denominations are investing in pipe organs.
This year’s Open Forum touched upon the AGO’s new Task Force on Digital Inclusiveness. One issue discussed was the pipe organ builder’s responsibility for making the pipes as beautiful as possible, and not leaving the pipe complement of these hybrid instruments to untrained sales agents with no voicing or tonal finishing experience. Many questions arose, especially about whether craftsmen in the Institute should combine their art with short-lived, disposable imitations.
“First Do No Harm,” a panel moderated by Laurence Libin of The Metropolitan Museum of Art, stressed both procedure and ethics. Pipe organ conservators Scot Huntington (OHS Vice President), Joseph Dzeda, and Richard Hamar discussed documentation, techniques, and the increasingly focused ethical mindset of the worldwide restoration community. An instrument’s age is no longer the sole criterion for historical significance. Restorations and alterations must be evident and reversible, and we must learn to stop “fixing” problems that do not exist. Preservation does not equate to paralysis, but we must end the process of ruination in the name of fashion by removing our personal judgments from the project.
Respected consultant and engineer Richard Houghten served as moderator for “Command and Control,” a highly technical panel discussion of advances in the technology and application of solid state pipe organ control systems. Engineers Scott Peterson, Duncan Crundwell, Arthur Young, Allen Miller, and Henry Wemekamp delivered individual presentations before a moderated discussion and questions from the floor.
The convention formally ended with Craig Whitney of The New York Times speaking of “A New Age for the Concert Hall Organ.” Following a summary of some of the material in his recent book, All the Stops, he spoke hopefully of the new concert hall organs being built in America, notably the visually and tonally stunning pipe organ in Walt Disney Concert Hall. With the contemporary church losing interest in the organ, will we have to create a new type of organist geared toward secular audiences? Or will each of these new concert hall organs stand as a mute reredos to the orchestra?
Each AIO convention is followed by a one- or two-day post-convention tour. This year’s offerings began with a demonstration-recital at the Church of St. Ignatius Loyola (1993 Mander IV/91), followed by a recital at the Church of St. Thomas More (1998 II/26 Lively-Fulcher). A demonstration-recital followed at St. Michael’s Episcopal Church (1967 III/55 von Beckerath), which included an “open console” for participants, as well as the opportunity to climb carefully through the instrument to examine it. The Church of St. Mary the Virgin (1932 and following IV/91 Aeolian-Skinner and others) ended the day, and although the organ has been changed so much as to bear little resemblance to the original, bits of G. Donald Harrison’s soul floated down the acoustically stunning nave when some of the least-altered, original voices were used.
The annual banquet included a presentation on “The Cinematic Organ” by historian Jonathan Ambrosino, with wonderful archival material assembled by California producer Vic Ferrer. After this fun, informative, and sometimes irreverent glimpse of the organ’s portrayal by Hollywood, Mr. Ambrosino spoke of the life and work of Donald B. Austin who died on September 17. Although his passing marked the end of an era, his achievements and driven work ethic serve to inspire the next generation of organbuilders.
St. Thomas Church (IV/138 conglomerate and 1996 II/25 Taylor and Boody) was the choice for worship services on Sunday morning. Following the distinguished tenure of Gerre Hancock, the parish has chosen John Scott, formerly of St. Paul’s Cathedral in London, to assume the mantle. A recital followed at Grace Church, Brooklyn Heights (2001 III/69 Austin), and the day ended at the Church of St. Charles Borromeo (1880 III/35 Odell), also in downtown Brooklyn. AIO members attended the service of installation for the incoming officers of the Brooklyn AGO chapter, and were welcomed at a reception following the program.
The conventions of the American Institute of Organbuilders are not restricted to organbuilders or AIO members, and attendance by musicians and other interested parties is encouraged. Convention information is always advertised in this and other journals well in advance, so make future conventions part of your autumn plans. For information: www.pipeorgan.org.
February Florida Festival
The 14th International Carillon Festival at Bok Tower Gardens in Lake Wales, Florida, will occur February 20-28, featuring carillonneurs Geert D'hollander, Todd Fair, Ulla Laage, Carlo van Ulft, Milford Myhre and William De Turk. Events include daily 3 pm carillon recitals, a moonlight recital on February 27, lectures and exhibits in the new Education & Visitor Center, and several non-carillon concerts. For more information, contact Bill De Turk, Bok Tower Gardens, 1151 Tower Blvd., Lake Wales, FL 33853-3412; phone: 941/676-1154; fax: 941/676-6770; E-mail: <[email protected]>.
The 56th Congress of the Guild of Carillonneurs in North America was held at the University of California at Berkeley, 17-20 June 1998 with 126 persons in attendance. University Carillonneur Geert D'hollander was the host. Held in conjunction with the Fifth Berkeley International Carillon Festival, the 1998 meeting focused on the life and work of Emilien Allard and honored the memory of Ronald Barnes. Madeleine Allard was present as an honored guest. Also honored were Evelyn Chambers and other members of the Class of 1928, patrons of the Berkeley Carillon and its International Carillon Festival.
Recitalists for the Congress were Lisa Lonie of Philadelphia; George Gregory of San Antonio, Texas; Claude Aubin of Montréal, Québec, Canada; Gideon Bodden of The Netherlands; Andrea McCrady of Spokane, Washington; and the carillonneurs of Berkeley: Geert D'hollander, John Agraz, Jeff Davis, David Hunsberger, and Liesbeth Janssens. The Berkeley Brass Quintet conducted by David Milnes joined Geert D'hollander and Liesbeth Janssens in a special program of music arranged for bells and brass by Ms. Janssens. D'hollander gave the premiere performances of the winning pieces in the 1998 Johan Franco Composition Competition. The first prize was awarded to Mr. D'hollander himself for his Modal Nocturne. Ennis Fruhauf's Passacaglia was awarded second prize.
John Agraz gave a workshop on basic carillon maintenance. Masterclasses were taught by John Gouwens on interpretation and by Geert D'hollander on effective ways to learn new music. Two presentations on the music of Emilien Allard were given: Milford Myhre played historic recordings from Bok Tower, and Liesbeth Janssen shared her findings based on theoretical analyses of some of Allard's pieces.
Following successful examination recitals, ten members were accorded Carillonneur status by vote of the Guild: Steven Ball of Ann Arbor, Michigan; Linda Dzuris of Ann Arbor, Michigan; Chuck Barland of Lawrence, Kansas; Andy Greene of Berkeley, California; Andrew Capule of Berkeley, California; Liesbeth Janssens of Berkeley, California; Helena Chen of Berkeley, California; Sabin Levi of Provo, Utah; Geert D'hollander of Berkeley, California; and Lynne Tidwell of Lawrence, Kansas.
Dr. Joseph F. Marsh, Jr., former president of Concord College, and Alicia Porter Washam and Rufus "Buddy" Porter of Highland Park United Methodist Church, Dallas, were recommended and approved for Honorary Membership. Janet Dundore was awarded the Extraordinary Service Award for her many contributions to the Guild and to the profession, most particularly her original, audience-friendly approach to recitals. Emilien Allard, Evelyn Chambers, the Class of 1928, Janet Dundore, and Karel and Linda Keldermans received Berkeley Medals. A memorial fund in the name of Ronald Barnes was established to provide scholarships for North Americans to study the North American Carillon Art in North America.
The next congress of the GCNA will be held at Iowa State University, Ames, 16-19 June 1999. Tin-shi Tan will be our host. In the year 2000, the CGNA congress will be held in the city of Frederick, Maryland as well as at the Mercersburg Academy in Mercersburg, Pennsylvania. John Widmann and Jim Smith will be our hosts. Also in 2000 will be a congress of the World Carillon Federation in Springfield, Illinois, hosted by Karel Keldermans.
Iowa State University Carillonneur Tin-shi Tam sends the following news.
Iowa State University (ISU) hosted the Spring Carillon Festival 1998 and the Carillon Composition Competition during the weekend of April 24-26. Guest carillonneur was Albert Gerken, Carillonneur at the University of Kansas, Lawrence. He performed a recital featuring carillon music by Gary C. White, Professor Emeritus of Composition at ISU. He also conducted a seminar on "The importance of musical considerations in building or renovating a carillon." The Festival also included a Family concert featuring ISU student carillonneurs, the Ames Children's Preparatory Choir, ISU Dance and ISU/Ames Flute Ensemble. Tin-shi Tam, ISU University Carillonneur, presented a faculty recital during the Festival that included Emilien Allard's Sonata (1968).
In conjunction with the Festival, a Carillon Composition Competition was held to encourage the writing of original carillon compositions by young composers. Contestants from all parts of the country and overseas submitted entries. No award was given this year.
In 1999, Iowa State University will celebrate the centennial anniversary of the Stanton Memorial Carillon. ISU will host the 57th Congress of The Guild of Carillonneurs in North America from June 16-19. Additional celebrations have also been planned.
The Sixth Annual Keyboard Exploration was hosted by Iowa State University Music Department from June 22 through 27. The summer music camp was for keyboard students who were entering grades 7-12. Participants experienced first-hand the thrill of playing various kinds of keyboard instruments including organ, harpsichord, piano and carillon. Nine students studied carillon under ISU University Carillonneur, Tin-shi Tam. Two carillon concerts were performed by students towards the end of the week.
Karel Keldermans, carillonneur for the Springfield, Illinois, park district, sends the following news.
The second Midwest Regional Conference of the GCNA was held in Springfield, Illinois, on Saturday, May 30, 1998. Participants from Kansas, Kentucky, Iowa, Illinois, and Denmark were hosted by Karel Keldermans.
John Courter of Berea College began the presentations with a description of his personal compositional style and indicated the importance of Gregorian chant in his music. He played a recording of two of his carillon fantasies, and a lively discussion ensued. Albert Gerken of the University of Kansas at Lawrence then took the podium to make the first of his two presentations for the conference. Bert gave an excellent analysis relative to the usefulness of C-sharp and D-sharp in the bass of the carillon. To this end, he gave an insightful explanation as to why Pieter Hemony several centuries ago had in fact been incorrect in asserting that C-sharp and D-sharp were "useless." With cogent examples from the De Gruytters Carillon Book and various Van den Gheyn Preludes--music appropriate to the period under discussion--Bert then demonstrated musically why a carillon indeed needs to be fully chromatic.
Informal discussions continued as a catered lunch was served in the parlor, courtesy of the Springfield Park District. Following the lunch break, Ann-Kirstine Christiansen, a Danish carillonneur and administrator at the Scandinavian Carillon School in Løgumkloster, Denmark, gave her presentation on the formation of the School and explained how courses are set up, the number of students attending, and the number graduated. After Ann-Kirstine's presentation, the group transferred to the Rees Carillon where Bert Gerken took the second afternoon session--that of music notation. Bert has developed a unique system of handling and pedaling on his scores, and the group was very interested in his techniques as he demonstrated them at the keyboard of the Rees Carillon. The conference adjourned in the late afternoon with some of the attendees remaining in Springfield for the International Carillon Festival.
The 37th International Carillon Festival in Springfield, Illinois, was held at the Rees Memorial Carillon in Washington Park from May 31 through June 7, 1998. The eight days of the Festival were filled with carillon-related activities, culminating each evening in two or three recitals by guest carillonneurs. This year's recitalists were Albert Gerken, Kansas; Ann-Kirstine Christiansen, Denmark; Ray McLellan, Michigan; Bob van Wely, The Netherlands; Gert Oldenbeuving, The Netherlands; Koen Cosaert, Belgium; Sue Jones, Illinois; and host Karel Keldermans.
The first evening of recitals featured Albert Gerken and Karel Keldermans performing original compositions and arrangements by Ronald Barnes (1927-1997). This evening of special tribute to North America's premier composer for the instrument was especially meaningful to festival audiences who had come to know Ron Barnes as a frequent participant and visitor to the Festival. During the rest of the week, Barnes' works were prominently featured in recitals by other guest carillonneurs. Huge crowds gathered Saturday evening for the traditional gala fireworks to the accompaniment of carillon music.
The French Carillon School was established in 1971 in Tourcoing and has been associated with the Conservatoire National de Région de Douai since September, 1997. During the academic year, instruction is given at all levels: beginners, amateurs, professional, advanced, and virtuosity. Lessons are given regularly on Wednesday and Saturday mornings and are available on other days by appointment. Intensive sessions are available for those traveling from afar. Applied lessons are given alternately on practice consoles, the mobile carillon, and the belfry carillon. There is a mid-year exam, and a final exam with an international jury is held in mid-June to determine the award to be presented according to the guidelines of the National Music Conservatories: * Mentions: at the initial, preparatory, and elementary levels * Medals and Practice Diploma: at the middle level * Carillonneur Diploma: upon completion of program of study * Gold, Vermeil, Silver, and Bronze Medals: advanced level * Prizes and Certificates of Merit: superior level. (The Master Carillonneur Diploma is awarded as the Premier Prix at this level.) Since its inception, the French Carillon School has awarded twenty carillonneur diplomas (nine to foreigners) and ten Master Carillonneur Diplomas (three to foreigners). A class of virtuosity, a class for the preparation for international competitions, and a special course for the preparation for the State Diploma and Certificate of Aptitude for carillon instruction were recently established. There is an annual registration fee but no tuition. For information and registration, contact: Ecole Française de Carillon; 39, rue de l'Université; 59500 Douai; France. Phone/Fax: 33.3.27.93.58.33. Lessons are available in Tourcoing-contact Bruno Membrey; rue Paul Doumer; 59200 Tourcoing. Beginners can study in Dijon-contact M. Alain Chobert; 2 rue de Tillot; 21000 Dijon.
