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Spivey Hall Organ Discovery Days

Sean Vogt demonstrates the Ruffatti organ to Organ Discovery Days participants
Sean Vogt demonstrates the Ruffatti organ to Organ Discovery Days participants

Spivey Hall, Clayton State University, Morrow, Georgia, hosts its Organ Discovery Days four to six times a year. Hosted by Alan Morrison, Spivey Hall artist-in-residence, or Sean Vogt, university director of choral activities, the events introduce the hall’s three-manual, 79-rank Ruffatti organ to groups of children from across the Atlanta metropolitan region. 

In 2025 these days are scheduled for January 23, February 12, March 5, and March 18. Students are given the opportunity to interact with the instrument, learning what pistons do, what stops are and how they function (there is some math involved for the upper elementary through high school students), and the students also get an inside look where the pipes are housed. 

For information: spiveyhall.org.

Related Content

The Class of 2023: 20 leaders under the age of 30

The Diapason staff
20 under 30

The Diapason’s sixth “20 Under 30” selections came from a large field of nominations. The nominees were evaluated based on 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 to organists but reflect the breadth of our editorial scope, which includes the organ, harpsichord and clavichord, carillon, church music, and organ and harpsichord building. Here we present the winners’ backgrounds and accomplishments, and then have them tell us something interesting about themselves and their achievements, goals, and aspirations.

Nominations will again open for 20 Under 30 in December 2024 for our Class of 2025. Please carefully consider those you may know that deserve this honor and begin to take notes for your nomination. We can only honor those who are nominated.

The Associated Pipe Organ Builders of America (APOBA) is graciously providing a one-year subscription to our 20 Under 30 Class of 2023.

Theodore Cheng

Theodore Cheng is a Hong Kong-born organist and composer with a diverse range of interests and projects that extends well beyond the realm of music. Theodore is currently pursuing a Doctor of Musical Arts degree in organ performance at The Juilliard School, studying with Paul Jacobs under full funding as a C. V. Starr Doctoral Fellow. Prior to arriving at Juilliard, he attained a Master of Music degree at the Yale Institute of Sacred Music, studying organ with Craig Cramer. Theodore is a prizewinner at the 2022 Albert Schweitzer Organ Festival Young Professional Competition and the 2022 Fort Wayne National Organ Playing Competition, and he has performed across three continents, specializing in pre-Baroque and contemporary repertoire. As a composer, his choral and organ works have been performed by choirs and ensembles in the United States and in Hong Kong.

An interesting fact: I enjoy visiting art museums, and I occasionally sing Gregorian chant in a schola. I also like to cook and have long endeavored to make the perfect French omelette, a goal that has so far eluded me.

Proudest achievement: Through my performances and collaborative projects, in which I endeavor to present a highly varied palette of styles from the Renaissance to the modern day, I feature commissions and my own compositions. I savor the meaningful connections a sincere and heartfelt performance could make between audiences and music that may be familiar or completely new to them.

Career aspirations and goals: I aspire to teach organ, music theory, and music history at the tertiary level and serving as an organ teaching consultant for emerging organ audiences and communities in southeast Asia. A simultaneous aim would be to work as an advocate for new organ music, especially of east Asian composers. I also look forward to spending more time exploring historical organ improvisation and writing choral music.

Website: www.theodorecheng-organist.com.

Asriel Davis

Asriel Davis is a Master of Music degree candidate at Syracuse University studying with Annie Laver. Growing up in Atlanta, Georgia, he quickly fell in love with music, playing piano and organ from the age of six. He began to show much promise in both instruments by his teen years, accompanying his high school choir and playing all around the metro Atlanta area.

He went on to study under Wayne Bucknor at Oakwood University, where he earned his bachelor’s degree in piano performance. With a love for sacred music, Asriel has worked and played for many churches around the nation. He recently worked under James Abbington as organist and pianist at Friendship Baptist Church in Atlanta. He currently serves as organist for Grace Baptist Church in Mount Vernon, New York.

Having accompanied world-renowned groups such as The Aeolians of Oakwood University and the Jason Max Ferdinand Singers under the direction of Jason Max Ferdinand, he has shown he is equally suitable for performing solo or accompanying vocalists and choirs. With these groups, Asriel has traveled the nation and around the world playing organs and accompanying. He has played in Europe, South Africa, the Bahamas, and elsewhere. His skill set is vast and varied, ranging from Baroque to modern-era music. Asriel is quickly making a name for himself across genres with his exceptional talent and versatility. With his dedication, he continues to make waves in the music world. Whether performing solo or collaborating with other musicians, his passion for music is undeniable, and his future is bright.

An interesting fact: I love working on cars with my Dad in my free time.

Proudest achievement: I am simply most proud of how far I’ve come on my musical journey.

Career aspirations and goals: I plan to work in the church and teach. I will also work with professional choirs, singing and playing. Another goal is to become a commercial voice actor.

Nathan Elsbernd

Nathan Elsbernd is a church musician who supports community-centered music. He devoted the early part of his career to subbing at various North and Northeast Iowa churches in order to build a broad base of experience. His research focuses on community, hospitality, and their intersections with hymnody. Nathan enjoys interrogating the theology behind the music and texts.

Nathan serves as the first Luther College Church Music Fellow and choir and bell director at Decorah Lutheran Church. While serving as the church music fellow, he has promoted and coordinated the involvement of music students to expand the reach of bi-weekly chapel services. Nathan also works for the Luther College music department as a collaborative pianist, teaches organ lessons through the Luther College Community Music School, and sings in the Nordic Choir. During his time at Luther, he studied with Gregory Peterson and Alexander Meszler. Nathan will receive his Bachelor of Arts degree from Luther College in May 2023 as a music major and religion minor.  

An interesting fact: This summer I will be fighting forest fires in Northeast California. 

Proudest achievement: I’m proud of my efforts to help various aging organs sing for their respective congregations that struggle to find organists.  

Career aspirations and goals: I hope to continue researching the intersection between church communities and music and plan to apply the insights learned to the programs at my future church position. I want to collaborate with clergy to help develop new hymns and liturgy settings that are grounded in an inclusive theology for today’s world. I believe that the organ has the potential for great vitality in the future and plan to spend my life promoting easier accessibility to organs and mentoring and teaching young organists.

Dominic Fiacco

Praised for the “remarkable sensitivity in his interpretations” and his “technical mastery” (American Guild of Organists Eastern New York Chapter newsletter), eighteen-year-old Dominic Fiacco has been playing organ since the age of eight. Fiacco studies with Stephen Best, lecturer in music at Hamilton College and organist at First Presbyterian Church in Utica, New York. In May 2018 he performed at the Cathedral Church of Saint John the Divine in New York City. The following year he played at the Cadet Chapel at West Point, New York, home to the world’s third largest organ. He has also attended several summer intensives in Philadelphia, where he studied with Alan Morrison, who teaches at the Curtis Institute of Music, and with Peter Richard Conte, organist at the Wanamaker Organ in Macy’s, the second largest organ in the world.

Fiacco also studies piano with Sar-Shalom Strong, lecturer at Hamilton College. He has won multiple prizes in several piano competitions and has also performed several times on the Society for New Music’s Rising Stars programs on organ and piano.

The oldest of seven siblings, Fiacco is a homeschooled high school senior who has been accepted to multiple conservatories. He is pursuing a career in
organ performance.

An interesting fact: I like to go on solitary walks in the hills surrounding my rural village, sometimes hiking for a couple of hours at a time. The occasional snowmobiler may ride by, and I may pass through an Amish farm, but otherwise I’m alone. I occasionally stop to take photos of the landscape. Sunsets are especially stunning when viewed from the top of a snow-covered hill.

Proudest achievement: I am grateful to have performed on several major organs, such as the organ at the Cathedral Church of Saint John the Divine in New York City and the Wanamaker Organ in Philadelphia. It’s an honor to have played the Wanamaker, with its rich variety of sounds and unique setting. It was awe-inspiring to set hands on the legendary instrument that Marcel Dupré, Virgil Fox, and so many others have admired. I especially like its many rows of string and harp stops.

Career aspirations and goals:  I aspire to land a church job, since I have a strong interest in the liturgy, especially sacred music. I also intend to teach at some point. However, my main goal is to become a concert organist. Performers really have the ability to inspire people. I enjoy making emotional connections with audiences. It’s fascinating how a piece they may have never heard before, such as César Franck’s Prelude, Choral, and Fugue for piano, can resonate with them so much that they begin crying. I’d like to spend my life inspiring thoughts and emotions in people.

Anna Gugliotta

Anna Gugliotta is an organist, pianist, and teacher based in Central New Jersey. She graduated summa cum laude from Rutgers University in 2022 where she earned a Bachelor of Music degree in organ performance studying with Renée Anne Louprette. She was awarded the Elizabeth Wyckoff Durham Award from Rutgers University for excellence in music performance. Upon her graduation, Ms. Gugliotta was appointed full-time director of sacred music at the Parish of Saint Thomas More in Manalapan, New Jersey, where she is principal organist and directs the adult, youth, and handbell choirs. In addition, she also has a passion for teaching and maintains a private piano and organ studio.

Anna Gugliotta participated in the University of Michigan Organ Conference (2019), the Church Music Association of America Sacred Music Colloquium in Philadelphia (2019), and the Catholic Sacred Music Project (2021 in Philadelphia, and 2022 in Menlo Park, California). She was awarded second place in the RCYO competition (Regions I and II) in 2020. Ms. Gugliotta has performed in organ masterclasses with Alcée Chriss, David Higgs, and Stephen Tharp.

An interesting fact: I enjoy doing different craft projects, the latest of which is paint-by-diamond kits. Similar to paint-by-number pictures, a special tool is used to pick up small, plastic “diamonds” and place them on color-coded spaces. It can sometimes be tedious, but I find it to be pretty relaxing, and I like how the final products turn out!

Proudest achievement: One thing that I am most proud of achieving is starting a youth choir at my current church job. Having primarily a keyboard background, it was a completely new experience for me to plan, advertise, form, and rehearse this new ensemble, but it has been a really exciting project! Planning for this choir began last summer, and then the ensemble was formed the following September. I currently have ten children that attend weekly rehearsals and sing at Masses twice each month, plus an additional 15–20 children that joined for Christmas and Easter. The children have successfully sung a variety of music (Gregorian chant, traditional hymns, and contemporary pieces) and especially enjoy singing in Latin! Several of the children are also learning how to serve as a cantor during Mass, and it has been very rewarding to see these children not only excited to learn about music, but also to learn more about their Catholic faith.

Career aspirations and goals: I’m not exactly sure what my future will look like, but I definitely see myself continuing to work in sacred music. I’ve felt like that was my calling since middle school, and I truly enjoy working as a church musician because it combines sharing my personal faith with musical collaboration!

Amelie Held

Known for her red organ shoes, organist Amelie Held quickly became an internationally acclaimed artist. She recently debuted at some of Germany’s major cathedrals and concert halls, such as the Konzerthaus Dortmund, the Philharmonie Essen, and the international Speyer cathedral recital series. Her solo concert activities include performances in the world’s most important music centers, such as Milan, Paris, Zurich, London, Boston, New York, and Saint Petersburg (Mariinsky Concert Hall).

Raised in Munich, Germany, in a non-musician family, Amelie released her debut album in 2019 at the young age of twenty-two. She has won several prizes at international organ competitions and was one of the youngest finalists of the prestigious French Concours International de Chartres (2018). She has a broad repertoire, both as a soloist and with orchestra and chamber ensemble, ranging from early music to contemporary compositions as well as her own transcriptions.

Currently living in New York City, she is pursuing her Artist Diploma studies at The Juilliard School with Paul Jacobs. In addition to music, Amelie is passionate about literature and speaks four languages. In her free time, she indulges in dancing, working out, or riding motorcycles.

An interesting fact: I have a Bachelor of Arts degree in violin.

Proudest achievement: I am proud of having followed my passions and dreams of becoming a professional musician, even though it was never an easy path to pursue, especially coming from an entirely non-musical background.

Career aspirations and goals: Simply put, I want to make the organ more popular again and get rid of the many stereotypes that we organists are being confronted with! I hope to free the instrument from its dusted image and make it more accessible to the audience! I want to pass my passion and knowledge about this instrument on to everyone who thinks the organ is boring—and everyone else as well, obviously.

Amelie’s website: www.amelieheld.com; Instagram: amelieheld_org.

Katherine Jolliff

Katherine Jolliff is an organist from Indianapolis, Indiana. She began piano studies at the age of five and started learning the organ in her freshman year of high school with Marco Petricic (University of Indianapolis). After completing her first two years of high school, she finished her studies at Interlochen Arts Academy, Interlochen, Michigan. She majored in piano performance and organ performance and studied organ with Thomas Bara. Graduating with honors and the Fine Arts Award in Organ Performance, Katherine is currently attending Eastman School of Music, Rochester, New York, as an organ performance major studying under David Higgs.

In addition to being declared a winner at an AGO/Quimby Regional Competition for Young Organists, she has also won first prize in the East Carolina University Young Artists Competition in organ performance (including the Bach Interpretation Prize and the Hymn Playing Award) as well as first place in the 2021 M. Louise Miller and Paul E. Knox Scholarship Competition. Most recently, she won first place in the Immanuel Lutheran Church Organ Scholar Competition in Evanston, Illinois, and the Taylor Organ Competition in Atlanta, Georgia.

An interesting fact: When I’m not practicing, I’m frequently hanging around (quite literally!) in the local circus school practicing aerial silks and other aerial apparatuses. I’m currently teaching both kids and adults who are just starting out on their aerial journeys.

Proudest achievement: I think what I am proudest of varies day to day. While I am of course proud of the competitions and recitals I have done, I find those achievements pale in comparison to the small choices and risks that I do and make daily. I’m proud of myself years ago, who chose to take a risk by trying an instrument that I wasn’t necessarily going to be good at. Despite setbacks and general insecurity, I decided to pursue something that I love with my whole being.

Career aspirations and goals: The end goal of my musical journey is to lead a life that helps inspire other people, both in music as well as in life. I plan to do this through a combination of teaching and performing as well as being a good role model as a musician and as a person.

Alex Jones

Alex Jones is currently a candidate for the Doctor of Musical Arts degree at the University of Houston, Texas, where he studies with Daryl Robinson and holds a graduate teaching fellowship. He is a graduate of the Eastman School of Music in Rochester, New York, holding a Master of Music degree in organ performance and literature. He earned a bachelor’s degree in organ performance from the Royal Birmingham Conservatoire, UK.

Before emigrating to the United States, Alex was a recipient of numerous awards including the Birmingham Symphony Hall Organ Scholarship and the Manchester Cathedral Organ Scholarship. Since emigrating, he has gone on to win several major awards including third prize at the 2022 Elizabeth B. Stephens International Organ Competition in Atlanta, George; second prize at the 2017 West Chester University International Organ Competition; third prize of the 2018 Royal College of Organists National Competition; and first prize of the 2017 American Theatre Organ Society’s (ATOS) “Young Artist” Competition. 

He is very active as both a classical concert organist and theatre organist, having performed in major venues across Europe and the United States, including as a featured artist at several ATOS conventions, and is currently serving as organist and choirmaster at Trinity Episcopal Church in Houston, Texas.

An interesting fact: I am a keen amateur sailor, and I love the game of snooker, which is a popular British sport. It’s similar to pool but played on a larger table and is more strategy based.

Proudest achievement: I would say my proudest achievement so far is winning the third prize at the Elizabeth B. Stephens International Organ Competition in Atlanta last year. This was my first really major international competition, and I was not expecting to have been selected as one of the six out of seventy-two candidates for the audition round, let alone to have come away with a prize.

Career aspirations and goals: My aspirations and goals for the future are to become a permanent resident of the United States and to continue my work as a performer, both as a classical and theatre organist, as a church musician, a teacher, and as an organ designer and consultant.

Instagram handle: aj_organist.

Caitlyn Koester

Caitlyn Koester is a harpsichordist and music director active in the early music communities of the Bay Area and New York City. Her international duo, AKOYA, releases its first album of Graupner’s complete sonatas for violin and harpsichord under the ATMA Classique label in fall 2023. Caitlyn holds degrees from the University of Michigan, San Francisco Conservatory, and The Juilliard School, and is on collegiate and pre-college faculty at San Francisco Conservatory of Music. Recent engagements include vocal coach and continuo of I Cantori di Carmel’s Vocal Academy and performances of Bach’s Christmas Oratorio around Northern California, and chamber music with musicians of Severall Friends in Santa Fe and Musica Angelica in Los Angeles.

An interesting fact: I have a two-year-old Great Pyrenees mix named Polyphony!

Proudest achievement: A lot of my proudest achievements are non-musical, but one of my proudest musical achievements thus far is being given the opportunity to teach theory and history classes at San Francisco Conservatory of Music. Teaching has always been a vital part of my musical life, and the students at both the pre-college and collegiate level in the SFCM community are extremely talented, positive, and collaborative. It is a joy and an honor to be in my second year teaching at SFCM.

Career aspirations and goals: Teaching and performing have always been equally important parts of my life. I believe that they can maintain a mutually beneficial relationship in a musician’s life, informing and influencing each other with each new concert or class taught, and I hope to further both parts of my career. This winter I have taken DMA auditions in order to continue learning and developing both parts of my musical career, and upon receiving admissions results this spring I will be enrolling in a doctoral program for fall 2023.

Websites: caitlynkoester.com, akoyaduo.com.

Carson Landry

Carson Landry is one of the few students in the world currently pursuing a master’s degree in carillon, studying at the University of Michigan with Tiffany Ng and Pamela Ruiter-Feenstra. Previously, he earned a diploma from the Royal Carillon School in Mechelen, Belgium, while on a Fulbright scholarship, and a Bachelor of Arts degree in music studies from Principia College in Elsah, Illinois. His focus is on playing an active role as a musician in movements for social good, diversifying the carillon repertoire through commissioning and performing works by historically underrepresented composers, and improvising, particularly to fulfill audience requests for popular music by diverse artists. 

The Guild of Carillonneurs in North America (GCNA) awarded him and Grace Ann Lee its Student Composer/Performer Pair Grant, and he serves the GCNA on the Professionalism, Diversity, Equity, and Inclusion Committee and as a typesetter for music publications. A native of Orlando, Florida, Carson has held fellowships at Bok Tower Gardens in Lake Wales, Florida, and at the Thomas Rees Memorial Carillon in Springfield, Illinois, and has given concerts in the United States, Belgium, the Netherlands, and Lithuania.

An interesting fact: I’m an avid Trekkie!

Proudest achievement: Peaking a 14,000-foot-tall mountain despite not being athletic in the least.

Career aspirations and goals: I’m pursuing a full-time career in carillon performance.

Social links: https://linktr.ee/carilloncarson.

John Miller

John Miller received his training in pipe organ building through a 3-1⁄2-year apprenticeship under Germany’s dual education system for the trades. He received practical training at Johannes Klais Orgelbau in Bonn and education in organbuilding theory at the Oscar-Walcker-Schule in Ludwigsburg. John earned his journeyman certification in pipe organ building through the Industrie- und Handelskammer Bonn in February 2019 after examination.

In March 2019, John returned to his hometown of Milwaukee and started his own business. Along with maintaining around 100 pipe organs across the state, John’s workshop specializes in the restoration of self-playing mechanical organs (such as organ clocks, orchestrions, and street organs)—with a special emphasis on those operated by pinned cylinders. John is an organ advocate seeking to introduce new audiences to the organ through creative installations of pipe organs and automated mechanical music instruments.

An interesting fact: I am an urban beekeeper and am interested in sustainable homesteading.

Proudest achievement: I passed my journeyman’s exam, got married, and started the organ business all in the same year—then kept the business, still in its infancy, open and growing through the pandemic the following year!

Career aspirations and goals: Several monumental orchestrions were either destroyed in the World Wars or are currently in a state where conservation is more important than functional restoration. I would like to build copies (or close copies) of these instruments so they can inspire audiences once again.

Website: www.MillerOrganClock.com.

Victoria Shorokhova

Originally from Russia, Victoria Shorokhova graduated from the Saint Petersburg Conservatory with diplomas in piano in 2016, studying with Vladimir Shakin, and in organ in 2017, studying with Daniel Zaretsky. In 2019, she earned a master’s degree at Saint Petersburg State University, majoring in historical performance on keyboard instruments (organ, harpsichord, and carillon). In 2022, she received a Master of Music degree in organ performance at Georgia State University, studying with Jens Korndörfer, serving as a music intern at First Presbyterian Church of Atlanta during her studies. Starting in January of this year Victoria has been pursuing a Doctor of Musical Arts degree in organ performance at the University of Houston, studying with Daryl Robinson and holding an organ scholar position at Saint Luke’s United Methodist Church.

Victoria is a laureate of numerous international organ competitions, including the XXVI International Competition of Sacred Music in Rumia, Poland (2014, second prize), and the II International Braudo Organ Competition in Saint Petersburg (2019, first prize and special prize). She has participated in organ academies at Alkmaar, the Netherlands (2013), Graz, Austria (2014), Kotka, Finland (2015), and masterclasses with Ludger Lohmann, Arvid Gast (Germany), Gunther Rost, Johann Trummer (Austria), Iain Quinn (United States), Lorenzo Ghielmi (Italy), and Isabelle Demers (Canada). Victoria actively concertizes in Russia and the United States; her recent performances include venues such as Saint Patrick’s Cathedral and Saint Thomas Church in New York City and the Cathedral of St. Mary of the Assumption in San Francisco.

An interesting fact: When I was 16, I created a rock band in about three weeks. We only had one gig, performing some covers on the Beatles’ songs, and I was the lead vocal. Funny, I lost interest to being in a band after this event, and have rarely played guitar since then.

Proudest achievement: I was born in a small settlement in Russia, where the biggest dream would be moving to the regional capital. I couldn’t imagine myself relocating halfway across the planet to continue my education and career development, and I’m proud to be where I am right now. It took a lot of persistence and courage to get to this point, and I will continue working. However, achieving all this wouldn’t be possible without support of my family and many good people that I meet here in the States (and a sparkle of pure luck).

Career aspirations and goals: I love being involved in music making whether it’s playing organ, or piano, or singing in a choir. My major goals are sharing the gift of music as a church musician and a concert performer, and teaching.

Nicholas Stigall

Nicholas Stigall, 22, is a senior majoring in organ performance at the Jacobs School of Music at Indiana University, Bloomington, where he is a recipient of the Barbara and David Jacobs Scholarship and studies with Janette Fishell. A native of Knoxville, Tennessee, he began organ lessons with Edie Johnson at the age of fifteen. Nicholas has been the recipient of many awards in organ performance competitions, including first prize in the 2019 RCYO Southeast Region and second prize in the 2022 Arthur Poister Competition. A passionate church musician, Nicholas currently serves as music intern at Trinity Episcopal Church, Bloomington, Indiana, where he formerly served for three years as undergraduate organ scholar under Marilyn Keiser. He is currently dean of the Bloomington Chapter of the AGO. Additionally, Nicholas was the organ scholar at the Chautauqua Institution for the 2022 season under the direction of Joshua Stafford. Throughout the nine-week season, he assisted in the service music for seven weekly choral services and also played three solo recitals. Nicholas looks forward to returning to Chautauqua again as organ scholar for the 2023 season.

In his free time, Nicholas enjoys exercising and drinking tea.

An interesting fact: I used to be a competitive gymnast and was on the Junior National Team.

Proudest achievement: I am probably proudest of winning the Southeast RCYO in 2019 while still a high school student.

Career aspirations and goals: I have always been equally passionate about performing organ literature and doing sacred music. I aspire to have a career in church music, while concertizing on the side and maybe teaching organ at the university level.

Joel Stoppenhagen

Joel Stoppenhagen is a native of rural Ossian, Indiana. His organ instruction began at age 11, his first teachers being Richard Brinkley and Randall Wurschmidt. In high school, Joel attended Lutheran Summer Music at Valparaiso University for two summers, where he studied with Chad Fothergill. During the summer of 2022 he served on the worship staff of the same program.

In December 2023, following a semester abroad at Westfield House seminary in Cambridge, Joel will graduate from Valparaiso University with a Bachelor of Music Education degree. During his time at Valparaiso University, he took lessons with Sunghee Kim and Stephen Schnurr and held several leadership roles in the university’s AGO chapter. He also worked in the university archives cataloging the works of the late Philip Gehring, longtime university organist, and in his work uncovered a transcription of a Langlais improvisation on “Of the Father’s Love Begotten,” which was later published in CrossAccent, the journal of the Association of Lutheran Church Musicians. His other publications include organ music reviews for The Diapason and a score preface (co-authored with Katharina Uhde and Ryan Gee) for the publisher Musikproduktion Höflich. At the 2022 Association of Lutheran Church Musicians regional conference in Valparaiso, Joel gave a plenary address on the topic of youth and traditional church music and was a panelist for a discussion on the subject. He currently serves as director of music at Saint Paul Lutheran Church, Chesterton, Indiana.

An interesting fact: I grew up on an historic family farm established in 1895. My father and uncle raise beef cattle and all of the typical Indiana crops. I grew up being fascinated with antique farm machinery and equipment—and I still am!

Proudest achievement: I am most proud of my improvisation skills, which I’ve been honing my whole musical career. While I still have much to learn, I am certainly pleased with what I am able to invent.

Career aspirations and goals: Following graduation from Valparaiso University, I plan to pursue a graduate degree in sacred music or organ performance. It is then my intent to work at a Lutheran church, fulfilling my vocation as Kantor. My sole aspiration is to continue to serve Christ’s church through the noble art of music.

Alexander Straus-Fausto

Working on his master’s degree in organ performance at the Yale Institute of Sacred Music, New Haven, Connecticut, Alexander Straus-Fausto, from Kitchener, Ontario, is thrilled to be studying under the direction of Martin Jean and playing on Yale’s Newberry Memorial Organ. He completed his Bachelor of Music degree at McGill University Schulich School of Music and his secondary school studies at Michigan’s Interlochen Arts Academy. While still a teenager, Straus-Fausto undertook a Canada Council-funded summer 2019 concert tour of the UK, playing in historic churches and cathedrals. He has further expanded the organ’s reach by creating more than fifty original transcriptions of major orchestral works, reflecting his passion for the symphonic organ as a virtually unlimited medium for artistic expression. This summer he will be one of ten finalists at the Longwood Gardens International Organ Competition, Kennett Square, Pennsylvania. He has performed at venues such as Washington National Cathedral, Maison Symphonique, Trinity Church Wall Street, and Woolsey Hall. Alex credits his organ teachers, Martin Jean, Hans-Ola Ericsson, Alcée Chriss, Jonathan Oldengarm, Isabelle Demers, Christian Lane, Thomas Bara, Peter Nikiforuk, and Joe Carere.

An interesting fact: I love mountain biking and roller coasters! Like music, they are about movement and excitement.

Proudest achievement: At this point, I am proudest of studying at Yale. I also would not trade the experience of having attended Interlochen Arts Academy for anything in the world.

Career aspirations and goals: My aspiration is to be an organist in a large church in a big city with a great music program, while performing and recording.

Website: alexanderstrausfausto.com.

Andrew Van Varick

Andrew Van Varick is a doctoral student in organ performance and literature at the Eastman School of Music in Rochester, New York, under the instruction of David Higgs. Previously, he received his Master of Music degree at Eastman, and he holds a Bachelor of Music degree from Montclair State University, where he studied organ with Vincent Carr and John Miller, piano with Mark Pakman, and harpsichord with Hsuan-Wen Chen.

Andrew has played in coachings and masterclasses with Raúl Prieto Ramírez, Bálint Karosi, Michel Bouvard, Wilma Jensen, Simon Johnson, Ezequiel Menendez, Chelsea Chen, and Alan Morrison. As a recitalist, he has performed on the “Young Organ Artist” series at Central Synagogue in New York City, on the “Wednesdays at Noon” series at the Cathedral Basilica of the Sacred Heart in Newark, New Jersey, and for the Greensburg, Pennsylvania, chapter of the American Guild of Organists. In 2022, he was a semifinalist in the AGO National Young Artist Competition in Organ Performance, and this September will be competing in the Ninth International Organ Competition Musashino-Tokyo. Currently, Andrew serves as director of music and organist at the Central Presbyterian Church in Geneseo, New York.

An interesting fact: I also work part time at the reference desk of the Sibley Music Library at Eastman, where I frequently assist scholars, musicians, and musical enthusiasts from around the world. It’s a fun gig!

Proudest achievement: To date, my proudest accomplishment was completing my master’s degree.

Career aspirations and goals: My hope is to pursue a career as a full-time organist and director of music. Additionally, I would love to teach organ and give recitals.

Website: andrewvanvarick.com.

Abraham Wallace

Abraham Wallace graduated from the University of Oklahoma in 2018 with degrees in music (piano) and geophysics. He began seriously playing the pipe organ near the end of his undergraduate years and decided to pursue the study of the instrument more in depth upon graduation. He completed a Master of Music degree in organ performance from the Yale Institute of Sacred Music. While at Yale, Abe served as organ scholar at Saint Paul’s Episcopal Church on the Green, Norwalk, Connecticut, and as director of music for Trinity Lutheran Church, Milford, Connecticut. He is currently pursuing a doctoral degree in sacred music at the University of Michigan, studying organ with Peter Sykes.

Some musical highlights from the last few years include commissioning and performing an organ suite by Ethan Haman as a part of the 2021 American Guild of Organists Student Commissioning Project, curating a virtual evensong service in the height of the covid pandemic, and playing harpsichord in continuo ensembles for various early music projects in both Michigan and Ohio. Wallace is currently the organ scholar at Saint John’s Episcopal Church in Detroit, Michigan, under the direction of Huw Lewis. In his spare time, he enjoys baking bread and making coffee.

An interesting fact: I know how to juggle! And I learned from my mother, who worked very briefly as a clown for hire before starting a family. After having kids, she hung up the proverbial red nose, but kept the costumes. Growing up, our entire family would dress up as clowns for Halloween.

Proudest achievement: My colleagues and I produced a virtual evensong in 2021. We crafted the liturgy, composed all of the music, and recorded everything by ourselves in our spare time. The liturgical and musical fruits of our labor were augmented by the work of a very talented projection designer. While that project was one highlight, more than anything I just feel incredibly lucky to (then and now) be able to make music with so many talented friends and colleagues.

Career aspirations and goals: I have fallen in love with church music and am really hoping to make a full-time career out of the pursuit. Ideally, I would like to hold the position of organist/choirmaster at a church in the United States.

Lynnli Wang

Based in New York City, Lynnli Wang is a talented carillonist, award-winning teacher, and fierce diversity and inclusion advocate. She currently plays at The Riverside Church, which houses a seventy-four-bell carillon, weighing more than 100 tons. Previously, she held the Indiana University’s Jacobs School of Music (IU JSOM) carillon associate instructor position, where she built and taught a vibrant carillon studio, dedicated two newly renovated carillons, performed weekly recitals, collaborated with student composers, commissioned a trio of new works by female composers, and authored her second children’s book on carillons. In recognition of her dedication to making the carillon accessible and exciting to performers, listeners, and composers alike, Lynnli was awarded the IU New Music Performance Award, the IU Lieber Memorial Teaching Award, and the Midwestern Association of Graduate Schools Teaching Award. 

Lynnli’s carillon journey began at Yale University in 2011, where she completed her undergraduate studies in literature. She passed the Guild of Carillonneurs in North America (GCNA) carillonneur exam in 2014; since then, she has concertized regularly across the United States. To advance the art of carillon, Lynnli serves on the board of the GCNA and various committees, including the Emerging Artist Grant, which provides funding for education, research, and performance opportunities to new carillonists.

An interesting fact: Lynnli’s love of big instruments extends outside carillons to include organs as well. In 2022, she completed her Master of Music degree in organ performance from IU JSOM, where she studied with Janette Fishell.

Proudest achievement: As the performer of a public instrument that can be heard from miles around, Lynnli loves to collaborate with fellow artists to ensure the carillon is an inclusive and welcoming space for all. She regularly mentors student composers, commissions works from underrepresented artists, premieres new pieces (including mixed ensemble works such as carillon plus handbells), organizes joint events with local organizations, hosts panels on inclusive programming, and more. One such collaboration with CBS premiered on prime-time national TV where millions saw Lynnli performing the March Madness theme song on the Indiana University Metz Bicentennial Grand Carillon!

Career aspirations and goals: Lynnli aims to build the next generation of carillon lovers by continuing to perform, teach, commission, and collaborate with artists and creatives across different fields. If you ever have an idea for the bells, don’t hesitate to reach out!

Alden Wright

Alden Wright is a student at Eastman School of Music in Rochester, New York, where he is currently pursuing a Master of Music degree in organ performance with Nathan Laube. As a performer and national young competitor, Alden holds several distinctions, including being named winner of the 2019 Arthur Poister National Competition in Organ Playing and the Pogorzelski-Yankee Memorial Scholarship for undergraduate studies. Alden has performed in many student and solo recitals throughout the United States and England and has participated in masterclasses with many of the world’s top performers.

Alden holds a Bachelor of Music degree from Eastman as well as the prestigious Performer’s Certificate, having graduated with highest distinction in May 2020. Alden most recently served as organ scholar at Truro Cathedral in Cornwall, England, under director of music Christopher Gray from 2021 to 2022. He is currently serving as assistant director of music at Christ Church, Pittsford, New York

An interesting fact: Outside of music, I have a love of cooking and baking.

Proudest achievement: Being awarded the Performer’s Certificate from Eastman in my undergrad.

Career aspirations and goals: I would like to pursue professional and academic routes, hopefully having an opportunity to do both teaching and church music with a bit of performing.

Jonghee Yoon

Jonghee Yoon will begin study with Nathan Laube at Eastman School of Music, Rochester, New York, in fall 2023 for an artist diploma. She is pursuing her master’s degree in sacred music and organ performance under David Arcus and Colin Andrews at East Carolina University and is an organ scholar at Saint Paul’s Episcopal Church in Greenville, North Carolina. Jonghee graduated with a bachelor’s degree from Ewha Woman’s University, Seoul, studying with Min-Jung Gaang. An active musician, she is a multi-instrumentalist, conducting and playing organ, harpsichord, and violin. She has performed in many parts of the United States, as well as South Korea, the Netherlands, Hungary, Denmark, and Spain.

Jonghee won the Raleigh Symphony Orchestra’s Rising Stars 2022 competition and performed as a soloist with them. She played for the independent movie Cofradia and has been a music director in several musical theatrical productions, including Les Miserables, Lou Andreas-Salomé, and Corpus Delicti. Jonghee played continuo with Saint Peter’s Bach Collegium and solo organ with Gödi Baroque Ensemble in Hungary. She has also worked with organbuilders at C. B. Fisk, Inc., in Gloucester, Massachusetts, where she participated in making, designing, installing, and tuning pipes.

An interesting fact: There are multiple interesting facts that you might not know about me. My first musical instrument was violin, and I have been playing violin for at least thirteen years. Moreover, I am bilingual. I speak English and Korean fluently, and I also know the basics of various languages such as French, German, Japanese, and Hungarian. These are a couple of sports that I am most passionate about, surfing in summer and skiing or snowboarding in winter. Furthermore, I am an animal lover. And I also like to volunteer. In Korea, I used to volunteer to help children at Dream Purun school, Hanmaum Rural Children Center in Jelloa-do, Jangsung Women’s High School in Gangwon, and Deung Chon High School for students with special needs.

Proudest achievement: My proudest achievement was being accepted into Ewha Women’s University. I put a lot of effort into applying for this school, and I was so happy as it was my dream to be enrolled there. During my time in Ewha, there were many challenges that I overcame. My colleague and I organized and performed in concerts. I also volunteered at various institutions, directed French music musicals and German language plays, mentored juniors, and received awards for my thesis among the entire students of Ewha University. Furthermore, I received a scholarship and had an opportunity to learn from Fisk, an overseas organ company. In addition to this, I have done various activities, and I have learned and achieved many great things after entering Ewha.

Career aspirations and goals: I have a large ambition, and I aspire to do my best to achieve my goals. There are multiple goals that I have set for myself. My current goals are to become a music director in a church and a concert organist. I would love to work and collaborate with other musicians in ensembles or orchestras. It is my desire to make the organ instrument known to more people by working in various fields. I enjoy improvisation, and I want to learn more about organ repertoire and also compose organ pieces. Furthermore, I want to become music director for musicals, and I want to compose music for musicals and movies with organ.

Doing things a little differently: An interview with Greg Zelek

Joyce Johnson Robinson

Joyce Johnson Robinson is a past editor of The Diapason.

Greg Zelek
Greg Zelek (photo credit: Peter Rodgers)

Greg Zelek, named one of The Diapason’s 20 under 30 Class of 2016 (see The Diapason, May 2016, page 31), was the first organist to be awarded Juilliard’s Kovner Fellowship (a merit-based scholarship award that covers the full estimated cost of study at The Juilliard School). Zelek received bachelor’s and master’s degrees and an Artist Diploma from Juilliard, studying with Paul Jacobs. Since September 2017, Zelek has been in Madison, Wisconsin, serving as the Madison Symphony Orchestra’s principal organist and the Elaine and Nicholas Mischler Curator of the Overture Concert Organ, a three-manual, seventy-two-rank Klais instrument that is entirely movable in one large chamber. Prior to holding this position, Zelek has served as organist and music director at several churches in Florida and New York, and spent summers in Spain. He has logged numerous performances with symphonies in Florida, New Jersey, New York, and Wisconsin, and has presented recitals throughout the United States.

Zelek is certainly reaching the career aspirations mentioned in his 20 under 30 essay: “to broaden the audience for the organ, popularizing an instrument that is often misunderstood even by other classical musicians” and to present it “in atypical performances and collaborating with other artists.” He has made significant strides toward these goals, notwithstanding the challenges posed by a virus pandemic in 2020 and 2021. We talked with Greg Zelek to find out the details.

Describe in brief what your position with the Madison Symphony Orchestra entails.

I am the principal organist of the Madison Symphony Orchestra (MSO) and hold the endowed position of the Elaine and Nicholas Mischler Curator of the Overture Concert Organ. I perform with the symphony whenever there is an organ part in a symphonic work and have also been the soloist for organ concertos. As the curator of the Overture Concert Organ, I perform in and plan our organ series (as well as a summer concert series) by selecting and hiring guest artists, organize events for the Friends of the Overture Concert Organ (FOCO), who help support all organ programming, and handle scheduling of organ maintenance. I succeeded Sam Hutchison, who retired in 2017, and am forever grateful to him for the organ program in Madison that he helped shape.

What special things have you done in your position that were new?

As I always do at my live performances, I try to make the event an all-around experience that not only showcases the instrument and repertoire, but also entertains the audience with personal interaction throughout the concert. I began forming relationships with many music aficionados in Madison, and this has allowed for growth of the program and greater enthusiasm for the organ and our performances.

At the annual Free Community Carol Sing, a December holiday event for which you played, the attendance reached a new level in 2019. It had never previously been necessary to open the top levels of the theater to accommodate the crowd. What’s the secret to your success?

The Carol Sing is an incredible tradition that attracts around 1,500 people from all ages to sing Christmas carols accompanied by the organ. I really appreciate everyone in our audience, and I think this mutual admiration from both those in attendance and the performer makes concerts and events much more memorable and entertaining for everyone.

I always open and close the Carol Sing with solo organ works that demonstrate the full scope of our instrument, and I think it’s a great opportunity to share repertoire with children and their parents who otherwise might have never heard the organ before. When everyone in the family can leave with a smile on their face after a concert, you know they’ll be returning (and bringing some family friends).

When the Covid pandemic struck in March of 2020, how did things change for you?

It was difficult to see what exactly we would be doing at the start of the 2020–2021 season, since so much was up in the air immediately following the start of the pandemic. One advantage of playing the pipe organ is that you can perform an entire program without anyone else on stage (which was essential with the social-distancing guidelines in place). I planned two virtual concerts in the fall with the hope that this might give our audience members something to look forward to since there was nothing going on at the start of the new season.

As soon as we began advertising our two virtual streams (I performed the first, and my former organ teacher at Juilliard, Paul Jacobs, performed the second), we had over 1,600 households register and watch the events. While these virtual events are not an equal substitute for our live concerts, they provided the advantage of being able to share music from Overture Hall with a wider community beyond just Madison.

I planned one final virtual event in the spring to close the season with my friend and trumpet player, Ansel Norris, who I had the opportunity to perform with in Naples, Florida, back in March 2020. That Naples performance turned out to be my last live concert before the pandemic, and it seemed appropriate to close our virtual season alongside Ansel, who coincidentally is originally from Madison. It was wonderful to see the majority of the households that registered for these three concerts return to their seats for live concerts at Overture Hall for the 2021–2022 organ season.

What else did you do during the 2020–2021 Covid year?

Apart from the Madison Symphony Virtual Organ Series events, I performed alongside the Madison Symphony’s Maestro, John DeMain, in a virtual Christmas concert that showcased the Klais’s versatility for both solo and accompanied works that was viewed by over 6,000 households. I also had the opportunity to perform at some other venues throughout the pandemic.

I performed my first live concert in over a year with the Jacksonville Symphony Orchestra in a concert for organ and brass ensemble in January 2021. This was my fourth year performing in the event, and it was surreal to play in front of a socially distanced but live audience after so many months away. I also recorded a virtual concert from Longwood Gardens with my friend and fellow Juilliard alum, cellist Thomas Mesa. I then returned to perform Rheinberger’s Second Organ Concerto with the Jacksonville Symphony before another live audience at the end of March 2021.

Things have now opened up. What items are added to your calendar?

We have a very exciting upcoming 2022–2023 organ season at Overture Hall, with performances by guest artists, as well as myself. The Jacksonville Symphony has also invited me back to again be the artist-in-residence for their organ program that is in its second year that showcases their Bryan Concert Organ (a Casavant instrument in Jacoby Hall). Many of the canceled events from the start of the pandemic for which I was booked were rescheduled for both this past 2021–2022 season and this upcoming Fall.

Let’s return to your student years. You grew up in Miami and began piano lessons at age seven. How were you attracted to the organ?

I attended Epiphany Catholic School in Miami, Florida, where they built an entirely new church structure around a magnificent Ruffatti instrument during my time as a student there. Tom Schuster was hired to be the organist, and I began taking piano lessons with him. I then went on to attend New World School of the Arts High School as a pianist, studying with Ciro Fodere. As I moved into high school, I wanted some cash to be able to take my girlfriend out to dinner and the movies, and Tom had said that I could get a church job that paid if I started studying the organ. When you’re a kid, $5,000 a year seems like a million dollars, so I began taking organ lessons with Tom, and here I am, however many years later, doing it professionally!

And you even had a summer job in Spain.

Each summer, we would visit family for a month in a tiny town called Ramales de la Victoria, which is nestled in the mountains of the north of Spain. I would play the Sunday Mass there, which not only helped me grow in appreciation of the music, but also of a very different culture. It also helped me keep up my Spanish that I grew up speaking as a kid, and that I’m still fluent in today.

Your college and graduate work has all been done at Juilliard. What led you to decide to remain at Juilliard for all of your training?

My former organ teacher, Paul Jacobs, is the reason that I chose Juilliard, and there was no reason to go anywhere else once I was there! Paul’s unique vision of the profession made me believe that I might be able to venture outside of the traditional path for organists and do things a little differently. Through his extensive experience with orchestras around the world and his vigorous dedication to making the organ an integral part of the classical music scene, I was motivated to work intensely, set high standards for musical excellence, and develop my own individual style of concertizing. Paul’s passion and work ethic is a constant inspiration to me, and I feel a responsibility to pass on my own passion with anyone and everyone who attends an organ performance.

Was it difficult to adjust to New York City?

I recall Paul Jacobs not allowing me to talk as much as I wanted to in my first couple of lessons, and so I was forced to play (and thus reveal that I was probably less prepared than I should have been). It quickly became clear that I wasn’t going to be able to talk my way out of lessons, and so I really started working and honing my craft. As soon as I realized what it took to learn and internalize music and started memorizing my music for our weekly organ class performances throughout the semester, New York was a dream environment for an aspiring musician. The level of talent in NYC is so high, and it really inspired me to look beyond my life as a student and try to imagine what might be possible in this challenging but very rewarding profession. I then went on to get my master’s and Artist Diploma from Juilliard as well.

Attendance at Madison’s organ programs has increased greatly during your tenure—tripling. How do you account for that?

There is nothing more contagious than enthusiasm, and I hope that I exude enthusiasm whenever I perform. I hear so many organists talk about how they go about selecting music for their concerts (“always include something your audience wants to hear, but make sure you play something that they need to hear”), and I have a very different take on this idea. I generally perform the music that I want to share and feel the responsibility of convincing the audience that they should want to hear it too.

The more I have gotten to know the audience in Madison, the more I feel that they trust me to play the best music and to bring in the top guest artists. There is constant pressure to perform at the highest level, and this is inspiring to me. I also hope that I’m a fairly relatable person. I tend to talk about how my parents don’t know anything about classical music, how my mom thought that giving me a sip of her Manhattan would help calm me before an organ competition, and how my dad may be asleep halfway through my concert. And these types of stories (all true, by the way) tend to make audiences feel comfortable and more attentive to the beautiful music that I have the privilege of performing.

When I first arrived in 2017, we had 224 FOCO households (Friends of the Overture Concert Organ), and this past pandemic year we had over 550. My last organ concert at Overture Hall this past May 2022 had over 1,400 audience members, and I’m proud that we’ve been able to create excitement around our instrument and program in Madison. The Madison community at large is most appreciative and supportive of the arts, and they have welcomed me with open arms. I have made some extremely close relationships in a short period of time, and this is a testament to how gracious and loving the people of Madison really are.

How’s the Klais?

There is something unique about playing a concert hall instrument, and the immediacy of sound is both electrifying and thrilling. Everyone in Madison is so proud to have a world-class organ in our César Pelli-designed concert hall, especially considering that there are many cities larger in size than Madison, such as New York City, that don’t. The instrument was built by Klais in 2004 and gifted to the MSO by Pleasant T. Rowland (a Madison native and the founder of the American Girl books and brand). With over 4,000 pipes and 63 stops, there are countless sounds to choose from, and it really brings all different styles of music to life.

The MSO website (madisonsymphony.org) mentions “Pop-up Events.” Can you tell us about these?

When I first arrived, the Madison Symphony Orchestra League asked if I would play for a Party of Note, where they sell a certain number of tickets to an event that supports the MSO’s Education and Community Engagement Programs. This event was the first to sell out, and we now do two of them a year. It has been a great opportunity to play for some new organ enthusiasts, and it also gives me the chance to meet and perform for audience members who attend the symphony but have never gone to an organ event.

What sorts of programs have you done with children?

We have had a number of elementary and middle school classes take a field trip to Overture Hall for me to explain the organ and have them sit down and play the instrument themselves. It is wonderful to see the unique personalities of each student shine through the instrument, with some choosing the loudest sounds on the instrument, and others wanting to play on the softer and more delicate stops.

Prior to the pandemic, I had the students select the different organ sounds for a Bach fugue, and then I performed it using the stops they had selected. The children were excited by both the colors that could be drawn from the organ and the physical aspect of playing this instrument. I was also recently featured in the MSO’s LinkUp Program, which is a music education offering created by Carnegie Hall’s Weill Music Institute. It was virtual this year, and they showcased the pipe organ in our hall, which I think is a wonderful way to introduce this incredible instrument to our youth.

You are bilingual. Have you been able to utilize that in your work?

It was my Cuban grandfather on my mother’s side that imparted to me the musical gene. He is the reason that I am a musician today, and he also inspired me to arrange works like Malagueña, by the Cuban composer, Ernesto Lecuona. It’s been wonderful to speak Spanish with supporters at receptions, and my Cuban heritage has given me an insight into a different culture. This has allowed me to relate to a wider variety of people, which has been helpful in making friends for our organ program.

Donors generously contributed $30,740.54 to name the Solo division of the Overture Concert Organ in honor of you for your twenty-eighth birthday. That’s quite an honor!

This was a complete surprise to me, and I was shocked in gratitude when they presented me with this honor at a donor event on the day of my birthday. It was done to commemorate my “golden birthday,” which was something that I had never heard of prior to this moment. (Editor’s note: A golden birthday occurs in the year you turn the same age as your birthday—so, turning twenty-eight on October 28, 2019.)

You’ve done some of your own arrangements. (I particularly enjoyed your Clair de Lune.) Do you arrange with the Klais in mind, or were these written prior to Madison?

That particular arrangement was completed prior to my arrival in Madison. I’m grateful to hear that you enjoyed it, because I think some of these reimagined pieces work really well on our Klais. I have, however, recently commissioned an organ and cello sonata from Daniel Ficarri, a classmate from Juilliard, written for our Klais and to be performed with cellist Thomas Mesa in the 2022–2023 season.

Are there any recordings on the horizon?

I will soon be recording my first organ CD as the MSO’s organist and plan on releasing it at my concert in September 2022. I will be performing the works on the CD at the opening of the 2022–2023 season concert and will have a sort of “CD Release” party for the event.

Do you have any special goals or plans for the future?

I think it is imperative that I constantly think of new ways to keep our program fresh and exciting, and presenting a variety of performers and repertoire is fundamental to keeping an audience engaged. It’s a challenge to retain audience members year after year and continue to attract new ones if the program itself doesn’t evolve over time, and so I am always learning new repertoire to perform and thinking of creative ways to program the organ alongside other musicians. It also helps to always have a new joke or two to share with those who attend . . . .

Thank you very much, Greg!

Greg Zelek’s website: gregzelek.com

MSO website: madisonsymphony.org

In the Wind: three five-manual organs

John Bishop
St. Patrick's Cathedral from inside the organ case (photo credit: John Bishop)
St. Patrick's Cathedral from inside the organ case (photo credit: John Bishop)

Five manuals? Are you kidding?

Most organs around the world have two manual keyboards and a pedalboard. Three manual organs are common, as are “four-deckers,” especially in big cities, but organs with five manuals are rare. What on earth do you do with five manuals? You only have two hands, and while clever organists can play two keyboards at once by “thumbing down” a melody, the cleverest could not possibly manage more than four at once. Can you even reach the top keyboard?

During my career of servicing organs, I always noticed that the top keyboard of a four-manual console shows considerably less wear than the others. In fact, when restoring an organ console, it is possible to swap the well-worn Great keyboard with the less-used Solo. Is it laziness or just more comfortable and convenient to couple the fourth-manual Solo division to a lower keyboard? A console with five keyboards is certainly connected to a very large organ, so it is always a bewildering thing with hundreds of drawknobs, tilting tablets, pistons, indicator lights, and gadgets not found on more usual consoles.

I am thinking about five-manual organs because in the last two weeks I have visited three of them: the Austin in Merrill Auditorium of City Hall in Portland, Maine; the Kilgen at Saint Patrick’s Cathedral in New York; and the Aeolian-Skinner at Saint Bartholomew’s Church in New York. The three instruments are radically different, each with a distinctive personality, and each was demonstrated by a brilliant “house” organist with a particular point of view.

Vacationland

My wife Wendy and I divide our time between homes in New York City and coastal Maine. New York is a bustling, booming metropolis alive with culture and variety, busily regaining its life after the horrors of Covid, and in Maine we are in a verdant rural area alive with the beauty of the ocean and the continual motion of wind and tide.

The population of New York City is 8.5 million people, 1.63 million of whom live in the twenty-three square miles of Manhattan, which is 71,125 people per square mile. The State of Maine has 1.34 million residents, 300,000 fewer than Manhattan. Maine covers 35,385 square miles, so the population density is about thirty-eight people per square mile. When we were in New York for the first time after our Covid exile, I commented to Wendy, “We’ve seen more people in the last three blocks than in the last fifteen months.”

Portland is the largest city in Maine with about 66,500 residents—there are probably blocks in Manhattan with more people—but it is a beautiful city with a symphony orchestra, several fine choral societies, an art museum, opera, and ballet, and one of America’s two active municipal organists. James Kennerley presides over the 104-rank Austin organ in Merrill Auditorium, a gift to the city by Portland native and publishing magnate Cyrus H. K. Curtis. Curtis gained his middle initials from Hermann Kotzschmar, a brilliant organist and conductor who was the center of the musical life of Portland at the turn of the twentieth century, and the great and good friend of Curtis’s father. He memorialized Kotzschmar with the gift of the organ, dedicating his gift to the city as the Kotzschmar Organ. Today, a nonprofit group called the Friends of the Kotzschmar Organ (FOKO) maintains and promotes the organ.

On June 14, 2021, the FOKO board held its annual meeting in person, the first non-Zoom meeting since “before.” We met in the large rehearsal hall of Merrill Auditorium, so there was plenty of space to comply with the city’s requirements of masks and social distancing. (Should we call that MSD for simplicity?) It was a joy to see friends and colleagues, to choose elbow and fist bumps over handshakes, and to discuss the business of the organization. After the meeting, municipal organist James Kennerley treated us to a half-hour recital on the great organ. We sat in folding chairs on the auditorium stage, up close and personal with the vast and mighty instrument as James demonstrated how he has learned to adapt the music of Bach to its resources. He is widely known as a prolific performer of early music, and he noted that his teachers would have questioned his registration when he played a brief chorale prelude on the Harp alone.

The Kotzschmar Organ has six manual divisions (Great, Swell, Orchestral, Solo, Antiphonal, and Echo) and originally had a four-manual console in the well-known Austin style with stop tablets and the “ka-chunk” combination action. The five-manual console was built in 2000, allowing more complete control over the organ. Why do you need five manuals? Obviously, you don’t. But imagine that you would like to have two manual registrations on both the main organ and in the Echo and Antiphonal divisions, which are located above the ceiling at the rear of the auditorium, along with a colorful solo combination for comment. Boom. Five manuals. The organ is loaded with colorful voices and includes a full theatre-style toy counter.

One of FOKO’s annual traditions is the presentation of a silent movie with organ accompaniment on Halloween, making use of the organ’s second personality as a theatre organ. Last year’s Covid Halloween film was The Hunchback of Notre Dame presented at the drive-in movie theater in Saco, Maine.

Merrill Auditorium seats about 1,900 people in a classic concert-hall layout with two balconies. I do not know the exact dimensions of the hall, but I will guess that no seat is more than 150 feet from the organ, and many are within 100 feet. It is a powerful organ—most of the instrument is on ten inches of wind pressure—and the big 32′ voices really shake the place. It is unusual to hear such a large organ in such an intimate space.

James’s appointment as municipal organist immediately followed the comprehensive renovation of the organ completed by Foley-Baker, Inc., in 2014. The organ is like new, sparkling both inside and out, up to any demands of the most creative organist. Visit www.foko.org where you will find concert schedules, stoplist, history, and a description of the renovation project.

James had some comments about the fifth manual:

In Portland, the top manual gets more use than most similarly sized consoles. Because it controls, by default, the Antiphonal and Echo divisions, there is a logical spacial separation of manual and pipe location (the main case vs. 100 feet up in the ceiling!). Additionally, because it is truly conceived as an orchestral instrument—every manual division has something important to offer to the ensemble sound—I find that I’ll often have the four “main” divisions coupled together. Having that fifth manual available saves having to worry about Unisons Off, etc. Reminded of the North German tradition of extensive improvised choral fantasias, I find the fifth manual gets most use when improvising.

He went on to say that when he was an assistant organist at Saint Paul’s Cathedral in London, they reserved the fifth manual “almost exclusively” for the West End trumpets, not the sort of thing you would want to forget having coupled down to another manual, especially given the console placement where the organist would be the last to hear!

Fifth Avenue

Saint Patrick’s Cathedral, located at Fifty-Third Street and Fifth Avenue, is among the largest ecclesiastical buildings in the United States and is the second largest in New York. It is an important tourist mecca visited by more than five million people each year. During my visit in the waning days of Covid restrictions, there were hundreds of people milling about both during and between Masses. The organ was originally built by Geo. Kilgen & Son and now has 116 stops and 142 ranks, located in a huge gallery at the west end, under the rose window.

The interior of the church is 332 feet long and 174 feet wide at the transepts. (The Cathedral of Saint John the Divine on the Upper West Side is 601 feet long inside!) I did not have a tape measure with me, but with my long career of removing organs from big churches, I will hazard a guess that the balcony is more than thirty feet off the floor of the nave and the organ is twenty feet above the console. The sound of the huge organ is monumental in scale with the room. At Merrill Auditorium, the closest seats are within fifty feet of the organ, and they face the main body of the instrument directly at eye level. At Saint Patrick’s, the closest seats are probably fifty feet away, directly below the organ, and the sound of the organ soars above them.

My host was Michael Hey, associate organist and director of music for the cathedral. We spent an hour and a half listening to and discussing the organ before a noon Mass. One of his demonstration pieces became the prelude for the Mass, and while tourists swirled in the back half of the church and down the side aisles, priests and cantor in the chancel led the celebration for a large congregation. It was surreal to be so far from the altar, the priests, and the congregation. I could hear the cantor singing, standing at a microphone two hundred feet away, but I could barely hear the congregation singing.

Throughout my career, people have responded to learning what I do for a living with their travel stories. “When we were in London, we walked into Saint Paul’s . . . .” “When we were in Paris, we walked into Notre Dame . . . and someone was playing the organ. It was incredible. I’ll never forget that sound . . . .” Michael knows that he’s the guy playing the organ when those millions of tourists walk into the church. He thinks of the person from Argentina or Brazil who always dreamed of visiting Saint Patrick’s. He is inspired by the sense that his playing brings that visit to life and those visitors will take the experience home with them.

There is a swell little elevator from the narthex to the organ loft, a nice discovery on a very hot day, and a spiral stone stairway from the loft to the organ chambers and ultimately to the south tower. Most of the organ is located behind the magnificent organ façade, and we climbed ladders to the highest level where one can stand just under the great rose window and look down the length of the nave. Two full-length 32′ stops (Diapason and Contra Bombarde) lie on their sides in the north triforium, and when you walk past those two immense stops you reach the Nave Organ, located in two chambers near the great crossing. Are you paying attention? I’ve just left the organ loft, walked eighty feet to the Nave Organ, and another twenty-five to get to the place in the triforium where nave and transept meet, and there’s a commanding view of the great crossing, nave, and north transept.

The scale of the building and the organ encourages one to play to the acoustics. Michael’s hands are off the keys as much as on; he lifts his hands to separate notes, allowing the vast acoustics to connect them. It is light years from the practice room and from most usual church organs. There is nothing usual about Saint Patrick’s Cathedral and its organ.

The fifth manual is home to the nineteen-stop Nave Organ that includes a principal chorus, a Gamba with Celeste, a couple flutes, a Vox Humana, Oboe, a big chorus of reeds and the Triforium Trumpet on eighteen inches of wind. Stand back. Michael is a tall, lanky guy, and when I asked him how often he plays on the fifth manual, he put his hands right on it and said it is really about how well your shirt fits. If the shirt is a little tight at the shoulders or the lunch a little too much, it is not as easy to get up there. But since the Nave Organ is so separate from the gallery organ, it makes sense to use the top keyboard to play the organs against each other. It was obvious as he played that the top manual is well within reach.

Michael’s affinity with the organ, the giddy climb high into the organ, and the thrill of hearing the mighty instrument project its tones through the lofty space was a great prelude to a lovely Thai lunch a few blocks away, a fitting end to a wonderful visit. You can find the stoplist and read about this remarkable organ at nycago.org/Organs/NYC/html/StPatrickCath.html.

“Have you seen the well-to-do?”

Up and down Park Avenue . . . .1 Saint Bartholomew’s Church (affectionately known as St. Bart’s), another of New York’s greatest, is four blocks from Saint Patrick’s at Fifty-First Street and Park Avenue. Designed by Bertram Goodhue in a Byzantine-Romanesque style, it is markedly different in form and decoration from the many Gothic-inspired buildings throughout the city. With 225 ranks, the five-manual organ is the largest instrument in the city. Unlike the organs at Merrill Auditorium and Saint Patrick’s that are still in their original form with judicious additions, the St. Bart’s organ reflects an evolution, containing important elements from previous organs by Odell, Hutchings, and the Skinner Organ Company (Ernest Skinner), all summarized and crowned by what is the last project completed by the Aeolian-Skinner Organ Company before it closed in 1972.

The most unusual feature of this landmark organ is the eighteen-stop Celestial division that plays from the fifth manual, built by the Skinner Organ Company in 1930 and installed above the dome, sixty-six feet above the floor of the nave. It originally included a large principal chorus, solo and soft flutes, strings and celestes, Vox Humana, a big assortment of reeds including Harmonic Trumpet, Tuba, and Corno di Bassetto, so the division includes both soft ethereal voices and powerful reeds, topped off with a seven-rank Harmonic Mixture. Half of the space above the ornamental dome is occupied by the organ, the other half of the outer dome is covered with hard plaster forming a huge resonating chamber, so the sound is blended as a heavenly chorus, providing huge climaxes to the effect of the combined chancel and gallery organs.

Paolo Bordignon, organist and choirmaster at St. Bart’s, is a devoted student of the organ he plays. As we walked around the church together, Paolo pointed out the spectacular carvings of the gallery organ case, all produced by master carver Frank Walter. You can follow a link to Mr. Walter’s work at stbarts.org/music/the-organs/. The interior of the building is wide and open as there are no columns. The impression of great height is enhanced by that dome, a huge interior space above the vaulted ceilings.

While Saint Patrick’s has the rolling acoustics you would expect in such a big room, in spite of its great size the acoustics at St. Bart’s are surprisingly intimate with “just enough” reverberation, allowing the brilliant classic choruses of the chancel organ to speak clearly throughout the room. Paolo demonstrated what he considers to be the genius of this organ, the rich Romantic voices from earlier instruments that include harmonic flutes, luscious strings, and wide-mouth diapasons combined with the brilliant neo-classical choruses of the 1972 Aeolian-Skinner. While some such instruments can only be described as hodge-podge (we sometimes say “Bitsa,” as in bitsa this and bitsa that), the St. Bart’s organ, enhanced by the marvelous building, is a cohesive, convincing whole.

Paolo gave me a detailed demonstration of the value of having so many stops by playing the same five or ten measures of various pieces over and over, using a different registration each time. Comparing and combining four or five sets of celestes, for example, showed what a kaleidoscope of sound a large organ can be. The luxury of choosing between harmonic flutes or between seven or eight lyrical colorful solo reed voices is the experience of playing on such a large instrument.

I did not need to ask Paolo about using the fifth manual. He repeated several times how important the Celestial division is to the whole of the organ, and as he played for me, he was up and down on all five keyboards. He is not especially tall, and he was wearing a jacket. Must have been a pretty good fit. Nothing to it.

When is enough enough?

It is just a couple months since I wrote about my visit to the world’s only seven-manual organ at Boardwalk Hall in Atlantic City, New Jersey. The design of that organ stretches the imagination ever further with its eighty-five- and seventy-three-note keyboards. The six-manual console at the Wanamaker Store (now Macy’s) in Philadelphia is a world wonder, especially when Grand Court Organist Peter Conte is playing. Skinner and Aeolian-Skinner built five organs with five-manual consoles (St. Bart’s, Riverside Church, Curtis Institute, Mormon Tabernacle, and Cleveland Public Auditorium). The Kotzschmar Organ and St. Bart’s are joined by the Hazel Wright Organ in Christ Cathedral (formerly Crystal Cathedral), the First Congregational Church in Los Angeles, and Calvary Church, Charlotte, North Carolina, as among the five-manual organs in the United States. With Saint Patrick’s, that makes eleven of them, and by the way, there are two identical five-manual consoles at Saint Patrick’s, one in the rear gallery where Michael received me, the other in the chancel. This list is off the top of my head. I am not claiming it as definitive. Let me know how many I am missing. Five manuals is a lot, but my little tour proved that for a skilled and inquisitive organist and a very large organ, it’s nothing like too many.

Notes

1. Irving Berlin, “Puttin’ On the Ritz.”

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