Jonathan Young to Buzard Pipe Organ Builders

Andrew Willis performs on pianos of all periods. He has recorded vocal and chamber music with many artists and solo works ranging from Beethoven’s “Hammerklavier” sonata to Martin Amlin’s Sonata No. 7 (1999). A past president of the Southeastern Historical Keyboard Society, Willis holds degrees from Curtis, Temple, and Cornell universities and is a professor at the University of North Carolina at Greensboro, where he directs the biennial “Focus on Piano Literature.”

The Westfield Center presented its annual conference April 4–6, in Tacoma, Washington, in collaboration with Pacific Lutheran University. Arriving in the Puget Sound area a day before the conference to explore a bit and visit friends, I was treated to the sight of Mt. Rainier aglow in the evening over the streets of downtown Tacoma. 

Thursday evening concert

On Thursday evening, the opening concert took place in Pacific Lutheran University’s Lagerquist Concert Hall, anchored by the Gottfried and Mary Fuchs Organ, built by Paul Fritts in 1998 in the tradition of Northern European instruments of the 18th century. Later in the conference, Paul Tegels would demonstrate this instrument, but on this evening the focus remained on the hall itself, a high-ceilinged, shoebox-style space with a transparent, warm acoustic—ideal for the performance of early music. Violinist Ingrid Mathews and harpsichordist Byron Schenkman presented 17th-century sonatas by Dario Castello, Isabella Leonarda, and Heinrich Schmelzer, as well as a solo performance by Schenkman of Georg Muffat’s Passacaglia. This 24-section piece, whose opening period recurs en rondeau at four pivotal moments, came to life in Schenkman’s hands. Mathews delivered an authoritative performance, presenting all three sonatas from memory with a spontaneity that bore the stamp of naturalness and identification with the improvisatory prowess of the Seicento.

The second half of the concert featured Carissimi’s Historia di Jephte, presented by the PLU Choir of the West with a chamber orchestra conducted by Richard Nance. The student ensemble achieved a wholly professional standard under its conductor. The soloists displayed a remarkable acumen for tragic characterization. In keeping with the theme of the conference, the performance was secured and animated by inventive playing from the continuo group, consisting of Nathan Whittaker, cello, Mercedes Paynter, bass, James Brown, baroque guitar, Kathryn Habedank, harpsichord, and Paul Tegels, positiv organ. If the impact of Haydn’s Little Organ Mass that closed the evening was somewhat diluted after the intense expressivity of Carissimi, it was nonetheless charming to traverse the text of the Mass in under twenty minutes. Tegels capitalized upon the opportunity to shine in the organ obbligato of the Benedictus. 

Friday

The morning began with “The Nuts and Bolts of Basso Continuo,” by Edward Parmentier. Parmentier’s lecture covered such core precepts as bringing the bass to life with the left hand, treating the bass as an independent melody, recognizing the bass as the king melody in the piece, and, rather exhilaratingly, unlistening to the ensemble so as to create the maximum dialogue between the bass and other parts. Could there be any doubt on which part the attention should be focused? In a generous annotated handout, Parmentier presented the score of a Veni Domine by Viadana and a Largo from a Handel flute sonata, showing multiple stages of preparation, each illustrating one step in his systematic approach to realizing a basso continuo part. Among the recommended steps: identifying motivic associations with the verbal text if one exists; creating phrasings, articulations, and emphases for the bass part; identifying harmonic roots and harmonic rhythm; adding numeric figures; and identifying and classifying cadences. Parmentier’s confidence in the process and the clarity of his explication left many eager to try their hands at his method, and in possession of clear instructions for doing so. 

Throughout the conference, lectures alternated with sessions of applied music, and thus a Parmentier masterclass ensued after a short break. Four harpsichord students, assisted by various soloists, presented a gavotte from a
LeRoux trio sonata, a movement from a Telemann violin sonata, a Handel aria, and a movement from a Handel violin sonata. With each, Parmentier zeroed in on one primary objective, underlining the chosen concept with energy and a wealth of colorful imagery. As soon as each student demonstrated a grasp of the essential point, he or she was congratulated and the class progressed to the next work. This brisk approach to teaching ensured that each student took away something practical and memorable. Questions from the audience were welcomed and addressed in a spirit of shared inquiry.

After lunch, Gregory Crowell took the helm for an illuminating talk on “Continuo for Organ.” Armed with slides and recorded excerpts, Crowell addressed numerous concerns specific to organ continuo playing, arguing for a bolder, more substantial sonority than is often heard. Adducing evidence drawn from the disposition of various German organs and illustrated by recordings of both problematic and successful organ continuo sonorities, Crowell offered practical advice relating to chordal voicing, the use of embellishment, matching releases to the ensemble sound, and the substitution of sonority for cleverness. No fewer than three modern flutists with their keyboard partners had been assigned to his masterclass, and he gently encouraged each toward realizations that addressed inflection, phrasing, and the awareness of harmonic and rhythmic structure, pointing out that a realization should be neither interesting all the time nor boring all the time. Crowell’s reward came in the form of a refined and assured reading of a Biber violin sonata by two experienced professionals, allowing him to offer suggestions at a more sophisticated level. A paper on “Seventeenth- and Eighteenth-Century Italian Continuo Improvisation and its Application to Buxtehude’s Trio Sonatas Op. 1 and 2” was read by Jeong-Suk Bae to round out the afternoon’s activity.

The evening featured a brilliant chamber concert anchored by the indefatigable Parmentier. Joined in turn by four soloists on each half of the generous program, the harpsichordist became the avatar of the conference’s subtitle: “the art of creative collaboration.” Flutist Jennifer Rhyne, violinist Svend Rønning, cellist Nathan Whittaker, and tenor James Brown assisted him in presenting a wide spectrum of Baroque styles, from Viadana, Caccini, Frescobaldi, and Purcell (Brown), through François Couperin and Hotteterre (Rhyne), and Veracini and Handel (Rønning), to Vivaldi and again Frescobaldi (Whittaker). As a finale, all joined forces in the aria, “So schnell ein rauschend Wasser schiesst,” from J. S. Bach’s Cantata 26. 

Responsive to each composer’s individuality and supportive of each soloist’s musicianship, Parmentier animated movement after movement with energy and imagination, proving the efficacy of the practice outlined in his morning lecture. His independent, strong, clear bass lines—he might call them “argumentative”—generated and justified freely shaped right-hand parts of great textural, rhythmic, and decorative variety. It was a tour de force by a master who did not disdain to shuttle chairs and stands about the stage between pieces.  

Saturday

Day three opened with a presentation by Charlotte Mattax Moersch on “The Style of Basso Continuo Accompaniment in France according to Denis Delair.” From Delair’s 1690 treatise, described as “sympathetic to the performer and the beginner,” and thus a good resource for pedagogy, Mattax Moersch extracted much guidance for realization in the French style. A useful distinction was drawn between science and art, corresponding to rules and style. Rules are fairly universal, reflecting the laws of tonal composition, but styles differ according to time and place. The elements of style that Delair discusses relate to such refinements as ornaments, arpeggiation, alteration of the bass, and added dissonance, leading to a chord treatment not unlike the unmeasured prelude tradition. Mattax Moersch’s playing of examples drawn from the treatise eloquently illustrated Delair’s taste in considerable detail, demonstrating the abundance of practical guidance that may be drawn from this source. 

Although none of the works presented in the masterclass that followed was French, Mattax Moersch’s comprehensive grasp of the repertoire generated sage guidance toward the realization of Caccini’s “Amarilli mia bella,” of an Allegro assai from a Telemann flute sonata, of Purcell’s “The Blessed Virgin’s Expostulation,” and of the Andante from J. S. Bach’s Flute Sonata in E Minor. Her suggestions immediately proved effective, as in the Purcell, where a highly expressive realization was developed by employing an unobtrusive 1 x 8′ registration, varying the direction and degree of arpeggiation, releasing long basses during recitative, and closely following the singer’s punctuation. When the need for improvised melody arose in the introduction of the Bach sonata movement, a wealth of options involving scale figures, arpeggiation, ornaments, and leaps was proferred. It was clear that the art of creative collaboration would continue to thrive in the hands of many a talented young artist. 

After lunch, lutenist and leader of Pacific MusicWorks Stephen Stubbs discussed “The Conceptual Shift between 17th and 18th Century Keyboard Continuo.” Tracing the historical context for the development of continuo, Stubbs claimed the chittarone as “the humanistic instrument” during the “humanistic revolution” of the late 16th and early 17th centuries. Though the instruments are physically unrelated, the chittarone’s name evokes the image of the ancient Greek kithara and reflects its role in support of the fusion of poetry and music during the rise of opera. Its ascendence fostered chordal consciousness, “breaking the stranglehold of polyphony,” and its technique gradually evolved from artistic strumming to include the plucking of individual notes. Of particular interest was the distinction drawn between the 17th-century conception of harmony in confrontation with the melodic parts and the 18th-century conception of harmony as accommodating to them. The succinct 1607 continuo tutor of Agazzari was recommended to those seeking guidance contemporary to this period.  

At midafternoon, a splendid harpsichord recital by Ignacio Prego revealed the harpsichord in a different light from that of continuo instrument (though I dare say many were by now extra attentive to the bass lines!). Much was expected of Prego, winner of the 2012 Westfield International Harpsichord Competition, and he did not disappoint, traversing works by Cabezón, Cabanilles, Frescobaldi, Froberger, and J. S. Bach with intelligence, command, and warmth. Bravo Prego, and bravo Westfield for supporting the future of early keyboard performance in an eminently tangible way.  

A gathering for final questions brought together all four presenters with the attendees to clarify, reinforce, and further contemplate many points developed during the conference, and conviviality reigned as all decamped to a local restaurant for dinner. Local hosts Paul Tegels and Kathryn Habedank cannot be praised enough for their unflagging attention to the visiting conferees.

Those who have heard Stephen Stubbs may predict that one of the highlights of the conference still lay in store, and indeed, his unobtrusive yet spirited leadership from the continuo section molded a magnificent all-Handel concert by Pacific MusicWorks, a professional ensemble blending virtuosity, beauty of tone, perfect ensemble, and refined historical awareness. Anchoring the program were two early vocal works, Apollo e Dafne (1709) and a Gloria (1707). Though oddly described in the program as “A Sacred Oratorio,” Apollo e Dafne is in fact a secular cantata that deploys the mythical figures as archetypes in a grand battle of the sexes. Singers Amanda Forsythe and Douglas Williams both possess beautifully resonant instruments and both delivered Handel’s vividly styled lines with accuracy, agility, and dignity. Even more electrifying, if it were possible, was Forsythe’s coloratura in the Gloria that brought the concert to a brilliant close. This was a level of historical performance that will long reverberate in the memory.

To my regret, I was unable to attend the organ recital played by Greg Crowell on Sunday afternoon.

Through this conference, “Continuo: The Art of Creative Collaboration,” the Westfield Center has once again invigorated America’s historical keyboard culture in a way that is certain to pay dividends through the better-informed and more creative playing and listening of all who participated. May the future continue to smile upon this mission.

Ronald Edward Ballard, of Little Rock, Arkansas, died on January 23, from kidney, liver, and heart disease. Born on January 9, 1947, in North Little Rock, he was a graduate of Oklahoma Baptist University. He wrote theater and concert reviews for the Spectrum and Arkansas Times and was business administrator for Stanton Road School and First Christian Church in Little Rock. At the time of his death, Ballard was organist and choirmaster of Westover Hills Presbyterian Church in Little Rock. He previously served a number of churches in Little Rock, North Little Rock; Charlotte, North Carolina; and Brenham, Texas; and taught music, history, and mathematics in North Little Rock Public Schools and Stanton Road School. He served as dean of the Central Arkansas AGO chapter in 1976–77.

George A. Brandon died on March 30 in Davis, California, following a short illness. He was 76. Born in Stockton, California on February 4, 1924, he earned a BA in history at College of the Pacific in 1945 and a Master of Sacred Music degree in 1952 at Union Theological Seminary. He served as organist-director at several churches in the New York City area, and before returning to Union in 1955 to earn a master's in religious education he served two years as organist-director of the First Presbyterian Church in Burlington, North Carolina. While at Union, he met Dona Lee Banzett, whom he married in 1954. They taught for five years at two small midwestern colleges and then relocated to Davis, California, in 1962. During the 1960s, Mr. Brandon held positions at several Davis churches, including Incarnation Lutheran, Davis Community Church, and St. Martin's Episcopal Church. In 1994 he was commissioned by St. Paul's Episcopal Church in Sacramento, California, to write the "St. Paul's Suite," an organ work based on the last chorus of Saint-Saëns' Christmas Oratorio, for a concert that celebrated the restoration and 80th anniversary of the church's 1877 Johnson organ (opus 503). Mr. Brandon was a free-lance composer, with over 300 published compositions, including anthems, hymn tunes and texts, choir responses, secular choruses, organ and piano pieces. He researched and wrote about many aspects of church music and related fields, especially early American hymnody. He was a member of the AGO, the Hymn Society of the US and Canada, the Hymn Society of Great Britain and Ireland, and the Sonneck Society. A celebration of Mr. Brandon's life and work took place at St. Martin's Episcopal Church, Davis, on May 17. He is survived by his wife of 45 years, Dona Lee Brandon, a daughter, and a sister.

Otto Juergen Hofmann, organbuilder of Austin, Texas, died on May 12, at the age of 82. He was born of German immigrant parents in Kyle, Texas on December 9, 1918, the youngest of ten children. He attended the University of Texas, studied physics, music, philosophy, and sociology, and had a PhD in physics from UT-Austin. Hofmann built his first slider-chest and mechanical-action organ in 1938. One of his first contracts was to rebuild the organ at St. Mary's Cathedral, Austin. He then built the organ for St. Stephen's Episcopal School. This was soon followed by an organ for the chapel of Austin Presbyterian Theological Seminary. Hofmann built, rebuilt, and restored numerous organs throughout Texas and beyond. He was involved in the early efforts of the tracker organ revival, and collaborated with Flentrop in building an organ for Matthews Memorial Presbyterian Church in Albany, Texas, in 1955. He served as president of the International Society of Organbuilders, and in 1975 was awarded the Industrial Arts Medal by the Austin chapter of the American Institute of Architects. He retired from active organ building in 1994.

James Dale Holloway died on May 17, the random victim of a shooting on the campus of Pacific Lutheran University, Tacoma, Washington. Holloway, age 40, was appointed assistant professor of music and university organist at PLU in the fall of 2000. Born in Columbus, Georgia, on July 4, 1960, Holloway received a BMus from Shorter College in Rome, Georgia; a master's degree from the University of North Texas; and after beginning doctoral studies at the University of Alabama, completed his doctorate at the University of Washington. As a church musician, he served parishes in Georgia, Texas, Alabama, and Oregon, before moving to Tacoma in 1989 to become minister of music at Trinity Lutheran Church. For ten years he taught part-time at PLU before his full-time appointment in 2000. He was a performer and lecturer at national and regional conventions of the AGO, the OHS, and the Association of Lutheran Church Musicians. He was current president of the western regional ACLM, and was a winner in 16 organ competitions at the state, regional, and national levels. A memorial fund, the "James Holloway Music Scholarship Fund," has been established at PLU in his memory. A memorial service took place on May 21 at the university. He is survived by his wife, Judy (Willis) Carr, and five stepchildren.

Antonio Ruffatti died on May 6, in Padova, Italy, at the age of 89. He co-founded Fratelli Ruffatti, organbuilders, in Padova in 1940--following a centuries-old tradition in that geographic area of Italy--a firm which continues today under the direction of his sons Francesco and Piero. In the 1950s, he succeeded in making Fratelli Ruffatti known internationally by building a five-manual organ for the Shrine of Our Lady of Fatima in Portugal. In the following decade, he built many organs in the United States. Following the classical tradition in his own country, he was among the first in Italy to call for the return to mechanical action. Fratelli Ruffatti built several tracker instruments in the early 1960s, a practice which was highly uncommon, if not controversial, at the time in Italy, but which has grown to become an important part of the current activity of the firm. He also delved into restoration techniques, and today Fratelli Ruffatti is one of the few firms licensed by the Italian government to do historical restoration on Italy's ancient instruments.

When an organ builder creates an instrument for his alma mater, the stage is set for a career achievement and the conception of a work of art. Such was the case when Charles Fisk built his masterpiece at Stanford University. In the same spirit, Paul Fritts created the magnificent opus that was the centerpiece of an International Symposium entitled "The Organ in the New Millennium" at Pacific Lutheran University, Tacoma, Washington.

This symposium was jointly sponsored by the Westfield Center and Loft Recordings of Seattle, Washington. It attracted organists and organ enthusiasts from all over the world. Scheduled events included four daily concerts, most of which were held at Lagerquist Hall in the new Mary Baker Russell music center at Pacific Lutheran University, Tacoma, Washington.

"The Organ in the New Millennium" embraced multiple efforts to approach a fairly difficult subject. The participants had at their disposal an organ of the highest excellence, but no crystal ball. However, they proceeded to present their views of the transition between millennia in a series of panel discussions which served as a framework for the symposium.

Brainstorming

As one might suspect, predictions for the future were plentiful and to some extent, easy come, easy go. Despite the more predictable questions and answers, only a few panelists and participants had the courage to say they didn't know what the future might hold, and even fewer had the fortitude to admit that they couldn't be sure what the organs of the 21st century might be like. All seemed to agree that the artistic expression of the organ builder's art was here to stay and that quality far outweighed quantity as a worthy goal. Roberta Gary of the University of Cincinnati exemplified the spirit of the conference when she recalled a "5 star experience" as she discovered the John Brombaugh organ at Ashland Avenue Baptist Church in Toledo, Ohio. Martin Pasi described the first time he experienced the revival in American organ building at the Fairchild Chapel in Oberlin, Ohio. It was plain to see that a well deserved "lifetime achievement award" was in the making for John Brombaugh.

How often the wisdom of elders comes out in storytelling. John Brombaugh related, in somewhat hilarious detail, learning to sing as a child. With characteristic nonchalance, he claimed that he "never quite made it to soloist," because he "couldn't make his voice wiggle." However, he learned that the art of singing is the art of music, that the organ is a musical instrument, first and foremost, and that the organ must sing if it is to be musical. All agreed that "making pipes sing was much more important than making them hum." Hopefully, the reader will note that this was not a dry discussion of "historically informed" musicology, but a spirited outpouring of what the organ meant to these major players and builders of our time, mirth notwithstanding.

Music making

During the four-day course of the event, some seven recitals and fifty-four compositions were played on the three-manual, 54-stop Fritts organ. (See the June issue, pp. 1 and 19 for description and specification.) The presentation of this instrument, along with important organs of John Brombaugh in Tacoma, and Martin Pasi in Lynnwood, Washington, provided proof positive that outstanding organ building is alive and well in Washington State. Quentin Faulkner of the University of Nebraska at Lincoln commented that, "the Pacific Northwest builders are in the process of creating a new organ type that will not merely incorporate, but will fuse the previous organ styles that feed into it, and thus will transcend all of them." He stated that "There is of course an element of risk in such an undertaking, but also an immense amount of excitement and adventure . . . in leading the organ into a new age!"

What will the organ of this new age be like? This concentration of recitals gave the symposium participants a preview of the new directions a historically derived organ might take. In this case, the sum of the concert series seemed to be greater than each part. Far from being worn down, this listener attained new heights of perception with each recital and most fortunately the last concert was as fresh as the first. The scope of musical styles was panoramic. There was an almost symphonic element to the progression of concerts as it continued over this four-day period. David Dahl's opening recital served as an overture to the week's events with an exposition of the organ's considerable capabilities. Professor Dahl's 30-year career at Pacific Lutheran University is obviously capped by the installation of this magnificent organ. His opening recital gave him the opportunity to breathe life into the week's events with a highly varied program that included "A diverse suite" of some 13 composers, spanning time periods from 1583 (Frescobaldi) to the present (Cindy McTee and the late William Albright). It is interesting to note that Dahl has served as advisor for more than 30 pipe organ projects in the last 40 years and on the eve of his retirement was able to bring about the installation this superb instrument in his own university.

Hatsumi Miura, organist of Yokohama Mirato Mirai Hall in Japan, presented a program of 20th-century music which developed the theme of "new directions" and demonstrated the broad capabilities of this organ. She began symbolically enough, with A Prophecy for Organ, by Daniel Pinkham and ended with the cheerful Salamanca of Guy Bovet.

Margaret Irwin-Brandon, organist of the Unitarian Universalist Society in Springfield, Massachusetts, broadened the palette with fantasias and baroque transcriptions that introduced the listener to the lyric qualities of the instrument. She seemed to play the organ like a violin, rather than a Steinway and encouraged the audience to listen with their whole attention. To heighten their awareness of the sound of the organ, she invited listeners to move about the hall at will, throughout the concert program--a fairly brave thing to do, when you consider the sight of somber "ghost walkers," slowly treading from nook to cranny of the room. Her final presentation of Arvo Pärt's Annum per Annum was thwarted by the failure of one of the power supplies in the organ. This necessitated some quick thinking on her part to save the piece. It turned out that the rapid-fire computerized pyrotechnics of the "sequencer" overwhelmed a 5 cent fuse. Such is the irony of high technology when applied to an ancient form.

An organ for all seasons--a new organ type?

After these diverse presentations of organ literature, Peter Sykes, organist of First Congregational Church in Cambridge, Massachusetts, gave a bravura performance of the Poulenc Concerto in G Minor and Maurice Duruflé's Requiem. This vocal repertoire brought additional awareness of the musical qualities of the organ. Rather than competing with the orchestra and choir, it seemed to expand tonal sonorities. Of particular note was the effectiveness of the Kellner temperament in providing a foundation for orchestra and choir. The pure chords underlying the choral passages of the Requiem hushed the audience and heightened the sanctity and depth of the music. Throughout this performance the listener was introduced to a kind of feminine nobility that few organs possess. Beyond power, this organ has profundity and lyricism.

Craig Cramer, of Notre Dame University, presented Bach's partitas, trios and chorales and revealed more of the intimate qualities of the organ and the hall. Again, the listener could not ignore the fact that the organ wanted to be played like a violin, rather than a mega-piano. And ever mindful of the possibility of finding the best seat in the house, this lowly scribe positioned himself behind a chair that is permanently reserved for the donor of the hall, Mary Baker Russell. An amazing discovery was a sharp slap echo that could heard there and nowhere else. Could it be that she has the worst seat in the house?

By the sixth recital, one would think that every stop in the organ would have been heard once, twice or even thrice. Nevertheless, William Porter of the New England Conservatory scored a direct hit with his improvisation on O dass ich tausend Zungen hätte (Oh, that I Had a Thousand Tongues). Yes, he played the thousand tongues of the rich reed choruses of the organ which, in this writer's opinion, take their place amongst the best reeds in any organ, anywhere. There simply are not enough superlatives to describe the perfection embraced in these reeds. John Brombaugh once remarked that the best reeds contain both fire and ice--that the blaze of sound has to include some measure of restraint or reserve as well as bravado. Paul Fritts has achieved this quality in his reeds.

The stage was set for the last movement in this symphony of concerts. Martin Rost is organist of the 1659 Stellwagen organ in St. Mary's Church, Stralsund, Germany, which provided  the inspiration for this organ. The Stellwagen and Fritts organs share the same lofty structure and noble authority--the Stalsund casework is enhanced with enormously imposing even magisterial statues, while the Fritts carvings display busty gargoyles, introverted sculptures and a few insects and other artifacts of the Pacific Northwest. Rost proferred a freshly revised concert featuring the music of Scheidemann, Ritter, Köhler, Brahms and Mendelssohn. He hushed the audience with the softest stops on the organ and rendered the Brahms Chorales with magic as well as spirituality. He closed the symposium concerts with the Mendelssohn Sonata in C minor, giving an air of restraint and modesty, like a Mozartean cadence. The crowd went wild with a standing ovation.

An overview

One must make the inevitable comparison with the Westfield Center sponsored "Historical Organ in America" at Tempe, Arizona in 1992. (See reports in The Diapason, June, 1992, pp. 10-12, by Herbert L. Huestis, and July, 1992, pp. 12-13, by Rudolf Zuiderveld.) What were the similarities and differences between these two gatherings? The Arizona conference featured the documented work of a dozen organ builders and opened up the lines of technical communications in an entirely new way. Trade secrets gave way to genuine "help lines" from one organ builder to another. This meeting was collegial and convivial in the same way as the Arizona conference, but lacked the documentation that was presented by the same group of organ builders seven years ago. Despite presentations made by such luminaries as Christopher Kent of the University of Reading, England and Hans Davidsson of the University of Göteborg in Sweden, there seemed to be more opinion than hard data.

However, the sheer number of concerts provided the opportunity for the organ literature to speak for itself as it related to this splendid Paul Fritts organ. An incredible variety of organ music was played during this session. It seemed that the organists who presented recitals took great care with the literature they brought to the organ. Few if any compromises were made, and almost all the music that was played worked well on the organ. (One cannot help but note the exception of César Franck.)

It seemed like a good opportunity to look at just how wide a range of music could be played on an organ that was built on a historical "platform," but was obviously an instrument of tremendous flexibility. In the space of four days, seven recitals were presented with a total of 54 selections drawn from 400 years of organ literature. It is interesting to note that of all the music performed, thirty percent was from the 17th century, another 30 percent from the 18th century, 7 percent from the 19th century and an astounding 26 percent from the 20th century. Two of the seven concerts featured music that was exclusively contemporary. This organ speaks to our own time with the same authority as the age of J.S. Bach. This is no small accomplishment and demands a very broad flexibility in both voicing and tonal development. Another aspect of interest was the unique ability of this organ to accompany choir and orchestra. The tonal palette of the organ was every bit as varied as any orchestral color and the Kellner temperament provided a resonance that is unknown in most orchestra halls.

This symposium provided absolute proof that historically inspired organs can attain tremendous flexibility for the performance of the repertoire. The Fritts organ was not at all restrictive, as an analysis of the recital content will show. It is capable of playing a very big slice of organ literature, very well.

"Off-campus" concerts

Three events occurred off campus, in "must see" venues that provided some of the most inspiring music and worship experiences of the symposium. Mark Brombaugh of the United Church on the Green, New Haven, Connecticut, presented a recital on the milestone organ built by his brother John at Christ Church in Tacoma, Washington. David Dahl has spent his long career at Christ Church along with his post at Pacific Lutheran University. To a very great extent, the sublime achievement of Paul Fritts at PLU can be directly linked to the inspiration provided by John Brombaugh's milestone organ at Christ Church. It is an understatement to say that they are cut of the same cloth. Mark's recital was dedicated to his father Burlin Brombaugh, who was present at the symposium. The central feature of this recital was a commissioned work on his father's favorite Spanish Hymn in honor of his 90th birthday.

A joint recital by Melvin Butler and Roger Sherman, both of St. Mark's Cathedral in Seattle, provided the opportunity to hear Messiaen and Franck, among other composers, in the newly renovated cathedral space. The 1965 Flentrop organ illustrates the long lasting values acclaimed at the symposium. In his opening remarks, Roger Sherman recounted the time that the cathedral vestry was presented with two proposals for a new organ by Dirk Flentrop. The organ builder had suggested a modest organ as an alternative to the lofty instrument that now stands in the cathedral. The dean's reasoning for selecting the magnificent organ that has provided a musical legacy to the city for the last 30 years: they didn't have the money for either one!

A final event was the participation of the symposium group in worship at Trinity Lutheran Church in Lynnwood, Washington. This solid, working class church is the home of a new organ recently built by Martin Pasi of Roy, Washington. Rodney Gehrke, organist of St. Mark's Lutheran Church in San Francisco, presided at the organ for the service and was assisted by a vocal quartet from Pacific Lutheran University. The symposium participants were enthusiastic to be sure and were matched by parishioners note for note and word for word as they fervently sang the hymns and service music. One could not help but observe that "richening up" the music worked so much better than "dumbing it down!" The performance of all this music suggested that the impact of this symposium was not so much its forecast for the future, but the presentation of what was possible in the organ music of the 21st century. The panel discussions were infused with humor as well as platitudes and serious presentations and readings of papers. Perhaps the greatest impact was provided by the "who," as well as the "what," and "why." The closing of the international circle of organ builders was amply demonstrated in the remarks of two European organ builders present, John Mander of London and Kristian Wegscheider of Dresden. It was clear that they felt the Americans, in their revival of the historic organ, had taken knowledge gained from the European masters to new heights and that here at Pacific Lutheran University "a circle of learning" was completed when they took this information back to the continent.

All that aside, the raconteurs carried the day when it came to preparing for the new millennium. The subject of "Cincinnati" had come up in John Brombaugh's remarks, and Roberta Gary quoted that city's most revered citizen, Samuel Clemens, who said that if the end of the world came in his lifetime, he wanted to be in Cincinnati, because everything happened ten years later there. Could it be, that like the celebrated Mark Twain, organ builders will always seek values that last longer than the fashion of the day? If this meeting is any indication, the future of the organ is in good hands in the 21st century.

The Diapason’s second annual “20 under 30” selections came from a field that included over 130 nominations, a response that exceeded the previous year’s. The nominees were evaluated based upon information provided in the nominations; we selected only from those who had been nominated. We looked for evidence of such things as career advancement, technical skills, and creativity and innovation; we considered a nominee’s awards and competition prizes, publications and compositions, and significant positions in the mix. Our selections were not limited merely to organists but reflect the breadth of our editorial scope, which includes the organ, harpsichord, carillon, and church music. Here we present the winners’ backgrounds and accomplishments, and then have them tell us something interesting about themselves and about their achievements, goals, and aspirations.

Since we had to decline multiple nominees for each one we chose, selecting only 20 from a field of very worthy nominees was quite a challenge. We encourage you to participate in the “20 under 30” awards next year—a person must be nominated in order to be selected.