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Bigelow & Co. Organ Builders, American Fork, Utah

Fortieth Anniversary

Opus 42

Saint John’s Episcopal Church, Fishers Island, New York

 

From the builder

Forty years—and forty-two organs— ago Bigelow & Co. was born. Looking back, it has been quite a ride. After training with master organbuilder John Brombaugh in Ohio, I set up shop in Utah, married the girl of my dreams, and went to work. Dr. David Rothe in Chico, California, showed incredible faith by signing our first contract. His organ featured “either-or” registration whereby a stop can be registered on either manual, thus lending flexibility with just a handful of stops. I liked the idea of giving broader appeal to the small, less expensive organ. In fact, we’ve built a number of “either-or” instruments since then, including our most recent work featured in this article.

I recall as a youth drooling over pictures of the great organs of Europe such as St. Bavokerk, Haarlem, and St. Johannis Kirche, Lüneburg, I never dreamed that I would visit them someday, sketch pad in hand, recording their beautiful cases not only on paper, but also in my mind and heart. Their visual excitement was equaled only by their magnificent sound. I was in heaven then, and I continue to be in heaven each time I get to design an organ case or experience a finished instrument. Opus 42 is no exception. It incorporates the church’s original 1929 organ case by Skinner Organ Company, which we upgraded to display new speaking pipes. We also replaced the original grillework in the two flats with new treble pipes and matching pipe shade carvings for heightened visual appeal.

My wife says it is time to retire, but I do not think she would like me hanging around the house so much. Besides, it is pipe organs that I love to build!

—Michael Bigelow

 

From the vice president and tonal director

I consider it a great blessing to have been employed at Bigelow & Co. during my entire organbuilding career—over thirty of the forty years of its existence. During that time I have learned much, and I still enjoy the challenge of designing mechanisms and sounds to fit different, sometimes difficult, situations. Our Opus 42 at St. John’s Church, Fishers Island, was not our first chamber installation, nor was it our first experience in building a mechanical-action instrument into existing casework. It was, however, our first experience with an instrument speaking into the chancel, and the low impost of the historic case presented significant mechanical challenges.  

Like most of our smaller instruments, Opus 42 uses our “either-or” registration system, whereby most stops can be registered on either one manual or the other. The availability of some re-usable pipes (16′ Bourdon, 8′ Principal bass, and Voix Celeste from Skinner, the bass octave of an earlier string, and the more recent wood 8′ Gedeckt) made for a somewhat richer disposition than would have been otherwise possible within our budget. In lieu of our more typical mutation stop,  the open metal 8′ Treble Flute was chosen, as it seemed to be more in keeping with late nineteenth-/early twentieth-century tradition. The sub-octave coupler was a special request—no other Bigelow organ has one—which, besides the more obvious advantages, makes it possible for an incredibly rich ensemble of six flue ranks to sound together at 8′ pitch!

I honestly cannot think of a happier installation experience than this one: wonderful people, a beautiful and relaxing environment, and a delightful instrument coming together in a lovely place. 

—David Chamberlin

 

From the organist

I first stepped off the Fishers Island Ferry in June of 2014. After several conversations with colleagues who had served the church in the preceding years, I knew St. John’s to be a summer community that values worship and the role the church plays in the unique pattern of island living. At the time of my hiring, the vestry communicated their hope that I might help them discern the best path forward for their organ, which had become as much a financial liability as a musical one. Having spent considerably on the instrument just a few years earlier, they were rightly cautious about continuing to sink resources into stopgap measures. Several conversations were held in regards to the respective merits of rebuilding the old organ or replacing it with a new pipe or digital instrument. To their great credit, the members of the vestry did considerable diligence in researching each option, and after a short period of prayer and discernment, the decision was made to commission a new pipe organ for the church. 

In an effort to instill confidence in the project and to avoid saddling future organists with my own musical preferences, I encouraged the church to engage Jonathan Ambrosino as an independent consultant. Jonathan shepherded us through the process of soliciting and reviewing proposals, helped to communicate effectively with the congregation, and ultimately served as a liaison between the church and builder throughout the processes of design, construction, and installation. After reviewing compelling proposals from four builders, the unanimous decision was reached to engage Bigelow & Co. to build the new instrument. It was immediately evident to all that the proposal written by Mike Bigelow and David Chamberlin not only respected the understated beauty of the setting, but also addressed several of the challenges particular to an island organ that only sees full service for about sixteen weeks of the year. Their mastery of the “either-or” registration system resulted in an instrument that is uncharacteristically versatile for its size, while the added sub-octave coupler contributes an undeserved range of color and depth. 

Now having completed its first summer of service, it is clear that this instrument will be a lasting source of pride for the Fishers Island community and a testament to the artistry and craftsmanship of Bigelow & Co. A happier result surely could not have been possible.  

—Brent Erstad

 

From the consultant

Over the past fifteen years, I have been variously involved with the chapel organ at Saint Paul’s School in Concord, New Hampshire. Working there made me aware of Saint John’s Episcopal Church on Fishers Island, in Long Island Sound, a parish with a long connection to the school. A number of alumni are church members, and the current rector and many organists have served both institutions (the school term dovetails neatly with the summer service schedule). Colin Lynch and Brent Erstad are two Saint Paul’s chapel organists who also served at Fishers; Andrew Sheranian and Michael Smith have also served. While none of them ever raved about the organ, they all spoke warmly of the place and its people.

In July 2015, Saint John’s got in touch about how to proceed with the instrument. It had begun life in 1929 as a humble eight-rank Skinner, with much of the Swell duplexed to the Great, a lone Pedal Bourdon, and no reed. Its alcove location was about as enchambered as could be imagined. In the 1980s and later, Alan McNeely revised the instrument into a full-bore two-manual of 22 ranks, with additional Pedal, Antiphonal, and eventually a few memorial digital voices. But the organ’s environment spelled its doom. The blower and some mechanism lived in a basement rife with dampness; salt and moisture played havoc with key contacts; the disused 1929 Spencer blower stood in a corner, a pile of rust and humiliation. In its final years, Ed Odell and Scot Huntington serviced the instrument.

While a part of New York State, Fishers is reached by ferry from New London, Connecticut. My maiden visit, however, was by air. Patrick Aiken (organist-choirmaster of Central Congregational Church in Providence) kindly flew me down in his Cessna 172, and it made for a storybook introduction to the place: perfect weather, majestic island vista, corkscrew descent, a trim touchdown at Elizabeth Field. The senior warden’s smiling aunt met me in what Connecticut people call a “station car”—an old beater to take back and forth to the train. Saint John’s Church itself is a microcosm of the island: not fancy or ostentatious, a few dignified appointments of restrained beauty and appropriate scale, people of obvious class with nothing to prove. The grandeur of the island, the smart folk, the effort required to get there, a station car: here was a particular slice of vanishing old New England.

Later that morning, through a sea of intermittent notes and other issues, I heard Brent Erstad accompany two morning services. While twenty-two ranks is hardly large, still, this is a village church. The organ’s size had grown out of phase with the place, not merely the building but the congregation’s very sense of itself. These people clearly enjoyed singing hymns together. They needed only a solid and straightforward organ to lead them. A new tracker, flexible but in proper scale, seemed the thing. Once the vestry understood that a long-term solution did not need to be dauntingly expensive, four mechanical-action builders were invited to propose.

The church took this assignment seriously. Rather than dangle a prospect and see who would jump highest, the church gave each builder a stipend to cover at least some of the travel to Fishers and the warmest of welcomes. In place of a stern Request-For-Proposal, the church provided a statement of goals, outlining the vestry’s hope that each builder might be inspired to propose something as individual as the place itself. Ultimately, Bigelow & Co. was chosen, partly from their track record with appealing and flexible smaller organs, partly for a genuine enthusiasm to work with the original simple case-front.

In 2017, a Boston team of Joe Sloane, Amory Atkins, and Dean Conry took away the old organ, salvaging a few unaltered Skinner ranks. This set the stage for the church’s conscientious caretaker, Andrew “Ace” Ahrens, to prepare for the new instrument. The chamber was rehabilitated and shortened, and the rear portion sectioned off into a new blower room. Keeping the entire instrument out of the basement sealed it from the worst effects of dampness. In the church itself, floors were refinished, and a bit of new carpeting replaced a great deal of old. The organ arrived in April 2018 and was brought into use in May, the builders being beautifully seen to by Ace and other vestry members. Brent Erstad gave an opening concert on July 7, assisted by tenor Andrew Brown. He and Dan Moriarty have been playing this summer.

It is wonderful to work with a church that suffers no confusion of aims. Not even six months from the first email, Saint John’s had contracted with
Bigelow. Having decided what was right, they dove in headfirst, kept sharp at every turn, and celebrated in style. It is always a delight to work with such fine people and good builders. The best part comes in knowing that the people of Saint John’s now have a tasteful organ as timeless as their parish, their building, and their faith.

—Jonathan Ambrosino

From the rector

Over three years ago, when Saint John’s Church on Fishers Island was facing the challenge of replacing the failing ninety-year-old Skinner organ, installing another pipe organ was not the preferable option. In fact, the challenges of maintaining the current instrument, the weather fluctuations on the island, and the limited use of an organ in this seasonal summer chapel were all compelling reasons to go the digital organ route. However, St. John’s was also gifted with a plethora of accomplished organists who had visited the church over the summers, connected with our vestry and congregation, and encouraged us to consider another opportunity to install a new pipe organ in the church. 

We are a congregation that loves to sing, and we value an instrument that not only provides the backdrop to our voices, but also can join with us as a living presence in the worship space. Brent Erstad and Jonathan Ambrosino walked with us down the road towards another pipe organ and encouraged the welcoming of a new instrument. When we met Michael Bigelow and read his carefully prepared proposal, we knew that he was the one who would not only create a wonderful and appropriate instrument for the church, but also would do so in a way that honored our history and supported our future with a beautiful instrument. 

Over two years later, we were pleased this summer to share the voices of the W. Richard Bingham Memorial Organ, Bigelow Opus 42, in an inaugural concert played by Brent Erstad. The congregation is very appreciative of the new instrument and we have launched an organ concert series this summer that we hope to continue in the future, featuring not only organ recitals, but also silent films with organ accompaniment, spirited hymn sings, and a three-day choir camp on the island for students from a local independent school. We look forward to continuing these offerings as an outreach not only to our church community, but also to the community of Fishers Island and beyond. 

Saint John’s is immensely grateful to all those who contributed to this project: the many donors whose support made this a reality, especially the family of W. Richard Bingham after whom this instrument is named, the counsel and expertise of Jonathan Ambrosino and Brent Erstad who shepherded us through the process, the artistry and skill of Michael Bigelow and his team at Bigelow & Co., and the support of the vestry and members of St. John’s Church. We look forward to many years of enjoyment as this new organ adds its voice to ours in celebrating all of the moments of our spiritual journey for generations to come.

—The Reverend Michael Spencer

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John Bishop

John Bishop is executive director of the Organ Clearing House

 App-titude

I admit it. I’m a Mac-junkie. After my Blackberry fell out of my shirt pocket into a hotel ice bucket, I tried an iPhone (everyone’s doing it) and found it easy to use. I used PC’s since they were first widely available until last winter, when for the third time in not enough years I had to replace a recalcitrant laptop. Because I liked the iPhone so much, I bought a MacBook and was immediately delighted by the clarity of the screen, the fast response, and the ease of navigation. Now I’ve added an iPad to my arsenal and I’ve become hooked on the new and exploding world of Apps. 

I have Apps that convert measurements between English and metric, manage to-do lists, give weather forecasts, find restaurants and local tides, warn of heavy traffic, measure decibels, and even provide a carpenter’s level and plumb-bob—all useful and relevant to my work and lifestyle. I have New York Times crossword puzzles, I love playing Words with Friends, and I even have Peterson’s Birds of North America, complete with audible calls.  

New York’s Metropolitan Transit Authority has a great App called iTrans NYC (free). Stand on a street corner in Manhattan, touch the app’s location button, type in your destination, and you get a subway route complete with (amazingly accurate) schedules and related street maps. Want a quick lunch? Open your maps App and type in “diner.” Thirty little red pins fall out of the sky onto your screen. If you’re in Manhattan, you’re never more than two blocks from a diner. Does that whet your App-etite?

The other day my colleague Joshua Wood showed me the Starbucks App. It has a locating feature—touch a button and you get a map with pins showing the nearest Starbucks stores. You set up an account with a password and credit card, tap a button and the screen shows a barcode. The cashier flashes the little barcode gun at your phone, and you’re in Joe. I know perfectly well that if Starbucks is holding twenty-five of my dollars, they’re holding twenty-five dollars from a couple million other people, so on the short term they have the use of fifty million dollars, but I still like having the App. It makes me feel as though I belong, just like the turnpike EZ-pass that allows me to drive around a line of traffic—it’s better (and probably safer) than a backstage pass for a Rolling Stones concert. The dirty little secret is that when I was setting up the Starbucks App it didn’t want to accept my credit card, so I tried again, and again, and again. The next morning there were seven twenty-five-dollar charges on my bank account, but only one registered on my phone—I’m going back to basics by relying on the cheerful tellers in the bank branch to help sort that out for me.  

There’s a magnificent and innovative App on T. S. Eliot’s poetic masterpiece, The Wasteland ($13.99), which includes a filmed dramatic (memorized) reading by actress Fiona Shaw, complete audio recordings by Ted Hughes, Alec Guinness (among others), and by T. S. Eliot himself, all synchronized to the published text. Most interesting are original manuscript pages with editing marks by Ezra Pound. Now that’s educational. Think of all the great works of art and literature that could be analyzed and presented in this format.

 

App-arition

The Roman Catholic Church has approved an App called Confession ($1.99), which claims to be “the perfect aid for every penitent,” and especially useful for those who have been away from the confessional for a long time. Like any other App, there’s a process you follow to open a “User Account” with password. Once you’re in, you open an “Examination” page to get a list of the Ten Commandments. Click on a commandment and you get a checklist of questions, a catalogue of sins, if you will. When you’ve been through all the commandments and clicked all the sins that apply to you, you have the option to create a custom list, typing in your own free-style personal failings. You are then instructed to take your phone with you to the confession booth and told how to address the priest. For reference when you’re finished, there’s a handy page with various Acts of Contrition. You are required to enter your password frequently, protection no doubt against allowing your private thoughts to fall into the wrong hands. A warning window clearly states, “This App is intended to be used during the Sacrament of Penance with a Catholic priest only. This is not a substitute for a valid confession.” I suppose marriage counseling is next.

Reminds me of the gospel song made popular by Manhattan Transfer:

 

Operator, give me information.

Information, give me long distance.

Long distance, give me Heaven.

 

Operator, give me Heaven,

Give me Jesus on the line . . .

(Find the complete lyrics at www.lyricsfreak.com/m/manhattan+transfer/operator_20087469.html.) Great song.

The Women of the ELCA (Evangelical Lutheran Church of America) have published an App called Daily Grace. The website says:

 

Daily Grace is an on-the-go companion for your journey, offering a faith reflection every day. In these brief writings you’ll encounter God’s extravagant, boundless and often surprising grace. You will be comforted, challenged, inspired, consoled and confronted. The daily reflection will stir you to live out your baptismal calling. Take time to reflect, offer a prayer and prepare for the day. Read the daily message or choose Random Grace.

 

Random Grace. Does that pair with Custom Confession? What’s going on here?

There are lots of Apps out there useful to church musicians. Google “lectionary app” and you’ll get an assortment of choices—one is free this weekend. The hymnals of the Evangelical Lutheran Church, Episcopal Church, Methodist Church, Church of Latter Day Saints, Adventist, and Presbyterian Church are available as Apps, as is the Book of Common Prayer, the Bible, the Quran, and the Talmud. Think how much work you can get done on the train.

But there’s also the silly. Google “pipe organ app” and you’ll find a thing from MooCowMusic that puts a two-manual organ with stop knobs on your iPhone. The website says you can “add gravitas to any situation.” I bought the Confession App out of curiosity, but I’m not curious enough to bother with the MooCow organ. If any of you out there get it, let me know how it works. I have better uses for my ninety-nine cents.

The First Church in Boston’s Back Bay is a large and central Unitarian Universalist congregation. The original stone gothic building was destroyed by fire in 1968; all that remains is the east- facing “West End,” replete with rose window and a stately stone spire. These relics embrace the striking replacement designed by Paul Rudolph, which houses a neo-classical Werkprinzip organ by Casavant. The quirky interior space of the sanctuary includes several unusual windows that splash sunlight across the façade of the organ at astronomically predictable intervals each day. The first time I tuned that instrument I was aware late in the morning of a dramatic stretch of the pitch—all the pipes were tuning with the slide-tuners in just the same spot on each pipe, but suddenly a couple octaves of pipes were too short to reach pitch, and I realized that the façade pipes (Rückpositiv 4′ Principal, which I was using as the tuning stop) were heating up in the brilliant sunlight. Wait an hour for the sun to pass across the window and you can start up again.

I was discussing the strategy of tuning the organ with Paul Cienniwa (organist at First Church, and author of an excellent recent article in The Diapason on the memorization of harpsichord music, September, pp. 24–25) and we agreed that during the upcoming tuning session we would install thermometers in each division of the organ so we could develop a record of the temperature and pitch. Paul whipped out his iPhone and opened the App called ClearTune ($9.99), entered the “calibrate” mode, and we recorded the pitch of the organ.

I was trained to tune “by ear,” setting my own temperaments with a neat system of double-checking, eschewing electronic “crutches,” but I was intrigued by the convenience and simplicity of using my phone this way. I downloaded the App that evening and quickly learned its capabilities, and the next time I made a service call I experimented using the App to set a temperament, then checked it carefully using my system. I made little corrections to a couple intervals, but was surprised at how quickly and accurately I was able to get the tuning started. I continued as usual, tuning other ranks to the original pitch stop, but I know this new tool saved me some time.

Now I see an App called Organ Tuner ($169.99). It has a large variety of historic temperaments, strobe displays and spectrum graphs for accurate matching of pitch, it tracks temperature and adjusts itself when the temperature changes, and sets itself to allow you to tune mutations at your given pitch level. I downloaded and printed the instruction manual—I think I’ll read it before I make the plunge. I’ve never paid more than fifty dollars for an App—that was for The Professional Chef, published by the Culinary Institute of America. (Last night I learned from my iPad how to cut Grapefruit Suprêmes to make a wonderful salad with spinach, avocado, and balsamic vinaigrette.)

§

When President Nixon’s White House tape-recording system was revealed by Alexander Butterfield during questioning by the Senate Watergate Committee in July of 1973, a political firestorm ensued during which one disbelieving White House operative commented that eight years of recordings would take eight years to listen to. There is such a thing as too much information. The world of information, helpful tools, and amusements available to us as Apps has no practical limit. I googled the question to learn that there are more than 300,000 iPhone Apps and 60,000 for iPad.  

As I write today, googling my way through my questions, I’ve bought and downloaded five new Apps. The Episcopal Hymnal (1982) is downloading at the moment—simultaneously on all three of my Mac devices. (Have I told you about iCloud?) That means I’ve added an hour or so to the amount of time it takes to write this column. Does this represent a net-gain in my productivity? Will I gain that hour back later in the week because an App saves me time?

This morning I read last week’s New Yorker magazine on my iPad where the App nestles in Newsstand. A cartoon shows a group of people sitting around a restaurant table. The plates were empty (so the food must have been good), there were lots of empty wineglasses, and everyone seemed to be having a good time except the couple in the foreground. He was buried in his iPhone. With a cross look on her face she was saying, “Fine. Sit there and check your messages. Perhaps it will give you something to contribute to the conversation.” Oof. How often have you dived into your phone to google the answer to a question that comes up at dinner with friends? Our daughter Meg hates that. She says that in conversation we should rely on what we know. Maybe she’s right. Maybe if we rely too heavily on our phones for every thing we do we’ll lose the information we’ve worked so hard to cram into our brains.

But I love having all this information and entertainment so easily available. It’s especially helpful to me because I travel frequently and by carrying a couple slim lightweight devices I have encyclopedias at my fingertips. I can navigate effortlessly in foreign cities. I can communicate instantly with people around the world. And I have plenty to do while sitting on a plane.

But I’m in danger of separating myself from my art. There are Apps that play music, and Apps that allow you to record music, but there’s no App that performs music. There are Apps that register decibels and pitches, but there’s no App that can voice or tune an organ pipe. There are Apps that crunch numbers and measurements, and Apps that show level and plumb, but no App that can read the grain in a piece of wood before it goes through a planer or a table saw. The organbuilder still has to know that wood warps “across” the grain—that the grain in a pallet has to be vertical or warping will cause ciphers, and the grain in a keyboard has to be horizontal or the keys will warp into each other. When you’re standing at your saw working through a pile of wood, you pick up each piece, glance at it with your trained eye, and flip it around in the right direction before you push it to the blade.

No matter how many Apps we carry, when we’re involved in the arts we must leave open the possibility of Operator Error. No risk, no gain.

I’ve carried on about the convenience and accuracy of tuning Apps, but when I check a temperament by ear that I’ve set using an App I almost always adjust a few notes to make it sound better. The App has saved me some time, but if the proof is in the pudding, my fifty-something-year-old ears are still the best tools I have. I hope I don’t get lulled into losing my ear by tuning to a graph.

There’s no App to work out the fingerings of a difficult passage. The idea that every organist would use the same fingerings is as ridiculous as claiming that every organist has identical hands. There’s no App to choose registrations—you try different combinations, listening creatively and critically until you find the right sound for the moment. The idea that you would use the same stops on a given piece at every organ you play is as ridiculous as claiming that every organ sounds alike.

There’s no App to help you balance the voices in a choir. As director, you listen creatively and critically, coaxing each member of each section to the right slot. The idea that some machine could take the place of all that human artistic interaction is as ridiculous as thinking that every choir has the same issues. 

And there’s no App that diagnoses a mechanical glitch. The organ technician senses the problem and verifies it with his eyes or by the touch of his finger on the key.

I have a great idea for an App, and I know I’ll never act on it so anyone qualified is free to develop the idea. There should be an App with a twelve-step program for people addicted to Apps. It would be called App-endectomy. Go for it. I’m exhausted by all this deep research. I think I’ll take an-App. (No App-nea.)

by Herbert L. Huestis

The organ world of the Internet is indeed awash in web pages--a tangled mass of advertising with each "www.com" page clamoring for the "net-surfer's" attention. Some are merely informative sites, while the greatest share are "home pages" of organ builders and technicians. No one wants to be left out of the world wide web--there are books in every drug store promoting the benefits of advertising on the Internet. Someone behind every new web page is hoping for a bit of the largess that is promised by the purveyors of a new form of drug store novel: How to Succeed on the Web! What was once a vehicle for research and information is looking more and more like a topsy-turvy "yellow pages."

That being said, the situation will surely get worse before it gets better. Here and there one finds various sites that guide the earnest user amongst and between the "billboards," so they can find topics of real interest. The first bit of advice to organists who want to let their "fingers do the walking" on the Internet is to start with major "links" in the organ world, rather than trying to sort out the thousands of entries that are listed on the "search engines" like Webcrawler, Lycos, Yahoo, InfoSeek and Alta Vista.

Some links are found right where you would expect them--for example, The American Guild of Organists at http://www.agohq.org and the Royal College of Canadian Organists at http://www.capitalnet.com/~rjewell/rcco.html. Many fine offerings may be found at "Pipe Organs and Related Topics" at http://uacsc2.albany.edu/~piporg-l and of course, The Diapason at http://www.sgcpubs.com/thediapason.html and The Osiris Archive at http://osiris.wu-wien.ac.at/earlym-l/organs.

A most unexpected listing of pipe organ subjects appears under the "Nerdworld" banner at http://www.nerdworld.com.nw8061.html. Here the reader will find the American Pipe Organ Builders Association pages, resource pages for finding recordings of pipe organ related compact disks, and the usual organ builders' home pages!

Enough of internet jargon--perhaps it is useful to highlight typical people and places that serve as tour guides to this electronic malaise of competing "addresses." There are a few personalities who have emerged as leaders in "OrganNet" happenings. Here they are:

Ben Chi and Piporg-L

http://uacsc2.albany.edu/~piporg-l

The Piporg-L list remains as the most successful email gathering place for organ enthusiasts. The links presented here are logical and well organized. An evening spent perusing information and organizations here will be rewarding indeed.

Steve Fox and The Seattle Pipe Organ Scene

This is a fine example of "area" tours that are available on the net. Similar examples may be found all over the world. Armchair travelogues abound, and thanks to the web, world-wide commuters can plan the itinerary of any trip around organs of a geographical area. Steve can be found at http://www.eskimo.com/~sfox/seaorgan.htm.

Maureen Jais-Mick and AGO online

Ongoing columns in The American Organist serve as an excellent guide to OrganNet surfers. Its not a bad idea to clip out these columns and keep a little notebook of worthy places. Look for Maureen at http://www.agohq.org/-tao/agonline.html

Ross Jewell and Christopher Dawes of the RCCO

These two gentlemen are the "communications" department of the RCCO and their guide to the net is very focused and well organized.

Nerdworld

Nerdworld links are available in an extensive number of subject areas and topics of interest. This straightforward listing tends to highlight important organizations and associations and picks up important links that are hard to find elsewhere.

Here are a few tips to help unravel the morass of information you will encounter in a typical jaunt on the Internet.

Bookmark your interesting links

All internet software has long provided a means to "bookmark" points of interest found in an evening's surfing. That little mouse button called "add bookmark" can be extremely handy if you want to return to the scene of the crime to gather a bit more information later.

Saving documents

"Control-S" usually saves the document you are scanning directly to your computer. It's a sort of "quick ftp" meaning "file transfer protocol." That means you can almost effortlessly gather complete web pages and organ tours by "copying the file," or "saving as . . . "

Open a simultaneous word processor while you are "surfing"

It can be most helpful to open a word processor in your computer before you open your web browser. This means that if you come across an interesting address or site location, you can "copy" a bit of the screen text you encounter for future reference.

Keep a "link" notebook

This is the usual enjoinder to "organize your thoughts." It seems that "surfing" on the net suggests that the computer user is mindlessly floating from one bit of information to another, when in fact, we know that the human brain does not actually have to operate that way. Many folks are natural organizers in many aspects of their life, and once they sit in front of their computer, they have the option managing their time there, just they do in other aspects of their work and leisure. It's odd that people who would not take a motor trip without a planned itinerary will park themselves in front of the computer screen and mindlessly click the mouse without thinking "where am I going and what am I doing?"

Take heart. You can plan your computer commute the same way you plan other activities. As they say, "Just do it!" If you take the time to write down your preludes and postludes and choral anthem of the week--you can make a few notes of the sites you want to visit--that way you can reduce your computer time a bit, so that you don't raise the dander of the "computer widow (or widower)" in the other room. Bon Voyage!

Joyce Johnson Robinson

When meeting Kimberly Marshall, one’s first impression is that of great energy. That impression lingers as one encounters her presence in written publications and recordings—she seems to turn up everywhere and indeed, she has performed and presented at American and European conventions and conferences, has written entries for Grove and other music dictionaries, recorded organ music from the 15th to the 21st centuries, and even made videos to illustrate exercises for organists (Marshall kindly produced one for The Diapason).

A native of Winston-Salem, North Carolina, Kimberly Marshall began organ studies in 1974 with John Mueller at North Carolina School of the Arts. After studies in France with Louis Robilliard (1978–79) and Xavier Darasse (1980–81), she returned to North Carolina and completed her undergraduate studies with Fenner Douglass in 1982.

With a full scholarship from the British government, she pursued graduate studies at the University of Oxford (1982–86), earning a D.Phil. in Music for her thesis, Iconographical Evidence for the Late-Medieval Organ. During her time in England, she won first prize at the St. Albans Organ Interpretation Competition in 1985, leading to a contract with the BBC and a recital on the Royal Festival Hall series.

In 1986, Marshall was appointed assistant professor of music and university organist at Stanford, where she presided over organs by Fisk (dual-temperament, 1984) and Murray Harris (1901). Awarded a Fulbright Scholarship in 1991, she continued her research and teaching at the Sydney Conservatorium in Australia. From 1993–96 she served as dean of postgraduate studies at the Royal Academy of Music, developing a new master’s degree in advanced performance studies, awarded in conjunction with King’s College London. 

From 1996–2000, Marshall was a project leader for the Organ Research Center in Göteborg, Sweden, where she taught and performed. Under the aegis of GOArt, she organized the first conference ever devoted to organ recordings, “The Organ in Recorded Sound,” and has edited its proceedings.¹ Appointed to Arizona State University in 1998, Marshall (now Goldman Professor of Organ) oversees the graduate organ studio and presides over the instrument by Paul Fritts (1992). 

Kimberly Marshall has performed and done research worldwide, from a sabbatical in Pistoia, Italy, researching early Italian organ music, to performing on many historic organs, including those in Roskilde Cathedral (Denmark), St. Laurenskerk, Alkmaar (Netherlands), the Jacobikirche in Hamburg, and the Hildebrandt instrument in Naumburg, Germany, which Bach examined in 1746. She has also presented concerts and workshops on early music in Sweden, in Israel, at the 2007 Early English Organ Project in Oxford, and at the Festival for Historical Organs in Oaxaca, Mexico.

Marshall’s publications reflect her eclectic interests. Examples include Rediscovering the Muses (Northeastern University Press, 1993), her edition of articles on female traditions of music making; entries for the Cambridge Companion to the Organ (1998), the Grove Dictionary of Music 2000, and the Oxford Dictionary of the Middle Ages (2012); and her anthologies of late-medieval and Renaissance organ music (Wayne Leupold Editions, 2000 and 2004). 

Marshall’s recordings (over a dozen, at this writing) cover a wide spectrum, including music of the Italian and Spanish Renaissance, French Classical and Romantic periods, and works by J. S. Bach. Her most recent CD, The First Printed Organ Music: Arnolt Schlick, celebrates the music of Arnolt Schlick on the 500th anniversary of its publication (2012). A CD/DVD set, A Fantasy through Time (Loft, 2009), featured the organ fantasy genre across five centuries, from Ferrabosco and Sweelinck through Jehan Alain. Marshall has collaborated as organist for a recording of Chen Yi’s organ concerto with the Singapore Symphony (BIS, 2003). Her recording of works for organ by female composers, Divine Euterpe, includes music by Fanny Mendelssohn Hensel, Elfrida Andrée, and Ethyl Smyth.

While at Stanford and the Royal Academy of Music, Marshall gave performances of organ works by Ligeti in the presence of the composer, and she has been an advocate for music by Margaret Sandresky, Dan Locklair, and Ofer Ben-Amots. In a recent article, she described the new Gerald Woehl organ in Piteå, Sweden (“The ‘Organ of the Future’ in Sweden’s Studio Acusticum,” The American Organist, February 2013, pp. 62–65). Her publications and recordings can be found at http://en.wikipedia.org/wiki/Kimberly_Marshall. 

Marshall also maintains a vibrant website (www.kimberlymarshall.com) and a Facebook page, and she can be found on YouTube performing everything from Christmas favorites to Widor. Marshall also has created exercise videos tailored to the organist, in which she demonstrates moves and stretches that work on muscles most used by organists. In person and even via the telephone Marshall communicates a passion both personal and professional, and we wished to explore the life and work that has ensued from such energy and enthusiasm.

Joyce Johnson Robinson: Do you come from a musical family? 

Kimberly Marshall: My mother is very musical and had a beautiful singing voice, but she had very little formal training. Her mother had played the piano, so when I was seven, she asked if I’d like to study the piano. We didn’t have an instrument in my home until my parents bought an upright piano for my practice.

 

What ignited your love of organ music? 

I had the great luck to be born in the town where John and Margaret Mueller were teaching. Margaret is a legendary organist, and she became my piano instructor when I was thirteen. She is a master teacher for young musicians, and she opened my ears to the expressive possibilities of the piano. John attended one of my piano recitals and invited me to study organ with him. What an honor! I began my studies with him on the beautiful Flentrop organ at Salem College, and the next year continued my work as a high school student at the University of North Carolina School of the Arts. Dr. Mueller’s enthusiasm and the range of timbres available on the Flentrop organ sparked my passion for the organ.

 

What works were some of your first favorites?

I was very enamored of French music from the start, Alain’s Litanies and Franck’s Choral III being two of my early favorites.

 

You received a full scholarship from the British government for your graduate work at Oxford. Is that unusual for an American?

Each year, the British government awards up to 40 “Marshall” Scholarships to Americans to pursue graduate degrees at British universities. The Marshall Aid Commemoration Commission was set up in 1953 as a gesture of gratitude to the United States for the Marshall Plan. Scholars in many fields have studied on Marshall Scholarships—Thomas Friedman, William Burns, and Nannerl Keohane, to name three—but there have been very few musicians in the 60-year history of the awards. Perhaps the common family name helped me, although I’m not aware of any direct link to George C. Marshall.

 

You had a contract with the BBC. What did that entail?

This was part of my St. Albans prize, and it started with a recording of my prizewinner’s recital that was later broadcast on BBC. The first contract meant that I was on the books, so to speak, and I was later asked to do other projects, such as recordings at Birmingham Town Hall and London’s St. John’s Smith Square.

 

You’ve done a great deal of work in the areas of medieval and Renaissance organ music. What are the elements of early music that appeal to you?

My interest in early music was sparked by my experience with historical organs while an undergraduate in French conservatories. As a high school student working with John Mueller at the University of North Carolina School of the Arts, I had focused mainly on Bach and French romantic music, which led me to continue studies with Louis Robilliard at the Lyon Conservatoire. Every day, I practiced Franck, Liszt, and Messiaen on the beautiful Cavaillé-Coll organ at St. François-de-Sales—it was a marvelous time in my life! After gaining the Médaille d’Or in Lyon, I decided that I should spend some time in Paris working on early music. I was planning to study privately with André Isoir, whom I had met during one of the Salem College summer organ academies, and whom several of my fellow French students had recommended warmly. 

I remember arriving early for the Sunday morning Mass at St. Germain-des-Prés, hoping to go up to the tribune with him, when who should appear but Isoir’s colleague, Odile Bailleux, who hurriedly invited me up the stairs so that she could start the prelude. During the course of the Mass, she played a number of French and English baroque pieces. I loved her playing and her personality and impulsively asked if I might study with her. She agreed, and so I began having lessons in early music with Bailleux at St. Germain. I also went to hear Chapuis play at St. Sévérin in the Latin Quarter whenever possible, and I attended Saturday workshops with him and Jean Saint-Arroman at Pierrefonds, near Compiègne, on an organ built in historical style by Jean-Georges Koenig in 1979. This was a terrific initiation into the performance practice of French Classical organ music, which, with Buxtehude and Pachelbel, was the first pre-Bach repertoire I learned.

 

So you began with French Romantic repertoire and then started playing the tape backwards, so to speak, moving back into French Classical. What specifically appealed to you about medieval and Renaissance works? 

Again, I was inspired to learn about Renaissance music because of my experiences with historic organs. I remember visiting the gorgeous Piffaro organ (1519) in Siena’s Santa Maria della Scala with Umberto Pineschi and Joan Lippincott in the late 1980s. We were enchanted by the gravitas of the 12′ Principale, by the shimmering beauty of the ripieno, and by the delicacy of the Flauto. But Joan and I didn’t know what type of music would have been composed for this instrument—the four-octave compass began at F (without low F# or G#) and was not conducive to baroque music. So we improvised and relished the sounds. Then I started doing some research, uncovering a treasure trove of 16th-century Italian music, including the first “St. Anne” Fugue, composed before 1570! (I published this in my Renaissance anthology for Wayne Leupold Editions, 2004.) 

The desire to demonstrate a historical organ with corresponding repertoire also motivated my research into Arnold Schlick. Years ago, I had the opportunity to perform on the 16th-century Genarp organ in the Malmö Museum, for which Schlick’s music is well suited. I’ll never forget that pedalboard because the sharps were so high that it made playing Schlick’s Ascendo ad patrem meum (with four parts in the pedal) easier than usual, although I had to take my shoes off to do it!

My interest in medieval music obviously did not come from playing historic organs, but rather from my study with John Caldwell at Oxford. As part of my course, I researched the early history of the organ, and I was naturally curious about the sort of instrument that would have accommodated the first surviving keyboard music—the Robertsbridge Codex, circa 1360. Caldwell is an expert on medieval music and English keyboard music, and he encouraged my efforts, giving me insightful suggestions about possible sources and the meaning of obscure Latin references. Another formative influence was my thesis advisor, Christopher Page, who founded Gothic Voices just a year before I began my studies at Oxford. Listening to Margaret Philpot and Rogers Covey-Crump recreating the music of Machaut and Dufay in New College Chapel transported me to new musical horizons. I was taken by the strange beauty of the music, and I wanted to reclaim the organ repertoire from this time. Page was the perfect mentor for me, a scholar/performer of the first order who was able to sell out major concert halls with a program of medieval motets and Renaissance chansons. I was inspired to include 14th- and 15th-century keyboard pieces on my own concert programs. 

Although I have had the chance to perform concerts at Sion and Rysum, I usually play late-medieval music on modern organs, trying to evoke something of its original creation through my articulation and registration. As I tell my audiences, we shouldn’t limit ourselves to medieval replica organs to bring this music to life in the 21st century. What if we hadn’t played Bach’s organ music until we had the perfect Bach organ?

 

You put a great emphasis on recital program design. Tell us how you approach programming.

I am fascinated by the many different types of organs that have been created and try to share this fascination with my audiences through interesting programming. My concerts often have a theme, such as A Fantasy through Time, a CD/DVD of organ fantasies from the 16th to the 20th century, or Bach Encounters Buxtehude, exploring through organ music the ways in which the Lübeck master might have influenced the young Bach.

I very much enjoy finding ways to link disparate types of music or to help the audience understand the development of a genre or organ type. Organ music preserved from the early 16th century shows the emergence of national styles, as German, Italian, French, and English musicians began exploring the organs they knew. So it’s a great way to demonstrate the distinguishing characteristics of organs in different European countries, many of which also correspond to some national stereotypes of the people in those countries!

Of course, the organ that I am playing must always be the starting point for any program to be successful. I try to show as much of each instrument as I can, sometimes finding unusual combinations that highlight the geographic or chronological variety of the music. If there’s a beautiful Quintadena or Regal, I need to determine how best to feature it. Because the compass required for 14th–17th century music is usually much less than that of contemporary instruments, it is often possible to play pieces up or down an octave, thereby employing different registers of the stop(s) than are normally heard. Building fine programs is like managing a restaurant, determining from day to day the best menus to take advantage of fresh, seasonal foods while also creating a special atmosphere for the establishment. Registering organ music is like being the chef, knowing the intrinsic tastes of each ingredient and finding inspired (and delicious!) ways to combine them.

 

Has your methodology of programming changed over the years?

Yes, definitely. My changing approaches to programming relate to changing expectations of audiences during the past 30 years. When I started concertizing, I would try to include standards of the organ repertoire, always a major Bach work, another German work (perhaps Buxtehude or Pachelbel), something French (some Couperin, Grigny, Franck, Dupré, Alain, or Messiaen) and at least one “outlier,” some Spanish or Italian music, or a contemporary piece (Albright, Heiller, Sandresky, Ligeti). Organ music was more mainstream then, and audiences knew many of the major works. I would try to give them a sampling of music they would recognize and then add some rarer gems to spice up the program. 

As audiences for organ concerts became less familiar with the instrument and its repertoire, I decided that I needed to introduce verbally the music I was playing. This was difficult for me at first, but I forced myself to do it because I felt that it was important to make a connection with the audience and to tell them what excited me about a particular work. I got a lot of good feedback after concerts, when listeners would say, “I especially appreciated your comments,” or “You really helped me to hear things in the music that I otherwise would have missed.” So I persevered, always planning my comments meticulously and memorizing them. (I later discovered that Winston Churchill had similarly written out his speeches, even including indications concerning their delivery, and memorized them, so that it appeared to audiences that he had a natural gift for public speaking.) 

I found that it helped the flow of my comments to have an overriding theme for the concert, so I began to craft programs that related to a type of music (say, dances or organ fantasias) or that showed influence from one composer or national school to another (such as Bach and the Italian influence or organ music by female composers). With time, the speaking between pieces became easier and more natural, so that now, instead of dreading my time off the bench, I can enjoy looking out at the audience and communicating my ideas to them with words as well as through music. And my themes have become more imaginative, such as “War and Peace” (from early battle pieces through Messiaen’s Combat de la Mort et de la Vie), “Number Symbolism in Organ Music,” and “Bottoms Up!” (a program with my fabulous tuba colleague, Sam Pilafian). Sometimes I am asked to prepare a specific type of program for an event. This happened when I was invited to perform an organ recital for the Lufthansa Festival of Baroque Music in London two weeks before the 2012 Olympics. The festival organizers were using the theme of competition, so they asked me to recreate the competition between J. S. Bach and Louis Marchand that was planned but never took place. I believe that such a programmatic approach can help bring in new listeners for the organ as well as add new dimensions to the experience of organ enthusiasts.

 

Let’s discuss your teaching. How do you present historical contexts to your students? 

I have a three-pronged approach to this. We study surviving treatises and instruments to learn from them about playing styles. We then develop interpretations of pieces from different national schools and time periods at a specific organ, determining ways to adapt the historical material to real-life performance situations. Finally, I draw links between what is happening in a specific organ school and what was happening in the broader musical, political, and social contexts in which the music was composed. It is vital for my students to listen to great performances of vocal and instrumental music from each of the traditions we study, so that they have a sound ideal in their minds before they try to achieve it at the organ.

 

How do you integrate web-based information with traditional bibliographic research methods?

The most important web-based information in my teaching is the availability of fine recordings through the Internet. Our university subscribes to the Naxos Music Library, and my students are constantly finding new sources of recorded music (and not only organ recordings!) to inform their interpretations. I also investigate historical recordings as part of my research (as seen in my article in The Organ in Recorded Sound), so I use the International Historic Organ Recording Collection (www.ihorc.com) and the Centre for History and Analysis of Recorded Music at King’s College London (www.kcl.ac.uk/artshums/depts/music/research/proj/charm/) whenever relevant to a student’s interests. 

I think my students teach me more about what’s out on the Internet than I teach them, although I certainly add a critical element that can be lacking for the generation that grew up on Google. Just because there’s a video on YouTube doesn’t mean that it’s an authoritative performance! Of course, my students and I benefit daily from music editions available through the Internet, especially public domain scores through IMSLP (International Music Score Library Project: imslp.org). Again, one must exercise critical judgment about the context of the original edition, since many reflect the scholarship of the late 19th and early 20th centuries, which is why they are in the public domain. In some cases the scholarship was very sound, but new sources and approaches during the second half of the 20th century may make old editions obsolete, so one must be cautious and not just latch onto the first edition that pops up in the browser.

 

Given the ubiquity of electronic devices and technologies, do you find that students have more trouble maintaining focus and patience? 

Since my teaching is specialized, I haven’t encountered this problem directly, but colleagues who teach more general courses often complain of the need to present material in “sound bytes.” Organists have great powers of concentration, so I’m not sure that my students are a barometer of what may be happening more generally with regard to attention spans in our culture. 

 

Do your students embrace early music as much as you do? 

Some of them do; others don’t. And that’s just fine, because each student is unique and has individual passions that I try to develop through my teaching.

 

You not only work to stay in shape yourself, but you have created short videos to educate others on ways of preventing pain and injury. What led you to promote exercises for organists? 

I am very committed to helping organists stay fit and able to play the organ without pain. To this end, I have been developing some simple exercises to combat the typical problems encountered by organists spending prolonged periods of time in bad positions.² By working to open the chest and strengthen the rhomboids—upper back muscles— it is possible to correct for the kyphosis (humped upper back) that often plagues organists. It is also necessary to make the hips more flexible and to strengthen the abdominal wall in order to have a stable core that grounds the body. [Kimberly Marshall has created a video for The Diapason demonstrating warmup exercises. Visit TheDiapason.com and look for Diapason TV.] With a strong core and good position at the organ, the arms and legs can move freely, enabling one to play for hours without repetitive strain.

 

How did you decide on the muscle groups to work on, and which exercises to do? Did you work with an exercise physiologist?

I have practiced yoga for about 15 years, and this has helped my flexibility and mindfulness. Breathing deeply is the key to so many aspects of our mental and physical performance, so opening wind passages and the diaphragm is top priority! I tend to gravitate towards restorative, yin poses in my yoga practice, so I try to balance that with strength training, especially for the core, shoulders, and arms. For the past two years, I’ve had the privilege of working with a fabulous trainer, Larry Arnold. Larry has his own gym in Phoenix and a unique approach to fitness that is rooted in his understanding of the body (his website is www.labodycraft.com). He trains athletes at a very high level, but he’s amenable to improving body function in other activities. I am definitely the first organist he’s worked with, and I’ve taken students to see him as well. We all have the same issues!

 

Since you have a heightened awareness of physical issues, do you assess any weaknesses with your students?

Yes, my students are often kyphotic (hunched upper back), and they usually have tight lower backs from the strength required to support themselves on the bench during hours of practice. These are problems affecting almost all organists, which is why I developed simple exercises to help offset them. Usually, organists need to strengthen the upper back (so that it holds the shoulders down and back, creating a long, free neck) and to strengthen the abdominal muscles (so that the opposing muscles in the lower back can loosen). Individual students sometimes have other physical issues, so I try to create ways to help them with alignment, strength, and/or flexibility. 

 

How do you maintain your own fitness when you’re traveling and concertizing?

This can be a challenge, but mainly because of time constraints. Preparing concerts takes a lot of time and energy, so I focus on flexibility rather than strength training when I am touring. I maintain good flexibility through stretches and poses that don’t require lots of space or special equipment, and I’ve even become rather adept at exercising on the plane. You can do small abdominal crunches in your seat to help stretch out the lower back. Neck, shoulder, wrist and ankle rolls help to keep the circulation going and to prevent muscle strains, especially on long flights.

 

You heartily embrace new technology.

Although I’m of an older generation that actually did research in libraries looking at manuscripts and books, I have learned to embrace several aspects made possible by technological advances in the last 30 years. Scanning projects have made immediately accessible many of the musical sources that used to require air travel and long library stays. Manuscripts, music prints, and recordings are now accessible at the click of a mouse, and this facilitates aspects of my work. Nevertheless, one must be careful to verify information retrieved on the web and to develop a critical sense about the integrity of certain sites. 

I am currently collaborating with David Rumsey on a 4,000-article Encyclopedia of the Organ that provides articles on the history of the instrument in specific countries, with cross-referenced articles giving composers’ biographies, technical information, and organ specifications. We are investigating different online platforms for this in order to make it more user-friendly and to keep it updated. With the speed made possible by new technology, today’s readers are too impatient to look up articles in a book, so we hope to provide links that will pop up almost as quickly as the brain initiates the curiosity to investigate.

Of course, I am delighted to be able to share my own work through online articles, recordings, and videos. The facility of communication makes it easy to get feedback and to carry on stimulating discussions with colleagues. Very importantly, I can now give lessons via Skype with organists who want some tips on playing specific pieces or types of repertoire. This is a great boon to disseminating ideas and to giving instant feedback to those who are experimenting with new techniques.

 

How have the Skype lessons worked out? 

Remarkably well! I was a bit skeptical at first about whether I would be able to have a good idea of someone’s playing through Skype, and then to convey my ideas back to them. But I have found that Skyped lessons can provide an effective way for me to hear someone playing a specific repertoire and to give them input on aspects of performance practice, such as articulation, ornamentation, and rhythmic alterations. I would not recommend Skype sessions for feedback on registration when preparing a recital or as a substitute for an ongoing relationship with a teacher. There is nothing better than being in the same acoustical environment when working together. But Skype enables me to introduce someone to a new style of playing or to help him/her prepare a specific piece without having to make the trip to Arizona. (In some cases, it inspires them to make the trip later!) 

 

You have worked all over the world. Are you multi-lingual? If so, do you find it helps your work (or if not, does that hinder you in any way)? 

I am a firm believer that organists should know several languages, and as my students will attest, I make linguistic study a priority. Reading is of course the most important aspect for research, and I help prepare my students for reading exams at ASU. When we travel together to see organs in Mexico and Europe, they see how important it is to be able to speak the local language when I am setting up meetings with colleagues, working out travel details, teaching and introducing my concert programs in Spanish, French, Italian, or German. I haven’t yet mastered Dutch and the Scandinavian languages, but know enough to read about organs in them. I think Mandarin is going to become an important language for the future, as we work to foster an organ culture in China. I’ve been there twice, and I am optimistic about the potential for developing Chinese organists and an enthusiastic following for them.

 

Is there any other area or type of music that you would like to tackle next? 

Over the past couple of years, I’ve been relishing the opportunity to play a wide repertoire on many different types of organs. I’ve become known for my work in early music, which is very gratifying, but I don’t want to be confined to that, unless, of course, the organ I am playing dictates a specific style of music. I’ve always played romantic and contemporary music, so I’m coming back to some of the 19th- and 20th-century works that dominated my student days as an organist. Hopefully I’m playing them now with greater insight resulting from the intervening musical experience! What excites me about playing the organ is the amazing variety of sound possibilities available. What other instrumentalist can play 14th- and 15th-century music in Sion, Switzerland, and a month later (and 3,000 kilometers north) perform music from a seven-century spectrum on a futuristic organ with over 100 stops?³ 

Perhaps the most extreme example of this “stylistic schizophrenia” occurred this past summer. At the end of June 2014, I performed during the Boston AGO Convention on the Fisk organ at Wellesley College, in ¼-comma meantone tuning with short octave and split keys. Six weeks later, after a wonderful stay in southern France, I appeared on the Spreckels Organ in San Diego’s Balboa Park, complete with tibias and percussion, playing a program of music by Parisian composers. And that, in a nutshell, is why I love the organ. Vive la différence! ν

 

Notes

1. The Organ in Recorded Sound: An Exploration of Timbre and Tempo. Göteborg: Göteborg Organ Art Center, 2012. Available from the author or from www.ohscatalog.org.

2. Some of these may be found at https://www.facebook.com/KimberlyMarshall.
organist. 

3. “The ‘Organ of the Future’ in Sweden’s Studio Acusticum,” The American Organist (February 2013): 62–65. 

 

Kimberly Marshall’s forthcoming recording, A Recital in Handel’s Parish Church, features concerti and passacaglias performed on the new Richard-Fowkes organ in St. George’s, Hanover Square, London. All tracks will be available online in September.