Organ Historical Society Convention, 1994 Cromwell, Connecticut, June 19-25

PART ONE OF TWO

For its forty-ninth annual convention, the Organ Historical Society met in Buffalo, the land of Bills and Wings, with headquarters at the Adam’s Mark Hotel, close to the waterfront marina. Nearly four hundred people were in attendance. The Organ Handbook, which included a daily schedule and information on the events and performers as well as historical background on the churches visited and instruments featured, was dedicated to the memory of Farny Wurlitzer, Herman Schlicker and Robert Noehren, all of whom contributed significantly to the history of organ building in Buffalo. There were examples of instruments from all three builders heard during the week.

Wednesday

The events began with an optional tour to Niagara Falls and a buffet lunch at the new Seneca-Niagara Casino in downtown Niagara Falls, New York. There was ample time for those who wished to try their luck at the casino and perhaps recoup some of their convention expenses.

Fred Swann played the opening recital that evening on the reconstructed 3-manual Johnson & Son, Opus 797 of 1893 in the vast and beautifully appointed St. Stanislaus R.C. Church. After a welcome by the pastor (who is also auxiliary bishop of the diocese), Swann played the following program: Sonata 8 (op. 132), “Introduction and Passacaglia,” Rheinberger; Woodland Flute Call, Dillon; Fantasia in A, Franck; the hymn “Holy God, we praise thy name” (sung lustily by all) to the tune, Grosser Gott; By the Waters of Babylon, Huston; Petite Suite, Bales; the Symphonic Chorale, “Ach bleib bei deiner Gnade,” Karg-Elert; Meditation, Duruflé; and Fantasia and Fugue in G, Parry. Swann’s own delightful transcription of an Allegro of Corelli served as an encore. His expert programming and playing displayed the dignified and powerful sounds of the organ as well as the more delicate ensembles and solo colors—all enhanced by an acoustical environment favored by the church’s high vaulted ceiling and a octagonal dome at the crossing. After a well-deserved and enthusiastic standing ovation, the audience, which happily included many parishioners, went across the street to the parish hall for a reception. As people left the church, the tower bells pealed their joyful sounds. This event was certainly an apt beginning for a week of convivial celebration.

Thursday

The convention’s first full day began at the hotel with a lecture by Donald Ingram, who presented an enlightening and often humorous recollection of his association with Herman Schlicker (1902-1974) and the Schlicker Organ Company. The presentation dealt primarily with an overview of Schlicker’s tonal and mechanical innovations. At its height, the firm employed a work force of approximately forty-seven persons.

A short bus trip brought us to the sumptuous Delaware Avenue Baptist Church located in an area noted for the monumental beauty of many of its residences. The church building is a feast for the eyes with its Richardsonian design and attention to decorative detail. A particularly ornate baptistery set off by six marble columns with Ionic capitals and featuring a symbolic shell design immediately draws one’s eye to its inset location behind a coffered arch. Floating above in the curve of the domed church are representations of ten winged figures illustrating the text from Psalm 91: “He shall give His angels charge over thee.” On a balcony over the baptistery and thus completing a central focal point in the large auditorium is the 3-manual Johnson & Son, Opus 827 of 1895 (with later reworkings by both Viner and Schlicker) on which James Hammann played fourteen examples from Dudley Buck’s Studies in Pedal Phrasing (op. 28), followed by the hymn, “All glory be to God on high” sung to the tune  Allein Gott in der Höh. Hammann can always be relied upon to supply an unusual program well-suited to the organ at hand.

The fourteen Studies selected for this program displayed three important characteristics:

(1) the fact that these technical studies can be lovely little pieces in themselves thanks to Buck’s musical and melodic creativity;

(2) the various colors, solo stops and ensembles of a fine instrument can be featured effectively;

(3) in the hands of a fine artist such as James Hammann and his registrational sensitivity coupled with his flexibly shaped phrasing, music can be made out of what are basically pedal studies over which Buck wove attractive counter melodies. Hammann also provided a handout showing the registration for each study.

The 1896 Hutchings organ, Op. 465, at Lafayette Avenue Presbyterian Church offered an interesting contrast to the approximately contemporary Johnson (1895) just heard. Whereas the Johnson was originally supplied with mechanical action, the Hutchings had an early version of electro-pneumatic key and stop action and may have been the first organ in Buffalo to have had this “modern” action. Later additions and modifications were made by Wurlitzer, Viner and Schlicker (console). After remarks by both the interim pastor and the former music director, Derek Nickels played the following program: Sonata 5 in D (op. 65, no. 5, 1845), Mendelssohn; “Harmonies du Soir” from Trois Impressions (op. 73, 1911), Karg-Elert; “Scherzetto” from 24 Pièces en style libre (op. 31, 1913), Vierne; Elegy (1916), Brewer; the hymn, “Guide me O thou Great Jehovah,” sung by the entire assembly to the tune, Cwm Rhondda; and the “Finale and Fugue” from Sonata 7 in F (op. 127, 1881), Rheinberger. Even though the acoustically treated barrel vault plus the substantial grille work (added later in front of the original Hutchings case) prevented clear projection of the organ’s sound, the usual firm and distinguished basic Hutchings tone emerged quite well under Dr. Nickels’ expert playing. He wisely chose a very effective group of pieces to display the instrument’s colors and its highly expressive enclosed divisions.

A short bus trip brought us to the former First Church of Christ, Scientist, recently purchased by David and Marsha Karpeles of Santa Barbara, California. After renovation, it will become yet another venue for their extensive collection of original documents and manuscripts. We were served a box lunch as we sat in the pews and listened to a demonstration of the ex-church’s 1913 3-manual Möller, Op. 1500, rebuilt by Möller in 1956. David Blazer’s short and eclectic program included the Prelude from Duruflé’s Suite; a transcription of the theme from “The Young and The Restless,” and Bach’s Schmücke dich and Prelude in C Minor (BWV 546). The loud, somewhat boomy and opaque sound of the Möller successfully covered up munching and paper-rattling sounds produced by the hungry conventioneers. Blazer deserves our plaudits for putting up with what must have been a less than congenial performance situation on a difficult instrument.

The First Presbyterian Church, across from Kleinhans Hall, home of the Buffalo Philharmonic Orchestra, was the next stop for two demonstrations. The first was by Timothy Smith who presented a short program on the fine 1957 Schlicker in Hindman Chapel. The well-balanced 2-manual organ contains some pipework from the chapel’s previous ten-stop Roosevelt organ installed in 1889 as that firm’s Op. 426. Since we arrived at First Presbyterian early enough, many people chose to wander around and enjoy the richly decorated interior of the church including its Tiffany windows. Incumbent organist David Bond played the following program on the church’s landmark 4-manual Noehren organ of 1969-1970: the hymn, “Ye watchers and ye holy ones,” sung to Lasst uns erfreuen; Prelude in C (BWV 547), Bach; Noël Etranger, Daquin; “Humoresque” from L’organo primitivo, Yon; and Chorale No. 1 en mi majeur, Franck. The organ, situated in the rear gallery with its often-pictured suspended Positiv, was one of Noehren’s largest instruments and said to be his favorite of all the ones that came out of his atelier. It features broadly intense principal choruses, commanding chorus reeds, wide-scaled flutes and piquant and colorful baroque-style solo reeds. A bit of whimsy is reflected in the inclusion of a stop control (knob only) for 4/5’ Chivas Regal, evidently intended for eventual subtle Celtic blending characteristics. Bond performed brilliantly, showing that the instrument has ample broad support for a room full of OHS hymn singers and featured the delightful baroque color reeds against a plenum in the Daquin, the lovely Great Rohrfloete (with just enough chiff) in the Yon, and the massively voiced Great 8’ Principal at the beginning of the Franck. Since the console is located in close proximity to the pipes, the organist undoubtedly has to take into account problems of perceived balance and make adjustments for proper perceptions in the room. The organ has benefited from a recent thorough cleaning, re-regulation and some re-voicing by the Niagara Organ Works who thoughtfully provided complimentary copies of a newly produced CD in which one could hear another recital program and also a “before-and-after” example of some reed work.

Later that afternoon, Scot Huntington, organ builder and restorer as well as OHS Vice-President, presented the following program in Nativity of The Blessed Virgin Mary R.C. Church: Organ Motet, Tallis; Prelude in C, Thayer; Minuet in A, Smart; Maria Zart, Schlick; Violin Sonata #5, Bach (with Allison Alcorn-Oppedahl, violin); and Allegro maestoso, Roseingrave. The lovely instrument, apparently originally built by Hall and Labaugh in 1853 and moved to Buffalo later in the nineteenth century, stands proudly in the rear gallery of the lofty sandstone Gothic church. The church interior has been tastefully restored and is in a fine acoustical and visual setting for the seldom-used organ. Even though it needs a thorough restoration, Paul Marchesano, Joe McCabe and Kevin Gilchrist together with Scot Huntington provided many hours to give the instrument enough of a voice so that many of its colorful and delicate tones were able to sing through the vaults and accompany the violin to give a tantalizing taste of what a future restoration might produce.

The evening event was a demonstration and concert of appropriate music played with verve and enthusiasm by Scott Foppiano on the large and restored 1925-1926 Wurlitzer (Op. 1206) in Shea’s Buffalo Center for the Performing Arts. The vast and ornate auditorium was originally Shea’s Buffalo Theatre, one of the nation’s premier entertainment palaces built for the presentation of both stage shows and motion pictures. Foppiano demonstrated many of the organ’s solo and ensemble effects, both with and without the characteristic generously pulsating tremolos. In addition to playing music usually associated with this outstanding example of theatre organ building, he accompanied the showing of the 1922 silent film, “The Cops,” starring the hilarious and athletic Buster Keaton.

Friday

The morning began with Jonathan Ambrosino’s lecture on Robert Hope-Jones, the infamous, quirky, often misguided and personally haunted genius of the organ building world. The theme of his illustrated talk was centered on Hope-Jones’s ideas on “radical change.” Included were appropriate remarks on the ups and downs of the often stormy relationship between himself and the Wurlitzer firm, then located in nearby North Tonawanda, New York. As usual, Ambrosino, well-known for his combination of articulate delivery and depth of scholarship, seasoned with affectionate good humor, did not disappoint the conventioneers who filled the room with resounding applause.

There followed a short walk to St. Anthony of Padua R.C. Church for a short recital presented by Donald Fellows on a more-or-less “stock” model Hook & Hastings 2-manual tracker, Op. 1429 of 1889. The instrument had been moved to St. Anthony’s from Plymouth Methodist Church in 1911. The interior of this elegant and beautifully maintained church had been restored in 1991 and reflected the subtle care taken to emphasize the many architectural features of this Italianate Classic room. A high coffered ceiling and hard surfaces in the building helped to supply an ideal acoustical ambiance for the following program: Prelude and Fugue in d (op. 37, no. 3), Mendelssohn; “Stèle pour un enfant défunt” from Triptyque, Vierne; the hymn, “If now, thou seekest miracles,” sung to the tune Si quarus miracula; “Adoro te devote”—Prelude with Four Variations, Near; and Te Deum, Reger. The pieces were well-played and displayed the firm and distinguished tone of the Hook, which, in spite of some minor tuning problems, acquitted itself well.

Following a catered lunch at St. Francis Xavier R.C. Church, organist Tom Trenney presented the following short memorized recital on the church’s very early example of the work of Herman Schlicker: the hymn, “I sing the mighty power of God,” sung to the tune Forest Green; Bishop’s Promenade, Coke-Jephcott; Variations on “The Last Rose of Summer,” Buck; and “Prelude,” “Scherzo” and “Toccata” forming a three-movement improvisation on submitted themes. The 2-manual, largely enclosed organ of 1933, located in the rear gallery of the high and tastefully decorated room, does not sound as one’s “mind’s ear” might expect of a Schlicker. It has a warmth and breadth of tone more typical of that of a previous generation. The instrument is provided with two consoles, one in the gallery and one on the floor of the nave. It was from this floor console that Trenney played his program. The submitted themes, which Trenney had not seen prior to the performance, were Jerusalem (the wonderful Parry tune), “Come thou fount of every blessing” (Nettleton), and the inevitable Harry Warren show tune, “Shuffle off to Buffalo” (it had to happen sometime during the week!). Trenney achieved the unbelievable task of combining these disparate melodic concoctions into an entertaining and surprisingly unified musical offering. Here is a fine young artist who combines technical security and fire with a fine and sensitive lyric awareness.

Because of limited seating for the next two events, the conventioneers were split into two groups, which then exchanged places and thus heard a repeat of the program. This report will follow the order given in the official Handbook.

Stephen Roberts gave a short demonstration on the Church of the Ascension (Episcopal)’s 3-manual Kimball, K.P.O. 7129 of 1934, which is undergoing restoration. Since much of the organ is currently unplayable, Roberts chose pieces that would work on what is available. His program opened with the lusty singing of The Royal Telephone (“Central’s never busy, Always on the line”) followed by Four Versets on Ave Maris Stella (op. 18, nos. 6-9), Dupré; Vision, Rheinberger; and Variations on “America,” Ives. Roberts, with the aid of a student console assistant, was able to give us more than a few hints of what will eventually be the resurrection of a really fine Kimball.

After a refreshing reception in Ascension’s Parish Hall, the group walked the short distance to Holmes Chapel in Westminster Presbyterian Church for a  demonstration played by Lorenz Maycher on what he calls his favorite instrument, the beautifully balanced 2-manual Aeolian-Skinner, Op. 1136 of 1951. The organ features a floating Positiv division, which is hung on the rear wall of the chapel, thus creating a stunning visual effect as well as a source for antiphonal effects, and, when desired, an enveloping sound for singing support. His program: How Brightly Shines the Morning Star, Telemann; Fugue in d (“Fiddle”), Bach; the hymn, “Holy, holy holy! Lord God Almighty,” sung with plenty of support from the organ to the tune Nicaea; Whimsical Variations (1950), Sowerby, and Fugue in C (op. 36, no. 3), Dupré. As usual, this young artist played with a total “no nonsense” command of the instrument, allowing his technical control to serve the organ and its music.

The previously split groups then met in the main church for Felix Hell’s full recital on the 4-manual Aeolian-Skinner, Op. 1249 of 1959 located in the rear gallery. His program: Fantasy and Fugue on B-A-C-H; Reger; Chorale No. 2 in b (1890), Franck; the hymn, “Praise to the Lord,” sung in a good, broad “Anglican” tempo to the tune Lobe den Herren; and Fantasy and Fugue on “Ad nos ad salutarem undam,” Liszt. For an encore, he played the last movement from Trio Sonata 1, Bach. Hell has the distinction of being the youngest person (at age 18) to graduate with a Bachelor of Music degree from the Curtis Institute of Music. Last  fall (at age 19), he began graduate work at the Peabody Conservatory where he studies with Donald Sutherland. The charming and totally unaffected young virtuoso possesses an impressive technique, and it will be revealing to observe his increasing musical sensitivity as his career develops.

Central Park United Methodist Church was the site for a relaxing catered dinner followed by ample time for a post-prandial stroll in the lovely neighborhood. The handsome limestone church houses the Ward Memorial Organ, a 4-manual Skinner, Op. 356 of 1922-1923. The instrument’s layout is somewhat unusual in that the console and part of the Pedal division as well as the Swell and Choir are located in a transept, while the Great, Solo and the Pedal reed are in the central ceiling of the nave and over the crossing. These latter elements are concealed (very effectively) by a grille cloth colored to blend into the ceiling. This is certainly a clever arrangement, but one can only imagine the tuning and balance problems such an installation can create.

The artist for the recital was Thomas Murray who presented the following program, which he interspersed with highly appreciated and helpful comments: Introduction and Passacaglia in d  (1899), Reger; Fantaisie in D-flat (op. 101, 1895), Saint-Saëns; a group featuring “Four Americans:” Hommage to Perotin (1956), Roberts; Novelette (1908), Parker; Reverie (1962), Still; and Ride on, King Jesus, Greenlee; followed by Notturno (1942) and Impetuoso (1933), Wiedermann. After intermission, we all sang “Battle Hymn of the Republic” to the tune Vision; the program concluded with Rhapsody (op. 17, no. 3, 1919), Howells; Overture to Ruy Blas (1839), Mendelssohn (arr. Lemare); and three movements from the Byzantine Sketches (1920): “Rosace,” “Noël,” and “Toccata: Tu es petra,” Mulet. Murray received a richly deserved standing ovation for his expert playing and was able to bring out the best from this somewhat unusually designed and very fundamental-toned organ. The controversial John A. Bell was the consultant for this particular project and may have been largely responsible for some of its odd tonal characteristics. One cannot help comparing this instrument with the earlier Skinner of 1922 (Op. 327) in St. Luke’s, Evanston, played by Murray at the Chicago OHS Convention in 2002. The Evanston installation, even allowing for the vastly different architectural and acoustical setting, gives the impression of being a much more cohesive and “modern” instrument.

Saturday

The day’s events began with a lecture by organ builder Charles Kegg on the topic “Pipe Organ Restoration,” subtitled “more than you really wanted to know.” His basic tenet is that a true restoration is “ . . . bringing back what was lost.” Much of his talk dealt with specific problems involved in the continuing restoration of the 1934 Kimball heard in the Church of the Ascension the day before. He emphasized the fact that the Kimball’s original materials and design were of very high quality indeed. Among the points he raised were the fact that water damage in organ chambers is sometimes due to inherent building design flaws and that “ . . . falling plaster is not our friend.”

The first recital of the day was held on the landmark 1954 Schlicker in Trinity Episcopal Church with Stephen Schnurr presenting the following program: Fantasia super Komm, Heiliger Geist (BWV 651), Bach; Toccata in d (BuxWV 155), Buxtehude; Balletto del granduca, Sweelinck (attrib.); Concerto del Sigr. Meck, Walther; the hymn, “Lord, enthroned in heavenly splendor,” sung to the tune Bryn Calfaria; and Variations de Concert (op. 1), Bonnet. The organ, situated in the rear gallery, features a tight and well-balanced plenum together with perky small ensembles and colorful solo registers. As usual, the multi-talented Schnurr demonstrated his sure technique and subtle musical sense.

Will Headlee played the final recital of the morning on a thoroughly grand and somewhat altered Kimball of 1903 located in the high rear gallery of the equally grand St. Louis R.C. Church. This was one of several highlight programs with the organ, organist and restored church creating an overall magnificent experience. Headlee thoughtfully provided a sheet of written commentary done up in his usual entertaining style and gave information on both the music and his registrations. His program: two of the Trois Préludes et Fugues (op. 7, 1918), B Major and F Minor, Dupré; Air for Organ (1963), Hancock; from the Partita on “Sei gegrüsset, Jesu gütig” (BWV 768), Bach (Choral, Variations, I, VII and XI); Introduktion und Passacaglia in d (1899), Reger; and the rousing hymn, “Round the Lord in glory seated,” sung to the tune Rustington. Following Headlee’s superb performance, which was justifiably acknowledged with a standing ovation, the departing audience of parishioners and conventioneers was treated to the celebratory ringing of a bell located in a beautiful and lofty tower, which, together with the tower of the First Presbyterian Church, can be seen from many points in the city of Buffalo.

The next locale was Holy Trinity Lutheran Church (located diagonally across the street from the historic Anchor Bar, home of the original “Buffalo Wings”). After a catered lunch we took part in a hymn festival with the redoubtable James Bigham in charge. The main church houses the largest organ in western New York, the 5-manual Margaret L. Wendt Memorial Organ of some 152 ranks, originally a 1949 Möller (Op. 7852) with many changes and additions made by others over the years. Charles Kegg, who rebuilt both the massive console in the chancel as well as the one in the gallery and who was also responsible for most of the recent tonal work, explained some of the features of this remarkable instrument’s layout. Its divisions emanate from a variety of locations in the attractive room, and it is amazing that all of the spread-out portions of the organ worked cohesively and were in fine tune. To say that the instrument has room-filling potential would be an understatement as we were to find out later during the program. Bigham, widely known for his creative improvised hymn accompaniments, expertly played one division against another during the singing of the hymns, effectively demonstrating both large and small ensembles and colorful solo effects. Unfortunately, the creative muse overcame a sense of balance and soon proved how loud an organ can go to swallow up the sound of a room full of singers, several of whom were seen quietly replacing the hymnals in the racks or, in at least in one case, frantically waving a white handkerchief signifying sonic surrender. As a giddy postlude to this event, several people on the buses transporting conventioneers to the next recital pointed out the location of St. Mary’s School for the Deaf just a few blocks away.

The final event of the afternoon took place at the Jordan River Missionary Baptist Church with Randy Bourne playing the following program: “Wedding March” from A Midsummer Night’s Dream, Mendelssohn; “Adagio sostenuto” from Moonlight Sonata (op. 27, no. 2), Beethoven; “Air (on the G-string)” from Orchestral Suite No. 3 in D (BWV 1068); “Little” Prelude and Fugue in G Minor (BWV 557), Bach; Song on an Old Negro Melody, Deep River (1917), Burleigh; and the hymn, “I’ve just come from the fountain,” the African-American spiritual, which was done up “in the style” by the room full of singers. The organ, a Votteler-Holtkamp-Sparling, Op. 1343 of 1919 and obviously in great need of a total restoration, created multiple challenges for Bourne who lovingly struggled to make the organ sound as well as it could. It is a rare example of a small original and unaltered essentially 8-foot instrument by this important midwest builder. A curious feature of the console is its use of color-coded stop tabs. Congratulations are due to the church for not replacing the organ and to Randy Bourne for his considerable efforts to elicit sounds from it.

St. Paul’s Cathedral (Episcopal), just a short walk from the headquarters hotel, was the locale for the evening events—a choral evensong and an organ recital. The evensong featured the Men and Girls of the Cathedral Choirs under the direction of its recently appointed organist-choirmaster, Andrew Cantrill, with Andrew Scanlon, assistant organist-choirmaster, providing the accompaniments. After a short interval, Scanlon played the following program of three sonatas: Sonata No. 3 in A (op. 65, no. 3), Mendelssohn; Sonata II (1937), Hindemith; and Sonata Eroïca (op. 94, 1930), Jongen. The organ is an interesting one in that the chancel portion was built by Schlicker in the 1950s with more recent rebuilding by Ralph Richards and Bruce Fowkes. The gallery division’s magnificent case, originally by Hope-Jones, houses the remains of a 1908 Hope-Jones unit as the Solo. Over the years, further work was done by Wurlitzer to the gallery and chancel divisions, both of which had been of Hope-Jones design. It is a rarity to find vintage Hope-Jones pipes and unit chests existing together with Wurlitzer and Schlicker and later tonal and mechanical material all available in a single effective instrument.

Chicago, Illinois, June 25-July 1

Ronald E. Dean is Organist and Choirmaster at the Church of the Holy Cross (Episcopal) in Shreveport, Louisiana, and Professor of Music, Emeritus, at the Hurley School of Music, Centenary College. A graduate of Williams College and the University of Michigan, his organ study was with Frederick Kinsley, Robert Barrow and Robert Noehren. His reviews appear from time to time in this journal.

The forty-seventh annual convention of the Organ Historical Society took place in Chicago, with some forty events scheduled throughout the seven-day period.  The headquarters was the Hotel Allegro, formerly the famous Bismarck where, according to local lore, many a secret political deal was conjured up in what one can imagine were the proverbial "smoke-filled" rooms (the Chicago City Hall is, after all, just around the corner). Since Chicago is known familiarly as "the windy city" (the term coming more from the renowned political rhetoric than from any breezes that might come from Lake Michigan), it was appropriate that the Organ Historical Society add to the "windiness" through the sounds produced by the thousands of wind-blown pipes during the week. The convention committee, ably chaired by Stephen Schnurr, organized a well-rounded series of events designed to display a wide variety of instruments, from small one-manual nineteenth-century trackers to a huge five-manual 8,000 pipe-Wurlitzer. There was something for every taste and inclination. As the week progressed, one of the famous Chicago heat waves rolled in with daytime temperatures in the mid-nineties, producing a bit of discomfort and tuning problems in churches without air conditioning. There was much fanning and sipping from water bottles. Those stalwart organ folks who went on to the AGO national in Philadelphia the next week experienced the same sort of weather. There certainly were, to paraphrase, "hot times in those two old towns" during late June and early July.

Tuesday

The first event of the convention was a major recital played by William Aylesworth, former OHS President, and convention co-chair for the previous OHS convention held in Chicago in 1984. This evening recital featured the famous 1875 Hook and Hastings three-manual, Op. 794, the oldest organ in Chicago. The building, now the Scottish Rite Cathedral, was originally Unity Church (Unitarian). The program opened with the spirited singing of the three verses of "The Star Spangled Banner" which was followed by Voluntary No. 1 in D, Boyce; Deux Noëls (Laissez pestres vos bestes and Joseph est bien marié), Le Bègue; Cantabile, Franck; Marche Funèbre, Loret; Praeludium und Fuge für orgel zu vier Händen, Albrechtsberger; and Symphonie II, Widor. James Wyly provided the additional two hands in the Albrechtsberger piece. Following this beautifully played recital, which included cogent and helpful verbal commentary, Aylesworth provided the enthusiastic audience with an encore, "Marcia" from Widor's Symphonie No. III (original edition). Since Aylesworth is the regular organist for the Scottish Rite Cathedral, his elegant playing was at home with the musical choices which displayed both the subtle and grand sounds of the organ. In spite of the lack of reverberation to match the grandeur of both the instrument and the building, this opening program was a fitting beginning for the convention.

Wednesday

The first full day began with a "Group A-Group B" split for the first event  to accommodate limited seating space in a couple of churches. This report will follow the "Group A" plan. After a somewhat delayed departure from downtown Chicago with the compounding problems of heavy traffic and the omnipre-sent work on the highways, OHS regular Mary Ann Crugher Balduf presented the following program on a delightful one-manual organ of circa 1885 attributed to Chicago builder Emil Witzmann in St. John United Church of Christ, Palatine: March, Marsh; En Forme de Canon, Salomé; "Élevation" (from Heures Mystiques, op. 49), Boëllmann; "Vision" (from Sechs Charakterstücke für Orgel, op. 64), Bibl; "Moderato," "Poco Allegro," "Moderato con moto" and "Allegro Giocoso" from Miniatures for Organ by Howells; "Prière pour les morts" from Twenty-four Pieces for Organ by Langlais; "All my hope on God is founded" from Three English Hymn Tunes, Clark; followed by singing of the hymn by Howells. The program closed with a Scherzo by Shelley. This instrument was one of the smallest to be heard and was masterfully handled by Ms. Balduf to show what can be done on a lovely little organ with seemingly limited resources. The building is a charming New England style church that has had some recent remodeling. The organ shares a rear balcony location with Hammond speakers. The high placement allows the organ to offer a fair amount of presence within a rather dead acoustical environment. The instrument was restored by parishioners Stan and Scott Regula.

A trip to historic Woodstock (no, not THAT one; this one is in Illinois) and its 19th-century Romanesque-styled Opera House which houses a "steamboat gothic" theatre brought us to an informative lecture by William Osborne on one of Chicago's premier figures in the organ world, Clarence Eddy (1851-1937). Osborne's recently published comprehensive study on Eddy is available through the OHS catalogue. Though a native of Massachusetts, the often-traveling organist and pedagogue spent a great amount of time in Chicago, and these years were the center of Osborne's well-delivered and enlightening remarks which were followed up by a recital of some of Eddy's works the next day (see below). Prior to the lecture, John H. Scharres, managing director of the Woodstock Opera House, related the colorful history of the building and the many uses to which it had been put over the years.

St. Mary Catholic Church, just a short walk from the Opera House, was the site for both a box lunch and a recital by Robert E. Woodworth, Jr. on the church's 1910 two-manual Hutchings which has had some restoration by the Berghaus Organ Company. Michael Friesen presented an OHS Historic Organ plaque to the church. In spite of having wall-to-wall carpeting as well as pew cushions, the vast interior space with its high barrel-vault ceiling offered a good acoustical environment for the following program, which consisted of works by Chicago composers: "Fanfare" from Sonatina for Worship No. 7 by Jones; "Meditation--Elegie" from Suite for Grand Organ, Borowski; Allegretto (Andante quasi Allegretto) and Rondo (Allegretto non troppo), Buck; "Intermezzo" from Sonata II for Organ, Moline; Rest in Peace, Goode; and Impromptu, Bliss; followed by the vigorous singing of the hymn "Wonderful words of life." One wonders how many times that old Gospel hymn had been sung in a Roman Catholic church! The organ, with its keen strings and heavy, broad sound (especially in the reed stops), filled the room well.

Our travel delays were further complicated by a bus breakdown before we arrived at St. Mary Roman Catholic Church in Buffalo Grove where Susan Friesen played the following program: "Offertoire" from Heures mystiques, Vol. 2, op. 30, Boëllmann; two settings of Meine Seele erhebt den Herren, Pachelbel; Pastorale in F-Dur, Bach; Pastorale in A, Clarke; Pastoral Interlude (op. 32, no. 4), Parker; and Variations to the Sicilian Hymn, Carr (arr. Owen), which had been preceded by the singing of the hymn "Saviour, like a shepherd lead us" to the tune Sicilian Mariners. The organ, a small one-manual built by the Wisconsin Pipe Organ Factory in 1904, featured a reversed console. (See the Organ Handbook, 1993, p. 7, for a description of a similar instrument built by the same firm in 1905, reversed console and all, which was played by Rachelen Lien during the Kentuckiana Convention.) Ms. Friesen chose a program that was well-organized and energetically played to show the variety of sonic combinations available on this instrument of limited resources. The church building had been extended at its liturgical east end with the result that the worship space was considerably increased, yet the organ, with its favorable rear gallery location, filled the entire area effectively.

Zion United Church of Christ in the beautiful little town of Carpentersville was the site for a short program played by Mary Gifford on a small two-manual tracker Hinners of 1911 which has had restoration work done by Gruber Pipe Organs, Inc. The instrument is well maintained and loved by the congregation. Ms. Gifford obviously enjoyed playing the following program: Rustic Wedding, West; Prelude, Cradle Song, and Aria, Lloyd Webber; Andante, Wild; and Variations on "St. Elizabeth," Ferko. Prior to the Ferko piece, there was a very emotion-filled moment for many of the conventioneers at the singing of the hymn "What heavenly music" from the 1849 publication, Hymns for God's Peculiar People. Ms. Gifford noted that this was the late Alan Laufman's favorite hymn to which she has provided a descant in his memory. Alan was a prime moving force in, as well as past President of, the OHS and served the Society in many other capacities. He was also the founder of the Organ Clearing House, an organization that has saved many an old and worthy instrument. Since Alan had been a friend to many at the convention, some people found it difficult to sing through increasingly misty eyes.

After another lengthy bus trip, we arrived at the locale of what was undoubtedly one of the monumental highlights of the entire convention, a stunning memorized recital by Ken Cowan given at the Victorian Palace at Plum Tree Farm in Barrington Hills, the residence of Jasper and Marian Sanfilippo. The entire setting defies description--it must be experienced. A catered buffet dinner took place in what one wag called "the rec room," a large museum containing a variety of mechanical contrivances including automatic musical machines, a complete carousel, steam and other-powered engines and a Rolls-Royce Roadster. There was time to wander among the exhibits before taking a short walk to the main house and the continuation of displays of hundreds of mechanical musical instruments, all restored and in playing condition, and in an opulent and perfectly maintained facility, a part of which is actually the residence for the Sanfilippo family.

Cowan's recital took place in the astoundingly decorated multi-storied Music Room which houses, in addition to many more self-playing instruments, the pièce de resistance, an eight-thousand-pipe five-manual Wurlitzer which, in its present state, is the result of the late David Junchen's plan for the ultimate theatre organ. The instrument was originally a much smaller 1927 Wurlitzer built for the Riviera Theatre in Omaha. After considerable expansion, it now contains five enclosed divisions on several levels plus a set of tower chimes flanking the stage. People who did not mind climbing into the chamber were invited to do so at the end of the recital to see the inner workings. Those readers who have heard Ken Cowan realize that he is among the most outstanding young organists on the scene today. His unassuming manner and his sure and relaxed technique hide a fiery yet totally musical approach to organ playing. His program: The Stars and Stripes Forever ("my own arrangement with [obvious] borrowing from other peoples' arrangements," said Cowan). He also noted that a program such as this one requires "rapid shutters" . . . he then turned again to the audience and in an aside added " . . . this may be the only group who knows what I mean!" He was probably correct. The program continued with Rondo Capriccio (a study in accents), Lemare; "Nocturne" and "Scherzo" from A Midsummer Night's Dream, Mendelssohn; Introduction, Passacaglia and Fugue, Willan; Prelude to Hansel and Gretel, Humperdinck (arr. Lemare); the rousing singing of the wonderful English hymn Angel Voices, followed by "My Heart at Thy Sweet Voice" from Samson and Delilah, and Danse Macabre, Saint-Saëns (the latter arr. Cowan); and Overture to Oberon, von Weber (arr. Cowan). After several curtain calls, the artist returned with an encore, Moszkowski's Etude in F Major, a brilliant tour de force. As an added touch during the playing of Danse Macabre, one could see occasional appropriate and dramatic lightning flashes in the night sky. Surely, there was no Wurlitzer stop for that special effect!

Thursday

The day began at a somewhat more relaxed pace with Michael Friesen presenting an account of the Louis Mitchell organ built in Montreal in 1869-1870 for Holy Family Catholic Church, Chicago. At seventy-five ranks, it was reputedly the largest church organ in the country. It was rebuilt by Roosevelt in 1892 with a detached keydesk. After several additional rebuildings, all that remains is the huge case occupying a commanding place in the upper gallery. Even though the plethora of golden angels have descended from their once-ornamental location on the organ case (they are still intact and are in the process of being re-gilded), what remains is still imposing.

The landmark Pullman United Methodist Church and its wonderful 1882 Steere and Turner organ was the site of the first recital of the day. Naomi Rowley presented the following program: Epilogue on St. Theodulph, Willan; Two Christmas Partitas: Lo, How a Rose E'er Blooming and Good Christian Friends, Rejoice, Drischner; How Brightly Shines the Morning Star, Gade; Prelude and Fugue in B-flat, Simon; Two Pieces (op. 90): Lamento, and Paraphrase on a Chorus from Judas Maccabeus, Guilmant; and the hymn "Of all the spirit's gifts to me" sung to the tune Meyer. The instrument is a fine example of some of the best in nineteenth-century American organ building. Restored by Kurt Roderer in 1968, its tone is broad and solid yet clear and well-balanced in both its small and large ensembles. Dr. Rowley obviously understood the instrument and chose her program well to demonstrate its features. She is a consummate musician and responded modestly to the well-deserved standing ovation.

Our next stop was in the Hyde Park area and the Disciples Divinity House and the Chapel of the Holy Grail on the campus of the University of Chicago. The beautiful chapel has a small two-manual nine-rank Aeolian organ (Op. 1775; 1930) in the rear gallery. Michael Shawgo informally demonstrated the mildly-voiced instrument with the following selections that had been in the Aeolian player roll catalogue: "Meditation" from Thaïs, Massenet; The Palms, Fauré; The Question and The Answer, Wolstenholme; Meditation, Sturges; Andantino, Chauvet; Hymn of the Nuns, Lefébure-Wely; and "War March of the Priests" from Athalie (op. 74), Mendelssohn. Because of the intimate dimensions of the lovely chapel, listeners were encouraged to visit the demonstration in shifts. The organ, totally enclosed behind a wooden screen, has the character of many a residence organ built by the same firm. Since this campus was also the venue for a box lunch, conventioneers were free to mill about the facility and perhaps take advantage of the following recital by Rhonda Sider Edgington played on the Laura Spelman Rockefeller Carillon of the University of Chicago's Rockefeller Chapel: Prelude No. 5 in d, Van den Gehn; Londonderry Air, arr. Myhre; Wondrous Love, arr. Warner; Changes, White; Three Short Pieces ("Air," "Lullaby," "Chantey"), Miller; "On the Burro" and "Jumping Bean" from Spanish Suite by Della Penna; Waltz, Barnes; and Chorale Partita IV on St. Anne, Knox. Some of the more adventuresome listeners took up the invitation to climb the tower to visit the playing cabin.

Following these events, Derek Nickels played a recital on the unaltered 1928 Skinner, Opus 685, in the University Church, Disciples of Christ. His program: Imperial March, Elgar; Chant sans Paroles, Lemare; "Divertimento" from Four Extemporizations, Whitlock; Prelude on Land of Rest, Sowerby; the singing of the hymn, "O God, our help in ages past" followed by Toccata and Fugue on St. Anne from Music for Elizabeth Chapel, Ferko. Nickels treated the fine Skinner with style and aplomb during his expert playing of the program in what was some more oppressive heat. He maintained his composure and musicality during what must have been an unsettling and unwanted percussive hammering just outside the church whose windows were open in an attempt to invite some circulation of air. Mr. Skinner occasionally did include some percussion stops in his instruments, but certainly nothing like this.

William Osborne then played a program featuring works either dedicated to or by Clarence Eddy in the vast church of St. Mary of Perpetual Help Roman Catholic Church in the Bridgeport neighborhood of Chicago. The large Austin, Opus 1602 of 1928, sang out its solid tones in the opulent, well-maintained and multi-domed structure. As a part of the recent restoration work, its seven-rank String Organ sounded for the first time in twenty-five years. Osborne is a seasoned musician with a great sense of style and an admirable feeling for the musical phrase. His program: Concert Overture in c (1899), Hollins (dedicated to Clarence Eddy); Suite for Organ (1905) "To Clarence Eddy," Rogers; and Eddy's own Festival Prelude and Fugue on Old Hundred (1879), which was followed by the singing of the same tune to the text: "Before Jehovah's Awful Throne." Osborne's deft handling of the incredible pedal cadenza at the end of the Eddy Fugue was nothing short of spectacular. Another well-deserved standing ovation followed.

Holy Family Roman Catholic Church was the site of a short program played by Jason Alden on a delightful one-manual Steinmeyer organ, Opus 197, of 1879 on loan to the church by Keith Hooper. Its reversed console allows the organist to view the now-empty Louis Mitchell case that had been the topic of Michael Friesen's lecture earlier in the day. Like many other churches, Holy Family is in the process of extensive restoration, and is a monument to the faith and persistence of both the clergy and parishioners. The program: Onder een linde groen, Sweelinck; "Andante" from Twelve Fughettas (op. 123a), Rheinberger; "Lebhaft" from Six Fugues on B-A-C-H, Schumann; Wie schön leuchtet der Morgenstern, Buxtehude, followed by the singing of the hymn "Come unto me, ye weary" to the tune Abendlied. Alden, a fine young and very musical player whose interest in the organs of Costa Rica has recently been published in The Tracker (Volume 44, Number 2, 2000), chose his pieces wisely to demonstrate the lovely, bright and incisive sounds of this beautifully designed unenclosed nine-stop tracker. Amazingly, its sounds effectively filled the vast interior of the church.

The evening feature was a recital wonderfully played by Will Headlee on a rare Wurlitzer church organ (Opus 2065, 1930) of four manuals and 32 ranks installed in the breathtaking Reform Jewish Temple Sholom on Lakeshore Drive in the area of Chicago known as the "Gold Coast." After warm remarks by Rabbi Aaron M. Petuchowski, Headlee offered the following program: the hymn "Open your ears, O faithful people," sung to the tune Torah Song; Fantasy: Torah Song, Phillips; Fantaisie in E-flat, Saint-Saëns; Prelude and Fugue in G (BWV 541), Bach; Grand Choeur Triomphal, Guilmant; "Landscape in Mist" from Seven Pastels from the Lake of Constance, Karg-Elert; "Naïades" and "Clair de lune" from Pièces de Fantaisie, Vierne; Introduction, Passacaglia and Fugue, Willan; Sweet Sixteenths--A Concert Rag for Organ, Albright; and Toccata on Leonie, Bingham; which was followed by the singing of the hymn by the large audience. The unusual Wurlitzer is situated in two high and widely separated chambers with a balcony for choir and organist. Unfortunately, the placement of the console and the reflecting panel for the choir together make it very difficult for the organist to sense balance with the division on the south side of the gallery since the console is on the north side of the choir loft. Headlee provided us with appropriate and entertaining comments during the recital where he demonstrated the many colors of this unusual and quite fine instrument. Its full, somewhat bright yet smooth and well-balanced sound was a revelation to most, yet he used the Albright piece to bring out the theatre organ colors for which Wurlitzer is better known. An extended ovation followed the program. In recognition of the rarity and quality of the instrument, Michael Friesen presented an OHS Historical Organ citation to the Cantor, Aviva Katzman. Upon leaving, one noticed that the listing of the staff included the name of a Rabbi named Moses--no wonder that this is an important Temple!

Friday

This was northwestern Indiana day that began with a program played by Thomas Brown on a tonally bright and strong 1963 Phelps-designed Casavant (Opus 1740) situated in a rear gallery of the acoustically live contemporary St. Mary of the Lake Roman Catholic Church in Gary. His program was preceded by a surprise snippet of the great Bach Toccata in D Minor that then received a segue into a "Happy Birthday" salute to OHS President, Michael Barone, joyfully sung by all. The recital proper began with the following Bach works: Prelude in G (BWV 541a), Ich ruf zu dir, Herr Jesu Christ (BWV 639), featuring appropriate and subtle ornamentation, Wenn wir in höchsten Nöten sein (BWV 641) and In dulci jubilo (BWV 608), all from Das Orgelbüchlein, and Fuge in E-flat (BWV 552b) from Clavierübung III; "Berceuse" from 24 Pièces en style libre (op. 31), Vierne; "Placare Christe servulis" from Le Tombeau de Titelouze (op. 38), Dupré, followed by the singing of the hymn "Christ Leads" sung to the artist's own magnificent tune, Spes. Brown can always be relied on for vigorous, exciting and accurate playing as well as sensitive phrasing, and this program showed his considerable abilities in abundance. After a short punch and cookies reception given by the ladies of the church, we were off to Valparaiso for the next two events as well as another box lunch.

David Schrader played a dazzling program on a fine 1883 Johnson and Son organ (Opus 615) which had been relocated through the Organ Clearing House and restored in 1994 by the Rutz Organ Company and installed in the Chapel of Mary, Queen of the Apostles in St. Paul Roman Catholic Church, Valparaiso, where convention chairman Stephen Schnurr is organist. The program: the hymn "Ancient of days" sung by all to the tune Albany; Postlude from Glagolitic Mass, Janácek; Postlude pour l'office de complies, Alain; and Grand Sonata, Buck. Schrader's choices of registration showed the transplanted Johnson off to fine advantage in spite of the dead acoustics. Of particular note were the magical Alain Postlude and the Buck Grand Sonata, a composition made for an organ such as this.

OHS Archivist, Stephen Pinel, presented an illustrated lecture titled, "New and Notable at the OHS American Organ Archives," both a retrospective view and opportunities for the future of what has become one of the most noteworthy collections of organ research materials in the world. The collection began modestly and moved to various locations prior to settling in its present rather elegant space in the Talbott Library of the Westminster Choir College of Rider University. Profound thanks for many years' hard work and dedication are due to Stephen Pinel and his many helpers for bringing our archives to its present state of world-wide and noteworthy respect. If interested, contact the OHS headquarters (www.organsociety.org) for further information on the Archives, its plans and needs.

A visit to the magnificent Chapel of the Resurrection on the Valparaiso University campus brought us to another one of the feature programs of the convention, a recital by John Gouwens on the 102-rank Schlicker/Dobson. The ambiance is visually stunning as well as sonically commanding. After some welcoming remarks by Valparaiso's acting president and university organist, Gouwens played the following program: Praeludium in e, Bruhns; Au jô deu de pubelle--Grans Déi, ribon ribeine, Balbastre; Cathédrales, Vierne; and the hymn "How lovely shines the morning star" sung with gusto by the entire audience, followed by Gouwens' magnificent improvisation on the same tune. The space and views through the incredible stained glass windows add an uplifting effect to what is reputedly the collegiate chapel with the largest seating capacity in the world. Even as left by Schlicker in 1959 with many stops prepared for, the organ was a magnum opus, and it is now even more so with the additions and changes completed by Dobson in 1996. We were told that this afternoon's performance was the first time that the organ had been featured in a national meeting. Kudos to John Gouwens for tour de force playing on yet another hot midwestern afternoon.

We then traveled to St. Paul Episcopal Church in La Porte for a short recital by Gregory Crowell on the church's much altered 1871 Steer and Turner tracker, Opus 45 (with some further rebuilding and additions by Ronald Wahl). The organ has a rather commanding presence in the small and acoustically unsympathetic room, but it did exhibit some refinement in its full sounds and warmth and subtlety in the softer ranks when some annoying ambient sounds did not interfere. Crowell can always be counted on for a sensitive sense of phrasing and contour, both of which he displayed in the following program: Ouverture in C (K. 299), Mozart; Prelude and Fugue in F (BWV 901), Bach; Five Variations on Fairest Lord Jesus Christ, Woodman (followed by the singing of this well-loved hymn); Prelude and Fugue in D, Dvorák; Solo pour la flûte, Lemmens; and Toccata, Foote. The organ had received an OHS Historical Organ plaque in 1981.

The final recital of the day was played by convention chairman, Stephen Schnurr, on a transplanted Roosevelt three-manual (Opus 506) in First Congregational Church, Michigan City. The organ has been restored by Roland Rutz, who was in the audience and recognized for his fine work. The recipient of an OHS plaque in 1999, the instrument sits in a recess at the front of the church, and what could have been a resulting "tone trap" at the top of the front display pipes and behind a choir arch seemed not to inhibit egress of the sound. The recital (enhanced by the accompaniment of birds tweeting outside) was made up of works by Chicago composers: Triumphal March (op. 26), Buck; Offertoire in g (op. 194), Havens; Prelude and Fugue in a, Eddy; "In a Village," "Serenade," and "The War Dance Festival," all from Impressions of the Philippine Islands by Moline. The first two pieces in this set featured the fine Oboe and Doppel Flute stops, while the ferocious final piece was accompanied by frantic fanning. The program continued with Meditation (op. 29), Cole; The Joy of the Redeemed, Dickinson; the hymn "O what their joy and their glory must be," sung by all as an appropriate follower for the Dickinson piece; and "Allegro con fuoco" from Sonata I, Borowski. Schnurr was obviously at home on this powerful Roosevelt, his playing being equally vigorous and brilliant while at the same time displaying an inner warmth and musicality. He is a fine young player who is receiving increasing recital exposure throughout the country. Congratulations are due to Stephen Schnurr for a fine performance, even while tending to the myriad of details as convention chairman. A note at the bottom of the page listing his recital program ended with " . . . he intends to spend the remainder of the summer walking the dunes and shores of southern Lake Michigan as soon as the convention is completed!" He has certainly earned that bit of luxury.

Our Indiana visit ended with dinner in a dining room at the Blue Chip Casino in Michigan City. Some wondered if any OHSers visited the casino proper to try to recoup some convention expenses.

Saturday

The first event was a stunning recital by David Dahl on the magnificent two-manual tracker-pneumatic Roosevelt, Opus 494 of 1891, in historic St. James Roman Catholic Church, Chicago. Festive bell ringing from the lofty tower welcomed us to the church. Fortunately, neither the bell tower nor the Roosevelt was severely damaged in a disastrous fire the church suffered in 1972 except for some adverse effects to the organ of extreme heat and moisture. The organ is essentially unrestored (except for some work done in 1949) and was recently put into playing condition by Walter Bradford. Even though there are some stops that are still inoperative, it was enlightening to hear this 1891 Roosevelt of two manuals and compare it with the slightly larger three-manual Roosevelt of the same year heard just the evening before in Michigan City, Indiana. The St. James instrument benefits from installation in a high rear gallery in a lofty nave helping to give a comforting bloom to the sound in the now rather stark interior. After some heartfelt and warm welcoming comments by the pastor who has only recently received appointment to the parish, Dahl presented an outstanding performance of the following program: Trumpet Fanfare, Purcell (arr. Biggs); Allegro moderato maestoso, Mendelssohn; Dahl's own An English Suite Honoring the 18th-century English Organ Art containing "Voluntary for the Diapasons (With solemnity)," "Sarabande Air (With lyricism)," "Voluntary for the Cornet or the Trumpet (With playful spirit)," "Pastorale for the Flutes (With serenity)," and "Jigg (With jaunty humor);" Elegy, Thalben-Ball; the hymn "O praise ye the Lord" sung to the tune Happy Land; Aria, Howells; and Hymn Prelude on Song 22 of Orlando Gibbons, Stanford. Among the many features of this Roosevelt, long a favorite instrument in the area, are a big, assertive yet colorful Great Open Diapason, and a grand and incisive Great Trumpet. Dahl was at one with the organ throughout his program, and his accompaniment of the hymn was truly outstanding, leading both the Roosevelt and the congregation in subtle text breaths. This was some of the best hymn playing of the convention and a true hallmark of a fine musician.

The next event took place in the massive Basilica of Our Lady of Sorrows for  a recital played by Dana Robinson on what may be the largest surviving Lyon and Healy organ, their four-manual Opus 90 of 1902. The instrument received an OHS Historic Organ plaque in honor of its historical importance and the one hundredth anniversary of its installation. The vast interior with its 80-foot high barrel vault and nave of 230 feet is an example of opulent and breathtaking Renaissance revival architecture. The organ is divided on both sides of the wide half-dome chancel and fills the room with a warm and dignified sound. Robinson's program began with the singing of "Hail! Holy Queen," after which there was a short transition leading into the playing of the entire Symphonie III (op. 13, no. 3) by Widor. This was an appropriate choice since this huge work was well suited to the large and colorful sounds of the Lyon and Healy (on which, incidentally, Clarence Eddy had played the dedication recital), the massive ambiance of the building and Robinson's brilliant playing. The entire "package" worked wonderfully well. The artist obviously understood the organ, the room and the music. This was one of the most spectacular venues of the entire convention.

For a total change of pace, the group went to Good Shepherd Lutheran Church, Chicago, where James Russell Brown played very ably on a small tubular-pneumatic Lancashire-Marshall (their Opus 52 of 1891) which had been relocated by the Organ Clearing House and rebuilt for its present location by the Bradford Organ Company of Evanston in 1987. Placed on an angle at the rear of the church, some of its "innards" could be seen by those entering the building. With the help of a stop assistant, Brown organized the following program to display the potential of what could be accomplished on a modest yet flexible organ: the hymn "A song of creation" sung by all to the tune Whitehead, followed by a setting of the same tune by Locklair; Ciacona in e, Buxtehude; Sur "La, Mi, Re," anonymous English, 16th century; Scherzo, Gigout; "The peace may be exchanged" from Rubrics, Locklair; Angels (Chaconne), Ferko; and Fugue in F (BWV 540), Bach. Once more, the organist must have suffered greatly from the extreme heat but his performance was musical and assured, and communicated his joy in playing (perhaps aided by the twittering of more birds).

Frederick Beal then performed the following program on a rare Burlington Organ Company tracker built in Burlington, Iowa, in 1903, and placed in a recess at the left front of the Living Sanctuary of Faith Church in suburban Oak Park. His program: Voluntary in c, Greene; Meine Seele erhebt den Herren from Schübler Chorales and Fugue in g (The Little), both by Bach; "Fidelis" from Four Extemporizations for Organ, Whitlock; "I am black but comely, O ye Daughters of Jerusalem" and "How Fair and how Pleasant art Thou" from Fifteen Pieces for Organ, Dupré; Voluntary on St. Columba, and Prelude on Hyfrydol, both by Willan, preceding the hymn "Love divine, all loves excelling" sung to the tune Hyfrydol. Thanks to work done by the Berghaus Organ Company and the loving ministrations of Fred Beal, the organ, in spite of its somewhat closeted enclosure and the fact that it still needs restoration, acquitted itself quite well. Beal noted that there had been a problem with the organ bench squeaking and that tightening repairs did not seem to do the trick, whereupon someone suggested that perhaps an application of a bit of sacred olive oil from the communion table might work. Permission was granted, and the offending noises were quite mitigated. This is the only instance we could recall of an anointed organ bench at an OHS convention.

Jonathan B. Hall then presented the final recital of the afternoon in St. John Evangelical Lutheran Church in Forest Park on the landmark three-manual Aeolian-Skinner (Op. 1235, 1954) with floating positiv supplied by Berghaus in 1976. As a result of the continuing heat and humidity, several conventioneers drifted in and out of "the arms of Morpheus" during the playing of the following program: Concerto in a minor (after Vivaldi), Bach; Offertoire, Truette; the haunting Lotus by Strayhorn (arr. Wyton); the hymn "O love, how deep, how broad, how high" sung to the tune Deus tuorum militum, followed by Sowerby's Prelude on the same melody. The organ with its "pipes in the open" arrangement in the rear gallery, together with the added Rückpositiv on the gallery, gives a visually stunning effect in this highly decorated, vaulted and reverberant church. Hall obviously understood the potential of both organ and the wonderful room. This event was an exciting climax to an active series of performances before we went to Oak Park for the Annual Meeting, a barbecue dinner and the evening recital.

OHS President Michael Barone efficiently chaired the meeting which, in addition to the usual business items and reports from the treasurer and executive director, contained announcements concerning the modest expansion of oversight of the OHS publications, both books and periodicals, including our official quarterly, The Tracker. At this time also, this year's Biggs Fellows, Michael Banks from South Bend, Indiana, and Charles Creech from West Monroe, Louisiana, were introduced. The E. Power Biggs Fellowship was founded to allow deserving interested people to attend a national OHS convention who might otherwise not have been able to do so. Over the years, this function of the Society has resulted in many of the recipients having gone on to careers in music as performers, church musicians, scholars, or organ builders. In fact, Patrick J. Murphy, the first recipient of a Biggs Fellowship in 1978, and now a highly respected professional organ builder in Pennsylvania, was at this convention. The Distinguished Service Award went to Julie Stephens, who over the years has done exceptionally fine work and performed many tasks for the OHS. She also happened to be in charge of the committee responsible for seeing to arranging for all of the varied dinners and box lunches provided during this week.

After a sumptuous barbecue dinner served at Oak Park's First Baptist Church, many conventioneers took advantage of a short stroll to the First Methodist Church where its 1925 four-manual E.M. Skinner (Opus 528) "open console" was generously hosted by the church's organist, Michael Shawgo, who had done the demonstration of the small Aeolian organ in the Chapel of Disciples Divinity House earlier in the week. The Skinner, though distinguished and serviceable, is awaiting restoration.

The Arts Center of Oak Park (formerly First Church of Christ, Scientist) and its three-manual Kimball of 1916 with a later Austin console was the site of an evening recital by Christa Rakich. Her program, interspersed with verbal comments that were both informative and entertaining, follows: Prelude and Fugue in d (op. 16, no. 3), Clara Schumann; the Suffragette hymn, "March of the Women," Smyth (sung lustily by all); Répons pour le Temps de Pâques--Victimae Pascali Laudes, and "Rorate Coeli," "Hosanna Filio David," "Domini Jesu," and "Veni Creator Spiritus," all by Demessieux; Nocturne, Tailleferre; and Trois Préludes et Fugues (op. 7), Dupré, performed in the following order: G minor, F minor, B Major. Peter Sykes assisted as page-turner and occasional cipher stopper, and now and then emerged "from the woodwork" (actually an anteroom) to tend to other mechanical ghosts. The selections, except for the Dupré works, were pieces by women composers. The program suited the organ well in spite of a mixture that tended to separate itself from the ensemble and a particularly huge and annoying sixteen-foot pedal stop that set up extensive vibrations in the room, and which frequently obscured the upper pitches. It is quite possible that the artist was not aware of these particular problems as the console is situated off to one side of the platform and is in a somewhat sunken valley where balances might have been difficult to perceive. Ms. Rakich's energetic performance elicited an appreciative standing ovation.

Sunday

The organizers of the convention wisely left the earlier part of this day open for those who wished either to attend churches in the area or to indulge in a late morning. The events started with Lee Orr's lecture, "Dudley Buck in Chicago." Since Orr is deeply involved in the music of this noteworthy nineteenth and early twentieth century American organist and composer, it was fitting that he present this topic to our convention, particularly since Buck had spent some time working in Chicago before returning to New England and New York after the calamitous Chicago fire of 1871. Buck was apparently well known as a virtuoso with an especially "facile and quiet" pedal technique. One looks forward to Orr's publishing the results of his research, both with regard to Buck's music as well as his biography. The profession needs continuing scholarly studies of performers and composers like Dudley Buck and Clarence Eddy (see the comments on William Osborne's presentations noted earlier in this report) to help fill in our gaps of knowledge about these important and once highly popular figures.

The group then moved to the Epworth United Methodist Church where John W.W. Sherer (organist and director of Music for Chicago's landmark Fourth Presbyterian Church) presented the following program, "Chicago Composers: Past and Present," on a fine 1930 Möller, Opus 5881: Fanfare, Proulx; "Flourish" from Suite for Organ, DeLamarter; A Song of Gratitude, Cole; "Communion" from Ferko's Missa O Ecclesia; Bred dina vida vingar, Webster; Prelude on a Melody by Sowerby, Simmons; the magnificent Pageant by Sowerby, and the hymn "This is the Spirit's entry now" sung by all to Sowerby's tune Perry. The organ, with its hefty reeds, vigorous full ensemble and lovely soft work, had been a gift of the Barnes family which included the famous William H. Barnes, who had been organist at this church and was known throughout the organ world for his many writings and the several editions of his book, The Contemporary American Organ. As usual, Sherer communicated both the demanding and subtle qualities of the program through utilizing both his remarkable virtuoso technique and his sensitive musical sense to serve the requirements of the music. He is a terrific musician.

The rest of the day's program took place in Evanston and environs, beginning with Philip Gehring's warmly received recital on a two-manual tracker built in 1974 by Lawrence Phelps and Associates for St. Paul Evangelical Lutheran Church, Skokie. His program: Passacaglia, Buxtehude; O Mensch, bewein dein' Sünde gross (BWV 622), Bach, which featured elegant ornamentation on the Sesquialtera; this was followed by Pepping's setting of the same chorale melody and featured a solo line on the Principal; Benedictus--Cromome en Taille, Couperin; the Passacaglia of Near followed by the audience singing the hymn "Now thank we all our God" sung to the usual melody by Crüger. Sectional works such as variations, chaconnes and passacaglias are particularly good choices for events such as these as they allow opportunities to display both solo colors and various ensemble combinations. The rear gallery organ with its detached console and beautifully designed case filled the modestly sized room with strong, bright and colorful sound.

The next stop was the small St. Andrew Episcopal Church in Evanston where Ruth Tweeten presented the following short recital on the church's dandy little Lyon and Healy organ, Opus 174, of 1905: Voluntary in D, Croft; Chorale Prelude on Rhosymedre, Vaughan Williams; Jesus is tenderly calling, Open My Eyes that I May See, and This is My Father's World, all by Diemer; Voluntary in d (Diapasons), Walond; Siciliano (Swell Flutes), Alcock; Voluntary in D (Full Organ), Avison; and the hymn "Jesus is tenderly calling thee home" sung to a tune by George Stebbins. This diminutive "stock model" two-manual tracker of seven stops, restored by Bradford Organ Company with volunteer assistance from members of the Chicago-Midwest Chapter of the OHS, acquitted itself well under Ruth Tweeten's expert hands. Her fine, sensitive playing and creative registration showed what can be accomplished on an organ with only seven ranks. There were many such organs that served small churches well, and this one continues to do so under the watchful and enthusiastic care of this caring congregation. Prior to the program, Susan Friesen presented an OHS Historic Organ citation to the parish's articulate and appreciative rector.

Brian Harlow, recently named assistant organist at St. Thomas Episcopal Church, New York, and who had served prior to that appointment as interim director of music, organist and choirmaster at his Alma Mater, the Groton School in Groton, Massachusetts, played an outstanding recital on the well balanced Skinner (Opus 616) of 1927 in the First Congregatonal Church, Evanston. His program: Variations de Concert (op. 1, 1908), Bonnet; "Muzette" from Six pièces (op. 70, 1891), Bossi; Berceuse, op. 16, Fauré (trans. Commette); the hymn "The church's one foundation" sung to the tune Aurelia; and "Finale" from Sonata I by Harwood. Harlow is obviously one of the rising young stars on the organ scene and played magnificently on this beautiful and dignified Skinner that benefits also from being in a particularly good room. Once again, here is an artist who also knows how to play and lead a hymn--his subtle phrasings helped give life to the singing. As a virtuoso, his "horsepower" was well demonstrated in the infamous pedal cadenza near the end of the Bonnet Variations; it was done with both vigor and ease.

After a "dinner on your own" time to sample the various culinary delights in Evanston, we went to St. Luke's Episcopal Church for the feature event of the evening, a thrilling performance by Thomas Murray on the magnificently restored Skinner, Opus 327 of 1922. Details of the phases of its restoration by the A. Thompson-Allen Company of New Haven have been published elsewhere recently, but suffice it to say that here is what one might perceive as a "freshly-minted" (albeit eighty-year-old) E.M. Skinner. Everything seems just right, and the tuning, in spite of the continuing heat and thanks to the fact that Nick Thompson-Allen had been on site for several days, was tight and secure. The instrument, always a landmark in Skinner's output, is truly a monument. After some introductory welcoming remarks by Richard Webster, organist and choirmaster of St. Luke's, Murray played the following program: Fugue in g (K. 401), Mozart; Six Trios (op. 47, 1900), Reger; Two Preludes on Welsh Folk Tunes (1956), Romanza: The White Rock and Toccata: St. David's Day, Vaughan Williams; Sonata I (1904), Borowski; the hymn "Blessed be the God of Israel" sung to the tune Thornberry; followed by Vocalise, Rachmaninoff (trans. Potts); and Sonata Eroïca (op. 94, 1930), Jongen. The event was a perfect match of organ, program and artist. Murray justly received a tumultuous standing ovation.

Monday

The final day of the convention began with a short recital by former OHS President Kristin Gronning Farmer on a three-manual tubular-pneumatic Lyon and Healy, Opus 29 of 1898 in Lake View Presbyterian Church, Chicago. The organ has had some restorative repairs by the Bradford Organ Company and sounds quite good in this modernized and sympathetic room. The program began with the singing of the hymn "Not here for high and holy things" to the tune Morning Song, followed by Chaconne in e, Buxtehude; Herzlich tut mich verlangen, Wie schön leuchtet der Morgenstern and Mach hoch die Tür, die tor macht weit from Zehn Choralvorspiele (op. 77) by Georg Schumann; "Une femme pieuse essuie la face de Jésus" from Le chemin de la croix, Dupré; and concluded with Concerto in D, FXII/15 ("The Guitar Concerto"), Vivaldi. In spite of a few mechanical problems and with the assistance of her husband, John Farmer, Ms. Farmer played in her usual forthright and musical way and featured the considerably fine colors of this straight, modest-sized instrument.

Next, the large two-manual Johnson & Son tracker, Opus 690 of 1888, in Lincoln Park Presbyterian Church was played with verve and understanding by Christine Marshall Kraemer, the church's organist and choir director. The instrument was restored by the Bradford Organ Company in 1987 and received an OHS Historic Organ plaque to commemorate its centennial in 1988. This is one of only two Johnson organs remaining in Chicago of the many that firm installed in this city (see the articles, "Chicago, A Johnson Town" written for The Tracker, Vol. 10, No. 2 and No. 3, 1966 by the late F.R. Webber). Ms. Kraemer's program follows: Voluntary in D, Boyce; "Andante religioso" from Mendelsssohn's Sonata IV (op. 65, no. 4); Noël sur les flûtes, d'Aquin; O wie selig seid ihr doch, ihr Frommen and O Gott, du frommer Gott from Elf Choralvorspiele, Brahms; "Adagio" from Fantaisie in C, Franck; and the chorale prelude Wachet auf, ruft uns die Stimme by Walther prior to the singing of the hymn, "Sleepers, wake! A voice astounds us" to the Wachet auf tune. Under Ms. Kraemer's expert control, the Johnson sounded quite typical and acquitted itself well in the somewhat dead room. We often need to be reminded that many fine nineteenth-century American organs were designed, voiced and installed in less than what we might consider favorable acoustical surroundings, yet they often sounded both grand and colorful--a tribute to the art of those builders of the past. This instrument served as just such a reminder.

The last event of the morning was a short but delightful recital played by Elizabeth Naegele on a fine and firm-sounding tubular-pneumatic Austin, Opus 172 of 1906 in St. Paul Community Church (originally St. Paul Norwegian Evangelical Lutheran Church), Chicago. The instrument, situated in a front corner of the room and angled toward the center of the congregation, has had a few tonal rearrangements and revisions, but has the overall fine Austin ensemble except for a two-foot fifteenth which is a bit strong when used with a super coupler. Ms. Naegele, with the help of one of her young and enthusiastic organ students as page turner and stop assistant, gave a rousing and energetic performance of the following program: Overture to Die Meistersinger, Wagner (arr. Karg-Elert, adapt. Morris), followed by the singing of the hymn "Oh, for a thousand tongues to sing" to the tune Azmon; Schmücke dich, o liebe Seele and Herzlich tut mich erfreuen from Elf Choralvorspiele, op. 122, Brahms; "Nicaea," "Ash Grove," "Ajalon" or "Redhead," and "Saint Kevin" from Four Hymn Voluntaries, Leavitt; and Fiat Lux, Dubois. Ms. Naegele's joy in playing brought a palpable uplifting effect to the program.

After yet another box luncheon, this time in the undercroft of the monumental St. Mary of the Angels Roman Catholic Church, Chicago, the group assembled in the upper church where James Hammann played a superlative recital on the highly unified Kimball of 1920 situated grandly in the rear gallery of this magnificent church. Designed to approximate one-sixth the scale of St. Peter's Basilica in Rome it is, as a result, the largest Catholic church in the state of Illinois. Closed for a time, considered unsafe and destined for demolition, the gigantic multi-domed building has been beautifully restored and is a monument to the faith and persistence of the parish and the priests of the Prelature of Opus Dei. Hammann always rises to the occasion in vast enclosures such as this, and brilliantly played the following program: Fantasie in Freiem Stile No. 4 in e (op. 133), Merkel (dedicated to Clarence Eddy); "Adagio molto espressivo" from Sonata No. 2 in g (op. 77), Buck (also dedicated to Clarence Eddy); and Choral varíe sur le theme du Veni Creator (op. 4), Duruflé (programmed in commemoration of the centennial of the composer's birth). The glory of this final piece was the fact that those in attendance were invited to sing the unaccompanied chant (provided in our Hymn Supplement) alternately with the Duruflé variations. Doing so provided a totally different dimension to the work than is felt when it is simply performed in straight concert format. The result was elevating in its effect, thanks to the fact that Gregorian chant is a natural expression in a space such as this with the room helping to act as support for the pitch. Thanks are due to James Hammann for coming up with the idea. It worked spectacularly well. Prior to the recital, Michael Friesen presented an OHS Historic Organ plaque to the appreciative pastor of St. Mary's.

Holy Trinity Roman Catholic Church in Chicago was the locale for the next event, a recital by Timothy Edward Smith on a rare Van Dinter organ of 1909 situated in the rear gallery of this highly decorated and well-maintained air-conditioned church. This latter feature came as a very welcome relief to the conventioneers as well as, I am sure, to the performer who presented a beautifully played recital on an organ with a surprisingly conservatively designed stoplist for its time. The large 37-rank two-manuals boasts not only a Twelfth and Fifteenth on the Great, but also a three-rank Mixture as well as an 8' Trumpet and 4' Clarion, a complete Pedal division (up through a 4' Octave and including a 51⁄3' Quint), and a large Swell division containing a variety of eight and four-foot colors as well as a Dolce Cornet. The original tracker action has been electrified and a new console supplied. The OHS had visited another and somewhat smaller yet equally bold and colorful Van Dinter organ played by Rosalind Mohnsen during the Kentuckiana convention. (See the Organ Handbook 1993, pp. 78-81.) Timothy Smith received a justly deserved standing ovation for his fine musical and vigorous playing of the following program: Solemn Melody, Davies; Ciacona in c, Buxtehude; Canzona on Liebster Jesu, Purvis; Funeral March of the Marionette, Gounod (trans. Smith); "Fantasia et Fuga" from Sonata Cromatica, Yon; followed by the hymn "Praise to God, immortal praise" sung to the tune Dix. Smith has performed frequently at OHS conventions and always with wonderful results. Hear him if you can, either in a "live" recital or on CD.

The final recital of the afternoon was presented by Sally Cherrington Beggs on a relocated large two-manual Hutchings, Opus 269, of 1892 located in St. Joseph Roman Catholic Church, Chicago. Originally installed in Cambridgeport, Massachusetts, it was rescued through the Organ Clearing House, relocated and reconstructed with some additions for St. Joseph's by the Bradford Organ Company. Ms. Beggs gave a lively and enjoyable performance of the following program: the hymn "Come now, and praise the humble saint" sung to the tune Land of Rest; Fantasie über Ein Feste Burg (op. 13), Paine; "Rondo Ostinato," "Sarabande" and "Rhythmic Trumpet," all from Baroques, Bingham; Sweet Sixteenths--A Concert Rag for Organ, Albright; and On an Ancient Alleluia, Bitgood. The organ, though considerably altered, still has the Hutchings "heft" and color.

For the final event of the convention, the group assembled in the vast First Baptist Congregational Church in the Union Park section of Chicago to hear Peter Sykes, a perennial favorite, in a major recital on the church's large four-manual, totally enclosed seventy-seven rank Kimball, Opus 6949 of 1927. The organ, with a case from the church's previous 1871 three-manual Hook and Hastings, is receiving some ongoing restoration work by the Bradford Organ Company. Its central location in a front gallery and surrounded by a variety of additional instruments, both acoustic and electronic, is ideal for projection into the entire large church, and Sykes took advantage of this feature in the following program: Sonata III, Hindemith; Rhapsody (op. 17, no. 1, 1915), "Moderato tranquillo," Howells; Sonata No. 2 in d (1914), Prokofiev (trans. Sykes); the hymn "Come all you thirsty" sung to a tune composed by Peter Sykes; Scherzo-Fantasia (1960), McKinley; Clair de lune (op. 53, no. 5), Vierne; and Suite, Duruflé. While coping with what appeared to be a problem with balky swell shades, Sykes' virtuoso playing and demanding program obviously delighted the audience which rose to its collective feet in appreciation. As part of the event, Michael Friesen awarded an OHS Historic Organ plaque to the organist and pastor of the church. During the intermission, OHS Vice President Scot Huntington eloquently ex-pressed appreciation to the convention committee and to its chairman, Stephen Schnurr, for the years of work that went into the planning and ultimate realization of a very successful convention. Huntington noted that, since Schnurr is a native of Kentucky, he might enjoy (and certainly deserved) a gift of premier Kentucky sipping whiskey as tangible evidence of the Society's gratitude for a job exceptionally well done. One hopes that Schnurr will enjoy this as much as he will roaming the dunes of northern Indiana (see the note at the end of the report of his recital in Michigan City on June 28).

Each OHS convention has its own personality, and all are enjoyable, both from the standpoint of hearing a variety of noteworthy instruments well-played and renewing acquaintances with those who share one's interest in the OHS and its aims. The 2003 convention will be in south central Pennsylvania June 19-25, with headquarters in Harrisburg. Buffalo, New York, will be the site for the 2004 convention slated to run from June 14-24. Plan to attend a future OHS convention--you will not be disappointed. Both fun and enlightenment will be in store!

(Because of travel delays, the reviewer was unable to hear the opening event of the convention. The comments are distilled from those furnished by OHS members who were in attendance.)

PART TWO OF TWO

Ronald E. Dean is Organist and Choirmaster at the Church of the Holy Cross (Episcopal) in Shreveport, Louisiana and Professor of Music, Emeritus, at the Hurley School of Music, Centenary College. A graduate of Williams College and the University of Michigan, his organ study was with Frederick Kinsley, Robert Barrow and Robert Noehren. His reviews appear from time to time in this journal.

Sunday

The day's events began with the Annual Meeting held at the headquarters hotel with OHS President Michael Friesen presiding. Among the items of general interest was a report by Scot Huntington on the following organ preservation successes: St. Thomas, Boston; St. Casimir's, New Haven; and Nativity, Buffalo. Further items of note were as follows: a new endowment fund drive is to begin to coincide with the 50th anniversary of the OHS; Dr. Gregory Crowell is the new Director of Publications; the signing of a protocol of cooperation between the Archives in Princeton and BIOS and RCO in England, a representative of which was in attendance--thus a data base on organs is about to happen. The next OHS convention will be in southeastern Massachusetts (the Old Colony), and Rhode Island, July 12-18, 2005. Later ones are slated to be held in the Saratoga-Albany area in 2006, Indianapolis in 2007, and Seattle in 2008.

Following the meeting, Jeff Weiler delivered an illustrated historical lecture entitled "History of the Wurlitzer Organ." He featured remarks on the Wurlitzer family itself as well as the various enterprises that occupied their time and business talents. He outlined the interest in automatic musical instruments (including the "Gee, Dad, it's a Wurlitzer" jukebox) as well as pipe organ manufacture and their association with the eccentric genius, Robert Hope-Jones (see the remarks on the Ambrosino lecture given on the preceding Friday), and their production of the Hope-Jones Unit Orchestra. They built some 2,200 pipe organs from 1910 until 1943 with the largest being the instrument in Radio City Music Hall.

A short bus ride to the suburb of North Tonawanda brought us to another fine catered luncheon with ample time provided to wander up Melody Lane (!) to view the massive former complex of the Rudolph Wurlitzer Manufacturing Company with its landmark central tower. The facilities are now used for diversified industrial activities, offices and storage. Even though Wurlitzer is long gone, two consoles are on display just inside the main tower entrance.

On our way to the next event, the buses drove down Melody Lane, and at its intersection with Erie Avenue, there appeared a sign proclaiming, "Wurlitzer Pizza Company—We Deliver" (tibia toppings with phonon sauce?). Further on we passed the imposing and well-maintained former home of Farny Wurlitzer, a lovely pillared neo-classical residence with a large garden area to one side.

The first recital of the day was at Ascension R.C. Church in North Tonawanda where Rhonda Sider Edgington played the following program on a lovely restored 1-manual Felgemaker (Op. 601) of 1895: "Duetto III in G" from Clavierübung III, Bach; Partita on "Herzlich tut mich verlangen," Pachelbel; the hymn, "There's a wideness in God's mercy," sung with flute accompaniment to the tune St. Helena; "Pastoral" from Organ Sonata No. 20 in F (op. 196), Rheinberger; "O Welt, ich muss dich lassen" and "Schmücke dich, o liebe seele" from Eleven Chorale Preludes (op. 122, 1897), Brahms; and "Postlude Festival" from Deux Pièces en Ré Mineur, Reuchsel. The organ, situated in the rear gallery of this intimate and neat small church, sounded its solid, yet clear and bright ensembles to great advantage under the expert hands of Ms. Edgington, who wisely chose a program to suit the resources of the instrument.

A modest-sized 3-manual Schlicker of 1966 situated in a typical 1960s building was the venue for the next recital, a program by Frederick Teardo. The church, First Trinity Lutheran in Tonawanda, was Herman Schlicker's home parish. His widow, Alice Schlicker, was in attendance for the program and received an affectionate ovation. The program: Praeludium in d (BuxWV 140), Buxtehude; "Tierce en taille" from Livre d'Orgue, DuMage; "Allegro" from Trio Sonata No. 5 in C (BWV 529), Bach; "Lullaby" from Suite No. 2, Hampton; and The Ninety-Fourth Psalm: Sonata for Organ, Reubke, followed by the singing of the hymn, "The day thou gavest" to the tune St. Clement. The organ, which has received several changes and refinements over the years, has a full-bodied, bright, intense, but never cloying sound. It is well-balanced and features relaxed, warm and singing Principals with mild and charming attack sounds in the speech of the pipes. One's first reaction might be that the Reubke Sonata would not be a good choice for this organ, but Teardo made it work through his registration choices and expansive phrasing. He is a young artist who knows how to communicate music through his elegant playing.

The final recital of the day was played by the energetic and brilliant Gail Archer who prefaced her program with both entertaining and cogent comments. The locale was the rather bleak and undecorated interior of the Kenmore Presbyterian Church, which houses another landmark Schlicker that has undergone several revisions during its lifetime. The instrument became familiar to audiophiles as the one on which Robert Noehren recorded several LPs. Its sound features the fully developed, clear, bright and cohesive sound associated with Schlicker's evolving work.

Instead of a grand evening recital, there was a very enjoyable dinner cruise on portions of the Niagara River and Lake Erie. The continually threatening weather moderated and provided a pleasant backdrop for both good dining and convivial conversation.

Monday

The day's events began with one group going to the Buffalo and Erie County Historical Society and another proceeding to the beautiful, park-like and enormous Forest Lawn Cemetery to hear Justin Hartz perform on a gem of a four-rank unified Wurlitzer, Op. 2182 of 1933. Located in an intimate and acoustically superb stone chapel, this fine organ speaks through a wonderfully painted scrim which, at first glance, appears to be a stained glass window. The instrument has a carefully balanced sound and is well-maintained. Hartz entitled his short program &"Going out in Style&": Fountain Reverie, Fletcher; Twilight Musings, Kinder (featuring the Flute, Oboe Horn and Diapason); &"When Day Is Done&" (arr. Hartz) (played in &"Mighty Wurlitzer&" theatre style with reminiscences of both Jesse Crawford and Ethel Smith); Festival Prelude (introducing Palestrina's tune, &"The Strife Is O'er&"), Buck; and the hymn, &"Just a closer walk with Thee.&"

We then exchanged places with the group that had already visited the Historical Society Museum. This marble building is the only surviving one of many that were constructed for the 1901 Pan American Exposition, a World's Fair remembered, among other things, as the place where President William McKinley was shot. The museum houses many fascinating exhibits of Buffalo-area industrial products, and conventioneers had ample time to wander among the displays as a cozily installed Aeolian (Op. 1183 of 1911) demonstrated its voice by means of an automatic playing mechanism. Of interest also in the small auditorium, home of the Aeolian, were a 1-manual Derrick & Felgemaker of 1868 and an anonymous small English cabinet organ. We had a box lunch at the museum as the other group returned from Forest Lawn.

Since more than ample time was allotted for a trip to Middleport to hear two nearly identical Barckhoffs, the group spent some time wandering around the pretty town, which is situated on a working portion of the historic Erie Canal. A local sweet shop, close to the bridge, did an extraordinary business selling soft-serve cones to scores of conventioneers. The owners may have made their year's profit from the visitors during just this one afternoon. Because of limited seating in the two churches, we again split into two groups and were within comfortable walking distance for each repeated program. Former Biggs Scholar J. R. Daniels played a short recital on the 1902 2-manual Barckhoff tracker in the First Universalist Church: Prelude, Harris; Canon, Salomé; the hymn, &"Those who love and those who labor&" sung to the tune Domhnach Trionoide; Prelude on &"Beach Spring&" and Processional in E-flat, Wood. Daniels handled the instrument well and chose his pieces to show the various colors available on the small but solidly distinguished and well-maintained instrument.

Jason Alden performed on Barckhoff's 2-manual tracker of 1906 in the former Trinity Episcopal Church now occupied by the Middleport Fundamental Baptist Church. The organ, although visually quite different from that in the Universalist church, is identical in stoplist except that this instrument has a 2' Flautino in the Swell. The acoustics are certainly a challenge with a totally carpeted interior and a treated ceiling. Alden, always a reliably fine and sensitive player, presented the following program: Echoes of Spring, Friml (arr. Barnes); La Romanesca, Valente; &"Lied&" from Vingt-Quatre Pièces en Style Libre (op. 31), Vierne; A Joyous Postlude, Mallard; and the hymn, &"Shepherd, show me how to go,&" sung to the tune Feed My Sheep.

Following another bus ride through scenic western New York farm lands, we arrived at the charming small community of Wolcottsville where Mary Ann Cruger Balduf exhibited her usual musical creativity and apt programming sense on the second 1-manual organ heard in the convention, an 1897 Hinners and Albertsen in Trinity Evangelical Lutheran Church. Prior to the program, the pastor gave enthusiastic welcoming remarks and noted that the instrument has been played every Sunday since its installation in 1897. The intimate church was filled by the large assembly of conventioneers; many parishioners assembled outside, furnished with a sound system that allowed them to hear the music. The same hospitable and appreciative people had set up tables with refreshments that were eagerly consumed following the recital. Balduf played the following program: Processional Fanfare, Rawsthorne; Verset, Lefébure-Wély; &"Improvisation&" from Suite Médiévale, Vierne; Fantaisie in A, Bach; Voluntary in A, Taylor; &"Interlude&" and &"Cantique&" from Sixty Short Pieces, Peeters; &"Chorale&" and &"Ground&" from Fifteen Pieces for Organ, Ridout; the hymn, &"For all the saints,&" sung with great gusto to the tune Sine Nomine; and Festival Postlude, (op. 32), Seifert. Balduf treated this dandy little organ with both verve and expertise, making the most of the keyboard division into treble and bass registers for solo and accompaniment effects. Brian Buehler acted as console assistant.

A bus trip back to Buffalo and the campus of the State University of New York at Buffalo brought us to one of the campus dining halls for dinner. We then took a short and unhurried stroll to Slee Hall for the evening presentation, a concert by the Buffalo Philharmonic Orchestra with associate conductor Ronald Spiegelman on the podium and David Schrader the featured soloist on the 1990 3-manual Fisk (Op. 95) in three major works: Symphony No. 1 for Organ and Orchestra, Guilmant; Snow Walker (1990), Colgrass; and Concerto No. 1 for Organ and Orchestra in E-flat (op. 55, 1902), Parker. The organ is located in its own alcove above and to the rear of the stage. Though possessing a commanding sound, the instrument was never overpowering and blended with and conversed amicably with the sound of the orchestra. The avant-garde Colgrass Snow Walker was a tour de force for both organist and orchestra, but Schrader, Spiegelman and the Buffalo Philharmonic played the work admirably. The hall, though not very reverberant, is acoustically quite sympathetic, and even with a near-capacity crowd, the organ and orchestral colors bloomed and enveloped the listeners.

Tuesday

The final day of the convention began with an expertly played recital by Bruce Stevens on the historic Garret House 2-manual tracker of 1860 housed in St. Stephen R.C. Church, Shrine of St. Jude, Buffalo. The organ, the largest surviving example by the Buffalo builder House, was originally installed in First Presbyterian's former church building. Stevens's program: two settings of Nun komm, der Heiden Heiland (BWV 659 and BWV 661), Bach; two versions of Es ist ein Ros' entsprungen, one by Heiller and one by Brahms; Introduction et Variations sur un ancient noël polonaise, Guilmant; Prelude on &"The Holly and the Ivy,&" Sumsion; Five noëls from L'Organiste, Franck; Grand-choeur varié sur un noël breton, Marty; Wie schön leuchtet der Morgenstern, Gade; and the singing of the hymn, &"O Morning Star, how fair and bright,&" sung to the tune Wie schön leuchtet. The program was organized to include music suitable for the seasons of Advent, Christmas and Epiphany. The organ, with its elaborately decorated Italianate case, sits grandly in the rear gallery (sharing space with a Hammond) and adds a complementary visual interest to the high-ceilinged and reverberant Gothic church. Stevens handled the instrument masterfully in spite of the fact that it obviously needs (and deserves) a complete restoration. Larry Pruett and Tony Marchesano had worked many hours prior to the recital to provide as much tonal and mechanical ministration as was possible so that one could get more than a hint of the organ's potentially dignified grandeur.

A bus tour to the south of Buffalo offered yet another occasion for viewing some of the varied scenery of this part of western New York. This time we went through rolling hills to the delightful small town of Boston and St. John the Baptist R.C. Church to hear a transplanted 2-manual Felgemaker tracker of 1901. The organ, originally installed in Our Lady of Lourdes R.C. Church on Main Street, Buffalo, was restored in 1991 by Tenerowicz Pipe Organ Service and replaced an electronic in the gallery of the Boston church. After a welcome by the pastor, Tim Socha played the following program and gave helpful comments on his registrations: the chorale, Nun komm, der Heiden Heiland, sung by all and followed by the Bach chorale-prelude, BWV 661; Sonata in g for flute (op. 16, no. 10), Vivaldi (with fine flute playing by Melissa Stewart); the chorale, Schmücke dich, sung by all and alternating with the variations by Walther (a very effective procedure); Concerto in F for Flute (op. 10, no. 5), Vivaldi (again with Melissa Stewart on the flute); and the chorale, In dir ist Freude, sung by all and followed by Bach's setting, BWV 615. The early 20th-century organ seemed quite content in its 1967 locale and sang out proudly under Tim Socha's expert playing. In spite of wall-to-wall carpet and acoustical tiles in the ceiling of the side aisles, the organ sound carried well and supported the vigorous hymn singing well.

After a wonderful barbeque lunch topped off with several choices of home-made ice cream (the black cherry was particularly delicious!), we reboarded the buses for a scenic trip to East Aurora (which, curiously, is many miles west of the town of Aurora) and Baker Memorial United Methodist Church for a recital by Peter Stoltzfus on a 2-manual, 18-rank 1928 Skinner, Op. 727. His program: Passacaglia per organo, Frescobaldi (transcribed for piano by Respighi and arranged for organ by Sowerby); &"Allegro&" from Sonata III in F (Wq70, 3), C.P.E. Bach; &"Clair de lune&" from Pièces de Fantaisie, Deuxième Suite (op. 31, 1913) and &"Divertissement&" from 24 Pièces en Style Libre, both by Vierne; Stoltzfus's own Prelude and Fugue (op. 12); and the hymn, &"Christ, whose glory fills the skies,&" sung to the tune Ratisbon. As usual, Stoltzfus displayed his distinguished and elegant musicianship. He was aided at the console by Jonathan Ambrosino. The organ benefits from an ideal central location, thus speaking directly down the central axis of the room. Its big, yet bright and cohesive and clear sound is enhanced by hard reflective surfaces on the walls and ceiling vaults.

Our next stop was in Lancaster, New York, and Our Lady of Pompeii R.C. Church for a program on its 3-manual 1920 Möller, Op. 2959. It had been transplanted to the 1953 vintage church by organist Joe Momot and a group of dedicated and hard-working volunteers. They began the project in 1996 and carried it through its dedication in 2001. For a demonstration, Mark DiGiampaolo, director of music for St. Joseph's Cathedral, Buffalo, played An Organ Mass from the music of Alexandre Guilmant. He had chosen various sections from Guilmant's op. 90, op. 41, op. 49, op. 39, op. 55 and op. 46, organized according to the liturgical sections of a low mass. The building with its barrel vault ceiling helped give a good acoustical home for the organ, which is centrally located behind the free-standing altar with an Echo division in the rear gallery.  The organ (originally in the First Methodist Episcopal Church, Cortland, NY) has the typical 1920s somewhat heavy, yet dignified sound of many Möllers of the time.

After a festive closing banquet back at the Adam's Mark, we walked to the huge St. Joseph R.C. Cathedral, where we joined many parishioners and other guests to hear one of the outstanding events of the convention--a recital played by Ken Cowan on the cathedral's monumental 4-manual E. & G. G. Hook & Hastings organ, Op. 828 of 1876. After some enthusiastic welcoming remarks by Mark DiGiampaolo, Cowan played the following program:  Prelude and Fugue in B-flat, Conte; the hymn, &"Dear Lord and Father of Mankind,&" sung to the tune Repton; &"Scherzo&" from Symphony No. 6 (op. 59), Vierne; &"Clair de lune&" from Pièces de Fantaisie, Deuxième Suite (op. 53), Vierne; &"Prelude to Die Meistersinger,&" Wagner (arr. Warren/Lemare); Ciaccona in c (BuxWV 159), Buxtehude (using the organ's original stops); and The Ninety-Fourth Psalm, Reubke. For encores, he played a transcription of a Scherzo in B-flat, Poulenc, and the &"Final&" from Symphony No. 6 (op. 59), Vierne. As usual, Cowan played magnificently. His unassuming demeanor complements the dual nature of his playing--a combination of technical virtuosity and great musical understanding and sensitivity. For this performance on an extremely hot night in a sweltering catherdral, he was aided at the console by his father, organist David Cowan. The organ, originally built by Hook for the Philadelphia Centennial Exhibition of 1876, was brought to St. Joseph's in 1877 and somewhat modified at that time so as to fit in the gallery. Over the years, it has received further rebuildings, the most recent being by the Andover Organ Company in 2001. Its new console was built by Robert M. Turner. The latest tonal additions were made in a style consistent with the heroic sound of the organ and the vast dimensions of the building. As an interesting historical demonstration, Cowan wisely included the Ciaccona of Buxtehude (see the program, above) to highlight some of the stops that were original to the organ. For more information on this important instrument, see Barbara Owen's article in the Bicentennial Tracker of 1976 (pp. 128-135) and Joseph McCabe's in The Tracker, Volume 48, No. 1 (Winter, 2004), pp. 24-27.

Historic organ citations were presented throughout the week to the following instruments and their churches: the Schlicker in St. Francis Xavier R.C. Church, the Kimball in the Church of the Ascension, Episcopal, the Skinner in Central Park United Methodist Church, the Schlicker in Trinity Episcopal Church, the Votteler-Holtkamp-Sparling in Jordan River Missionary Baptist Church, the Wurlitzer in the Chapel of Forest Lawn Cemetery, and the Hinners & Albertsen in Trinity Evangelical Lutheran Church. These citations are given to the churches as an acknowledgement of the importance of their instruments and to encourage their use and preservation.

Another important continuing function of the OHS is the awarding of E. Power Biggs Fellowship grants to help subsidize attendance at OHS convention by specially nominated candidates. This year's recipients, announced by Derek Nickels, Chair of the Fellowship, prior to the Scanlon recital at St. Paul's Cathedral, were Michael Diorio, a student at Boston University, and Nathan Lemahieu, a student at Northwestern University in Evanston, Illinois.

All OHS conventions are both educational and enjoyable. They allow people with similar collegial interest in the history of North American organ building to gather for several days for live performances on a variety of worthy instruments. This year's convention committee, chaired by the tireless Joe McCabe, spent several years organizing the Buffalo area events, and all involved deserve our sincere gratitude for a successful convention. Buffalo may be New York State's second city, but the gathering was first rate.

The 2005 OHS Convention takes place July 12-18 in southeastern Massachusetts. For information: 

July 12–18, 2005

Ronald E. Dean is Organist and Choirmaster at the Church of the Holy Cross (Episcopal), in Shreveport, Louisiana, and Professor of Music, Emeritus, at the Hurley School of Music, Centenary College. A graduate of Williams College and The University of Michigan, his organ study was with Frederick Kinsley, Robert Barrow, and Robert Noehren.

The fiftieth convention of the Organ Historical Society was itself an historical occasion and was held in an appropriately historical locale in Massachusetts, the “Old Colony,” part of which had been the center of the first permanent English settlement of colonists who came to New England in 1620. Headquarters was the Radisson Hotel in Brockton, a convenient departure spot for the many bus trips to the week’s events. Keywords for the convention were “History” (lots of it), “Heritage” (cultural, sociological and organ), and “Hope” (one senses an optimistic future). To these three “H’s” should be added “HOT,” since the afternoon and evening programs were accompanied by one of the famous New England summer heat waves, creating some very uncomfortable conditions for both listeners and performers.

Tuesday

Even though most of the week’s activities centered around the larger metropolitan areas of the “Silver City” of Taunton, the Fall River of Lizzie Borden and her axe, and the New Bedford of Herman Melville and Moby Dick, the first event took place in Providence, Rhode Island. Peter Krasinski played a recital on the 3-manual Hutchings-Votey, Op. 1637 of 1912, at First Church of Christ, Scientist. The imposing and dignified structure is located in the historic College Hill section, which is noted for the outstanding architecture of its many residences as well as being the site of Brown University. His program: chorale prelude on the tune Freedom, improvised by Krasinski; the hymn “Saw Ye My Saviour” sung to the tune Freedom; “Thine Is the Greatness,” Galbraith, sung by soprano Gina Beck; Lyric Rhapsody, Wright; the hymn “Come, Labor On” sung to the tune Qui Laborat Orat, followed by Krasinski’s improvisation on the same tune. This first half was based on the order of the Christian Science service. Post-intermission selections were Allegro (Symphony No. 5) and Serenade, both by Widor; Fantasia in E-Flat, Saint-Saëns; selections from Peer Gynt Suite No. 1, Grieg, followed by an encore: Arab Dance, also by Grieg. The much-rebuilt organ contains the color and hefty dignity associated with a late Hutchings but seemed unable to take advantage of the rather good acoustical setting offered by the tastefully appointed Beaux Arts style interior. One conventioneer was heard to mutter, “ . . . the chamber must be lined with Celotex!”

Wednesday

The first full day of the convention began at the North Congregational Church in the charming small town of North Middleboro. Cheryl Drewes played on a somewhat earlier Hutchings 2-manual tracker, Op. 339 of 1895, as restored by Roche in 1992. The small organ sang out its rich and colorful sounds as Ms. Drewes performed expertly. Her husband, organ builder and organist Tim Drewes (to be heard later in the convention), assisted at the console. The program: Concerto in C Major, BWV 595, Ernst/Bach; Three Partitas from Ach wie nichtig, ach wie flüchtig, Böhm; the hymn “Come Down, O Love Divine” sung to Down Ampney; Response, Chadwick; The Baltimore Todolo, Blake; Offertorio, Petrali. Drewes did a fine job of displaying the musical versatility of this little nine-rank jewel, which sounded superb in spite of being in a totally carpeted and cushioned room. The United Methodist Church in Bridgewater hosted the next recital—yet another demonstration of the potential of a small tracker (only six ranks this time). This Hook & Hastings 2-manual, Op. 2325 of 1913, was the first of 14 Hooks to be heard during the convention. This great little organ, restored and somewhat repositioned by the Andover Organ Co. in 1998, benefits from a sympathetic acoustical environment and proved once again that a small instrument, well voiced and well maintained, can serve a wide variety of literature. This was amply demonstrated by the wise programming and artistic playing of organist Steven Young and trombonist Douglas Wauchope in the following program: Old Hundred, op. 49, no. 2, Buck; Variations to the Sicilian Hymn, Carr; Solemnities for Trombone and Organ, Pinkham; the hymn “Break Thou the Bread of Life” sung to the tune Bread of Life; and Sonata II in C major, op. 5, Thayer.
Since the previous two programs were presented in churches with limited seating capacity, the convention had split into “A” and “B” groups with the performances repeated. The entire group reassembled in the historic 1845 Meeting House of the First Parish Church (UU) in Bridgewater where Marian Ruhl Metson played the following program on an Andover reconstruction of what had been a highly altered E. & G. G. Hook 2-manual tracker, Op. 132 of 1852: Voluntary in A Major, Selby; God Save the King with New Variations, Wesley; “Voluntary for the Cornet” (from An English Suite), Dahl; Chorale, Aria and Toccata, Sandowski; “Schmücke dich, O liebe Seele” (from Eleven Chorale Preludes, op. 122), Brahms; Pavane, Fauré, arr. Paxton; Flowers of the Forest, anon.; Newburyport Polka, Johnson; Le Cygne, Saint-Saëns; Toccatina, Whiting; and the hymn “A Fierce Unrest” sung to the tune Salvation. Ms. Metson, as usual, had the organ give a good account of itself in the somewhat dry acountics of the very interesting building. The ceiling has acoustical tiles (certainly not an original 1845 item!) and wall decorations that at first glance appear to be applied architectural features, but are instead expertly executed trompe-l’oeil painted simulations. Behind the high central pulpit (a feature of many Protestant churches of the era) there is a dramatic painting of a scene that brings one’s eye into a perspective of considerable depth.
The group then walked across the street to Tillinghast Hall on the campus of Bridgewater State College for a buffet lunch and the official Annual Meeting of the Organ Historical Society. Prior to both events, Lisa Compton, a professional historian as well as a musician (and wife of convention co-chair Matthew Bellocchio), gave a slide-lecture on “Old Colony Origins, Organs and Oddities.” Her presentation was at once scholarly, entrancing, humorous, and informative—a tour de force result of deep and intense research coupled with an obvious love of the topic.
The business meeting was handled with reasonable dispatch since written reports had already been distributed to the membership. During this period, Derek Nickels made the formal introduction of this year’s Biggs Fellows, Bradley Althoff from St. Paul, Minnesota; Christopher Deibert from South Amboy, New Jersey; and Rachel Tissue from Grand Rapids, Michigan. The results of the election of officers and councilors were read from the podium and are published in The Tracker. Two items deserve special mention here: first, the Distinguished Service Citation presented to Rachelen Lien of New Orleans, a true “spark plug” and enthusiastic member, promoter and councilor of the OHS for many years; and, second, the announcement of the “hot off the press” publication of a festschrift written in honor of Barbara Owen. She is one of the nation’s most knowledgeable scholars of American organ history and the first president of the OHS. The beautiful volume, titled Litterae Organi, contains a variety of articles by 15 distinguished authors. Published by the OHS Press, it is available from the Society (www.ohscatalog.org). Both honorees were genuinely moved and obviously totally surprised by the awards. Their reactions proved that secrets can indeed be kept!
A more somber announcement concerned the fact that long-time OHS member and former editor of The Tracker, John Ogasapian, had died on Monday that week as the result of a mercifully short battle with cancer.
The group then split again to hear two short recitals in the historically important town of North Easton, known for its large collection of 19th-century buildings designed by the noted Boston architect Henry Hobson Richardson. Convention co-chair (and indefatigable tour commentator) Richard Hill played the following program in Unity Church (UU) on a much-rebuilt Hook & Hastings, Op. 786 of 1895, as modified by Aeolian-Skinner and others: the hymn, “Rank by Rank Again We Stand” (get it?) sung to the tune Reunion; Festal March, Clark; Minuetto, Shelley; and Ballet Egyptien, Luigini, arr. Feibel. The building, unlike many rather stark and unadorned Unitarian churches in New England, is a highly decorated Victorian neo-Gothic delight that features elaborate wood carvings (added later) and two magnificent large LaFarge stained glass windows at the ends of both transepts. Since the organ console is directly opposite the “Angel of Help” window (said to be LaFarge’s masterpiece), Hill admitted to being so entranced by the changing colors and moods of the window, that he frequently is distracted from his organ practice by its overwhelming beauty. Since Hill has been organist of the church for 28 years, he was able to demonstrate effectively the color and power potential of the small 2-manual instrument in spite of the fact that it must speak through some of the openings in the spectacular wood carvings located at the front of the church.
Holy Trinity Lutheran Church in North Easton was the site for a short recital by Kevin Birch on a 3-manual Hook & Hastings tracker, Op. 254 of 1859, that had been added to and rebuilt several times prior to its relocation to Holy Trinity in 1982. Andover Organ Company accomplished a very effective restorative transplant into the rear gallery of a typical 1950s A-frame church. The organ has both a visually and sonically splendid presence in the room whose fine acoustics are enhanced by its high peaked roof. Birch, a superb player, presented the following program: Variaties over “Ontwaak, gij die slaapt,” Bolt; the hymn “Rise, My Soul, to Watch and Pray” sung to the tune Straf mich nicht; Cantilena in G, op. 71, no. 1, Foote; and Prelude No. 3 in d, Mendelssohn. The result was distinguished playing on a terrific instrument.
After a short time to explore the sights of North Easton, we returned to Brockton and the hotel for dinner and then departed for the evening program—a recital by Bruce Stevens at St. Jacques R.C. Church in Taunton. The organ, a 2-manual Hook & Hastings tracker, Op. 1595 of 1894, was originally installed in St. Mathieu R.C. Church, Fall River, then restored and moved to St. Jacques by the Delisle Pipe Organ Co. in 1989. Fr. Thomas Morrissey, who gave a warm welcome to the conventioneers and the many other listeners, noted that he had also served St. Mathieu when the organ had been there, and that the organ “ . . . fits [the church] like a glove” and that [it] “ . . . sounds even better here than it did at St. Mathieu.” The lively acoustics, enhanced by the high barrel vault ceiling, and the fine installation all responded to Bruce Stevens’ expert, dramatic, yet always flexible, playing. The result was a wonderfully satisfying musical experience with which to end the first full day of the convention. His program: Prelude and Fugue in D Minor, Böhm; Partita on Werde munter, Pachelbel; Four Pieces for Trumpet Clock, W. A. Plagiavsky Mozart; Toccata, Adagio and Fugue, BWV 564, Bach; the hymn “Love Divine, All Loves Excelling” sung to the tune Hyfrydol; Benedictus, op. 59, no. 9, and Scherzo, op. 65, no. 10, Reger; and Sonata 13 in E-flat Major, op. 161, Rheinberger. The quasi-Mozart piece was a whimsical bit of musical entertainment in the guise of a serious musicological discovery of great importance—it ended with a movement titled “Rondo alla Turkey,” an obvious reference to one of Mozart’s most well-known piano movements. It was accompanied by a set of program notes done up in the best academic garb to trap the unwary.

Thursday

Again, we split into two groups for the morning’s events in Swansea. Robert Barney played a short program on a somewhat altered, small 2-manual Hutchings tracker, Op. 515 of 1900. The instrument is in a chamber on the Epistle side of the chancel of the elegant and intimate Christ Church (Episcopal). The façade of the organ (designed by Henry Vaughan) is exquisitely designed as is the entire church. Unfortunately, much of Barney’s well-chosen program was marred by the sound of hammering and sawing from a building next door. Thanks to co-chair Richard Hill, who dashed out to get the workmen to cease their activities, Barney was able to soldier on through the following program: Fantasia und Fuge in c moll, Wq 119, no. 7, C.P.E. Bach; Andante in G, S. S. Wesley; Fiat Lux (from Twelve Pieces), Dubois; and the hymn “When in Our Music God Is Glorified” sung to Engelberg.
The next program was in the First Christian Congregational Church where Thomas W. D. Guthrie played its one-manual, eight-stop E. & G. G. Hook, Op. 460 of 1868, as restored by Andover in 1963. The little organ sang out its wonderfully bright yet warm sounds in the following selections: La Marseillaise, Rouget de Lisle (performed in honor of “Bastille Day,” July 14, the day of this program); Liberty March, Frysinger; Fanfare, Mason; Nachspiel, Bruckner; Navidad (from Seis Piezas Breves), Torres; Welcome the Nation’s Guest (“A Military Divertimento, Composed & Respectfully Dedicated to General Lafayette on his visit to Providence”), Shaw; and the hymn “Awake, My Soul, Stretch Every Nerve” sung to the tune Christmas. Tommy Lee Whitlock provided narration in the naïvely charming Shaw tribute to Lafayette while attired in appropriate 18th-century costume. Guthrie did an outstanding job of providing a program that allowed the fine little instrument to display the surprisingly large variety of registrational effects available from only eight ranks.
The whole group then assembled in Fall River and the freshly redecorated St. Joseph’s R.C. Church, where Kimberly Hess played on a highly altered example of a rare 2-manual tracker originally built by W. K. Adams & Son of Providence in 1883. The organ had suffered some damage in the 1980s by some unfortunately placed scaffolding. It was returned to at least a modicum of playing condition by the valiant work of some OHS members and others. Ms. Hess did a fine job of music-making in the following program: the hymn “Praise to the Lord, the Almighty” sung to Lobe den Herren; Elevation No. 2 in c minor, Batiste; Reverie and Elegie, Still; Petit Prélude in g minor (Aria), Jongen; and Postlude on a Theme by Handel, Guilmant.
The undercroft of Good Shepherd Parish (R.C.) in Fall River was the site for lunch after which we went upstairs into the vast, high, and beautiful main church for a particularly fine recital by Kevin Kissinger on yet another transplanted instrument: what had been a large 2-manual Erben of 1863 originally in the Cathedral of Sts. Peter and Paul in Providence and later moved to Fall River. Welte-Whalon did some alterations and reconstruction in 1954. Organbuilder Ray Whalon, the present organist of the parish, was introduced and justifiably commended for his fine work. The organ, enhanced by the church’s superb acoustics, was masterfully handled in Kissinger’s program: the hymn “All People That on Earth Do Dwell” sung to Old Hundredth, then selected portions of Concert Variations on Old One Hundred, Paine; then Celeste (which also features the Melodia stop), Kissinger.
A rare treat followed with Mark Steinbach playing a true historic survivor, an original 2-manual, nine-rank Möller, Op. 864 of 1908, in St. Luke’s Episcopal Church. It has been wonderfully maintained and sounded out proudly in the following eclectic program: Sonatina per offertorio e postcommunio, Bergamo; Le jardin suspendu, Alain; “The Cat” and “Grandfather’s Wooden Leg” (from Fireside Fancies), Clokey; the hymn “By All Your Saints Still Striving” sung to King’s Lynn; and Rondo and Winslow Blues Bugle March, Shaw. Some unfortunate ambient rumbles (not from the organ) failed to swallow up the delicate effects of the more subtle voices. Steinbach (Brown University Organist) played especially musically on the entire program. The Alain was particularly effective on what one might think of as an unlikely instrument for that piece—it worked.
The final event of the afternoon was a recital in First Congregational Church where perennial OHS favorite Lorenz Maycher played superbly on an early and very fundamental-sounding Ernest M. Skinner, Op. 191 of 1911, with some minor tonal revisions done by Aeolian-Skinner in 1964. The organ had a more complete restoration in 2002 by Emery Bros. of Doylestown, Pennsylvania, with assistance by Charles Callahan and Maycher. The rear gallery location (which at first gives the impression of a free-standing case) allows the instrument to gain at least some sense of projection in a room with wall-to-wall carpet and thus very dry acoustics. The high ceiling together with the organ’s placement helped somewhat to overcome the “sofa cushion” effect of an otherwise visually stunning and richly furnished room that contains, among other treasures, windows by both Tiffany and LaFarge. Maycher’s program: Allegro vivace (Symphony No. 6), Widor; Musician’s Hymn, Jackson; Adagio cantabile, Bach, arr. Perry; Solo de Flûte (from Three Miniatures), Lemmens; A Fancy Sketch, Frost; Capriccio (On the Notes of the Cuckoo), Purvis; Harmonies du Soir, Karg-Elert; Requiescat in Pace, Sowerby; and Carillon de Westminster, Vierne. Typically smooth early Skinner reeds were featured mostly in the vigorously played opening and closing French works, with the other orchestral colors displayed in the remainder of the enthusiastically received and well-chosen program.
We then took a short walk to what had been the Victorian Gothic Central Congregational Church, now the location of the Abbey Grille and its Great Hall. We were served a gourmet dinner by students of the International Institute of Culinary Arts, whose headquarters is in the former church complex. Located prominently in a corner of the large room (formerly the main church) is an eye-catching monumental organ case of carved black walnut behind which are the remains of a large 2-manual E. & G. G. Hook & Hastings, Op. 806 of 1875, later enlarged and electrified by Hook & Hastings as their Op. 2388 in 1916. Though the instrument is currently unplayable, it could be restored. What a fine and unusual adjunct to the restaurant and reception hall that would be!
Buses then took us to the huge, sumptuous, and beautifully maintained St. Anne’s R.C. Church, also in Fall River. Located on a high spot of land and fronted by twin towers soaring over 150 feet into the air, the church is one of the most commanding pieces of church architecture in the city. The program was a change of pace in that the organ here is neither old nor a rebuild of a vintage instrument, but rather a 3-manual Phelps Casavant, Op. 2796 of 1964, voiced strongly and with many high-pitched stops and speech attack that take advantage of the outstanding acoustical environment afforded by the large enclosure. The high rear gallery location allowed for clear and reflective sound projection down the very long nave. The following program featured the Sine Nomine Chamber Choir directed by Glenn Giuttari with organist Andrew Galuska: three motets, Coelos Ascendit Hodie, Beati Quorum Via, and Justorum Animae, Stanford; Christus Pro Nobis Passus Est, Klemetti; I Am the Rose of Sharon, Billings; Followers of the Lamb, Shaker Tune; the hymn “O For a Thousand Tongues to Sing,” Azmon; followed by the Gregorian Salve Regina, each verse alternating with improvised sections in the manner of a French symphony; Salve Regina, Poulenc; organ improvisation on Salve Regina; and Gloria by Poulenc. The performers were awarded protracted applause for their presentation of a demanding musical offering.

Friday

The day began in a “picture postcard” setting: Middleboro’s First Congregational Church—the “Church on the Green.” The 1828 building houses a 2-manual S. S. Hamill tracker of 1887 reworked by F. Robert Roche. The beautiful old structure still has its box pews with doors and a rear gallery from which the organ speaks clearly and with authority under a shallow barrel vault ceiling. The interior is enhanced by more examples of fascinating trompe-l’oeil decoration. SharonRose Pfeiffer played with both verve and sensitivity in the following program: the hymn “How Firm a Foundation” sung to the tune Foundation, then Adler’s setting of the same tune from Hymnset; Arietta, Elegy and Melody, all by Taylor; winding up with “Deep in Our Hearts,” also from Hymnset. This was an auspicious beginning for the day’s events—a fine program in an historic old New England Congregational church.
Another Congregational church, Central in Middleboro, was the spot for David Chalmers to demonstrate the features of what had begun in 1925 as a 2-manual Hook & Hastings, Op. 2503. After a couple of reworkings, it retains the remains of the case of the church’s previous organ, a George Stevens of 1871 that had been situated in a rear gallery. After much remodeling of the interior, the organ was moved to the front of the church and had more case wings added. Chalmers showed that he understood both the potential and limitations of the instrument in the following program: Veni Creator, Spiritus (Praeludium), Sowerby; Prelude, op. 50, no. 5, Foote; “My Soul Forsakes Her Vain Delight” and “Do Not I Love Thee, O My Lord” (from Eight Preludes on Southern Hymns, op. 90), Read; ending with the hymn “All Hail the Power of Jesus’ Name” sung to the tune Coronation. The organ has a firm and generous tone with the building offering no reverberation whatsoever. Fortunately, it is located in a front choir gallery and thus speaks down the room’s central axis. We rarely hear examples of the late work of Hook & Hastings, but there were three examples available at this convention (one a transplant).
The charming elliptical Rochester civic “square” contains a library, town offices, and the ubiquitous First Congregational Church, in whose Parish Hall we ate our box lunches. This was a refreshing time to enjoy a lovely spot and soak up some small town ambiance. Peter Crisafulli played a masterful program on the altered, bold, bright, and lively 1-manual E. & G. G. Hook, Op. 387 of 1866. The rear gallery location allowed good projection of the organ’s delightful sound, although the somewhat cramped location meant that the organ bench (and Crisafulli) were perched precariouly close to the edge of the rail. His program: Voluntary in A, Selby; Jesu, meine Zuversicht, Zeuner; Variations on “Fairest Lord Jesus,” Woodman; the hymn “There’s a Wideness in God’s Mercy” sung to Crisafulli’s own tune New Mercy.
One could not imagine a more apt example of a close-knit country congregation than that found at the little United Methodist Church in Marion, Massachusetts. The delightful and intimate building (complete with embossed tin interior walls and ceiling) houses a much traveled and altered 1-manual organ of uncertain manufacture, but presumed to have been built by Giles Beach of Gloversville, New York in the mid 1860s. Judith Conrad, who obviously fell in love with the tiny instrument and its intimate sounds, arranged the following appropriate program to display its captivating qualities: Fantasie in the 6th Tone, Carreira; Hexachordum Appo-linis, Pachelbel; Voluntary and Fugue in D, Wesley; Ave Maria by Arcadelt, Liszt; the hymn “The Day of the Lord Is at Hand” sung to the tune Remember the Poor; and concluded with two Lemare transcriptions: “Old Black Joe” and “When Johnny Comes Marching Home Again.” Both her playing and the instrument suited the friendly small building. One hopes that this worthy gem will receive a well-deserved museum-quality restoration.
The remaining three events of the afternoon took place in the once-affluent city of Fairhaven and featured several examples of the civic generosity of its greatest benefactor, Standard Oil magnate Henry Huttleston Rogers. The first of these was the incredibly beautiful Memorial Unitarian Church. Forget any ideas of the usual stark and understated New England Unitarian building—this one is an example of architectural magnificence done up in the lofty English neo-Gothic style. There are delights for the eye everywhere. The organ is a 1904 3-manual Hutchings-Votey, Op. 565, as reworked in 1971 by F. Robert Roche, and must be regarded as the local (nearby Taunton) builder’s magnum opus. The twin cases are lavishly carved and contain gilt façade pipes that are themselves highly decorated with elaborate stencil work. As if all of this were not enough, more woodcarvings abound as do Tiffany windows. Dwight Thomas, the incumbent musician of the church and a very fine organist, played a program that suited the church’s great acoustics: Woodland Flute Call, Dillon; Trumpet Tune, Swann; The Squirrel, Weaver; the hymn “Let There Be Light” sung to the tune Concord; and Dawn by Jenkins. His altogether too short performance showed off the beautifully balanced sound of this very colorful instrument. The whole experience was magnificent.
A short stroll down Center Street brought us to the restored Fairhaven Town Hall and a short lecture by Christopher Richard on Henry H. Rogers and his architectural gifts to the city. In addition, we all were able to take a short tour, both verbally and later in person, through the nearby portions of “Mr. Rogers’ Neighborhood.”
The multi-talented George Bozeman then gave an outstanding recital in the First Congregational Church, built in 1845. The organ is what can best be described as an “assembled” instrument of two manuals rebuilt and reconfigured by Roche in 1977. The visual aspect (reminiscent of much of the original case), as well as the sound, is very much in the style of a mid 19th-century instrument. The rear gallery location allows the sound to blend and project well. Curiously, in the front of the auditorium there are two matching pipe fences that at one time formed a façade for a small 3-manual Kimball, Smallman and Frazee of 1911. These quite uninteresting flats were said to have been designed by E. M. Skinner. Bozeman’s program: the hymn “Eternal Father, Strong to Save” sung to Melita; Concerto in d minor, Vivaldi/Bach; Dolce and Scherzo (from Symphony No. 4 in f minor), Widor. As usual, Bozeman displayed his customary musical playing, which is always propelled by a telling rhythmic liveliness.
We returned to Brockton for the final event of the day, a recital by Ray Cornils, Municipal Organist of Portland, Maine, where he continues his distinguished tenure (among other appointments) presiding over the monumental Kotzschmar Organ (Austin, Op. 323, 1912) in the Merrill Auditorium. His recital here was on a 2-manual 23-rank Hook & Hastings, Op. 2461 of 1923, which had been transplanted from Brockton’s Olympic Theatre to the rear gallery of St. Casimir’s R.C. Church where its robust tones sounded out vigorously in the fine acoustical setting of the 1950s room. Cornils displayed his usual blazing verve as he let the Hook “rip” in the following program: Carillon de Westminster, Vierne; Rosace (from Byzantine Sketches), Mulet; “You Raise the Flute to Your Lips” (from Four Eclogues), DeLamarter; Will o’ the Wisp, Nevin; The Leviathan March, Kotzschmar; Melody in Mauve, Purvis; the hymn “For All the Saints” sung to Sine Nomine; and Variations on “Sine Nomine,” Weaver. That this was one of the loudest instruments to be heard in the entire convention, there can be no doubt. Many conventioneers were heard to remark that hearing more of the available subtler sounds would have been welcome. Unfortunately, Cornils decided to play a “full bore” romp on Bach’s Toccata and Fugue in D Minor as an encore. It could well have been omitted as we already had heard a surfeit of fortissimo.

Saturday

This was “Taunton Day.” It began with a gem of a recital by Lois Regestein on a genuinely historically important instrument, a 2-manual E. & G. G. Hook, Op. 764 of 1874, in St. John’s Episcopal Church. The organ, original to the building, has served valiantly throughout the years with only periodic maintenance and cleaning. A damaged Great Trumpet was replaced by a fine period-sounding one in 1965 by James Winters. Snugly situated at the front of the south aisle, the organ sounds through its original façade of tastefully decorated Open Diapason pipes. Lois Regestein is often featured on the smaller trackers during OHS conventions and knows how to choose repertoire to suit them. Her program: Motet for Organ on the Third Tone of Thomas Tallis, Schaffer; “O Gott, du frommer Gott” (from Eleven Chorale Preludes, op. 122), Brahms; “March 24: Saint Gabriel” and “November 22: Saint Cecilia” (from Saint’s Days: Twelve Preludes for Organ), Pinkham; Suite of Dances, Phalese, transcr. Johnson; the hymn “The King of Love My Shepherd Is” sung to the tune St. Columba; and “Moderato” (from Three Tone Pieces, op. 22), Gade. The Phalese dances were charming demonstrations of the sounds of individual stops. The combination of church, instrument and artist was a wonderful way to begin a very busy day.
Once again, the conventioneers split into two groups in order to be accommodated in the somewhat smaller spaces for the next two programs. The first of these was the Berkley Congregational Church where founding member and the first president of the OHS, Barbara Owen, played happily on what may be the oldest known functioning church organ by the firm of E. & G. G. Hook, a delightful 1-manual tracker of ca. 1834–1837 that had resided in several other locales prior to its settling in Berkley in 1875. Sensitively and thoroughly restored by Roche in 1983 after much research, the once-white case now displays its warm original mahogany veneer and was somewhat redesigned to reveal its now elegant proportions. Ms. Owen, internationally known both as an organ historian and an editor and compiler of organ literature, played the following program: God Save the King, with Variations, Wesley; Wie nach einer Wasserquelle, BWV 1119, Bach; O wie selig seid ihr doch, ihr Frommen, Brahms; Trip to Pawtucket and The Bristol March, Shaw; Flutedance, Utterback; All’ Elevatione II and All’ Offertorio, Zipoli; and the hymn “Years Are Coming” sung to Hyfrydol. As an added bit of interest, Matthew Bellocchio was called upon to use the hand pump during The Bristol March. He had also redesigned the case modeled on two earlier Hook organs. Even though in a non-reverberant room, the organ has a bright, yet subtle and singing tone which, notwithstanding its peripatetic history and alterations, and thanks to careful tonal reconstruction, has the charming sound one associates with early Hook instruments.
Back in Taunton proper, we experienced a rare treat, an air conditioned space—Our Lady of the Holy Rosary R.C. Church, where Philip Jones played a pre-lunch program on a small 2-manual Roche organ that has portions of Estey’s Op. 2486 of 1926 and Ryder’s Op. 147 of ca. 1887 as well as new material. Though certainly far from being an historic instrument, it is an effective example of what can be done to provide a workable pipe organ for a small parish church. The program: Ciacona, Buxtehude; Two Preludes on Asian Hymns, Jones; Jesu, Jesu, Thou Art Mine (three variations plus chorale by Bach), Fedak; Spiritual Needs, Fletcher; the hymn “Father, We Praise Thee” sung to Christe Sanctorum; and Two Hymn Preludes (“The Kingsfold Trumpet” and “A Carol for the New Year”), Fedak. Lunch followed in the Parish Hall.
Will Headlee then played an exciting recital on Pilgrim Congregational Church’s reconstructed late 2-manual Johnson, Op. 745 of 1890. The organ has been subjected to several additions and reworkings, most recently by Roche in 1995–1997. As the result of much careful work, the tonal effect is a more than reasonably good approximation of the characteristic Johnson sound. It is quite thrilling in the room, and Headlee was enthusiastic in his praise for the instrument that responded joyfully under his expert playing of the following program: “Choral” (from Quatre Pièces, op. 37, no. 4), Jongen; Three Pieces for Organ (from the film, Richard III), Walton; Reverie, Macfarlane; “Allegretto” (from Sonata in e-flat minor, op. 65), Parker; “Hamburg” (from Ten Hymn Tune Fantasies), McKinley; Ronde Française, op. 37, Boëllmann; and the hymn “Glorious Things of Thee Are Spoken” sung to Abbot’s Leigh. The entire program was spectacularly played, and special note must be made about his outstanding hymn accompaniment.
The next organ, that in the 1831 First Parish Church (UU), is a highly modified reworking of a 2-manual E. & G. G. Hook, Op. 348 of 1864. The lore is that the original organ was the first one with which young Ernest M. Skinner became acquainted when his father, Washington Skinner, was tenor soloist for the church during the 1870s and 1880s. Over the years, the instrument received several modifications including some work done by E. M. Skinner himself in 1949, two generations after his first acquaintance with it. Rebuilding by Roche in the 1980s resulted in an essentially new instrument behind the original façade but with enough 19th-century “accent” to sound reasonably authentic. Rosalind Mohnsen played with her usual verve, style, and understanding in spite of the room’s total lack of presence. Her program: Orgelsinfonie zum Ausgang, Tag; “Cantabile” (from Ecole d’orgue), Lemmens; the hymn “Lead, Kindly Light” sung to Lux Benigna; In Memoriam, op. 17, Dunham; Washington’s Grand Centennial March and Bristol Waltz, Shaw; ending with Postlude, Whiting. Grant Hellmers assisted at the console.
We were then offered a break in routine by having the option of the following tours: exploring the offerings of the Old Colony Historical Society located on the Green and directly opposite the First Parish Church; visiting the Reed and Barton Factory Store; or taking a walking tour of the Taunton area and seeing the house where Ernest Skinner lived as well as the building where Washington Skinner had his singing studio. From the many parcels brought onto the bus, it seemed that many conventioneers opted to shop for silver goodies.
The final event of the afternoon was an altogether too short recital played by Joseph O’Donnell in St. Mary’s R.C. Church where its lofty nave helped enhance the distinguished tone of the 3-manual Hook & Hastings, Op. 1674 of 1895, located high in the rear gallery. The instrument is the largest surviving Hook in this part of the Commonwealth. Even though it has had occasional repairs and replacement of its pedalboard, it is in essentially original condition and is obviously in need of a thorough restoration. O’Donnell’s program: the hymn “Mary, Woman of the Promise” sung to the tune Drakes Broughton; and Plymouth Suite, Whitlock. He played with both technical brilliance and musical sensitivity. What a sound! Before the major evening performance, we bused to the West Congregational Church where they have a spacious pavilion on the grounds set up for an authentic New England clambake complete with tender steamed clams, sausages and vegetables in seemingly limitless quantities, and topped off with slices of refreshing watermelon. The small church itself was open for those who wished to sample a “taste” of a very late 3-rank Hook & Hastings unit organ, Op. 2604 of 1933 (their final instrument was Op. 2614 installed in 1935).
Perennial favorite Thomas Murray demonstrated his usual astounding artistry on Taunton’s largest organ, a much-rebuilt Jardine, Op. 1257 of 1899, in historic St. Thomas Episcopal Church. Fortunately, the high vaults of the beautiful but non-reverberant Upjohn-designed building helped to disperse the sound. Murray gave some welcome informative explanatory comments during the following program: Three Pieces, op. 29 (Prélude, Cantilène, and Scherzando), Pierné; Concerto Grosso in d, Vivaldi/Bach; Six Versets on the Magnificat, op. 18, Dupré; a commissioned hymn “O God, We Thank You” sung to Coram Hall; Grand Choeur Dialogué, Gigout; Evening Song, Bairstow; and Sonata I in d, op. 42, Guilmant. Once again, the oppressive heat occasioned by both the weather and the packed nave must have been quite a challenge for the artist, who seems to be able to overcome any obstacle and produce magnificent musical results. The console is located in what is best termed a “cozy” cubbyhole on the Gospel side of the chancel. Its location must create real balance perception problems for the organist which, coupled with the presence of a large portion of the Great whose pipework extends several feet into the south aisle, must be quite unsettling. The case pipes of this division stand very close to the pulpit, and their presence may seem occasionally intimidating to the person delivering wisdom from that spot. Even near the rear of the nave, the Great division certainly makes itself felt. Fortunately, Murray has had a long association with this instrument and was, indeed, the consultant for its rebuild by the Roche firm in 1980.

Sunday

After several event-packed days, the schedule allowed for a Sunday morning free for those who chose to attend local church services or who opted instead for a later start to their day.
Travel to the lovely town of Duxbury brought us to the picture-gorgeous 1840 meeting house of the First Parish Church (UU) where Frances Conover Fitch played a short program on Andover’s 1967 rebuild of the church’s Wm. B. D. Simmons 2-manual tracker of 1853. The elegantly proportioned room still includes much of its original décor, conveys an overall feeling of uncomplicated serenity, and is an ideal setting for the proud little organ’s gallery location and a bright summer morning recital. Her program: “Toccata per l’Elevazione” (from Messa degli Apostoli), Frescobaldi; Voluntary I in g minor, Stanley; the hymn “Winds Be Still” sung to Lead Me Lord; and Praeludium and Fuga, Wesley. Ms. Fitch’s exquisite playing was a fine match for both the ambiance and the rebuilt Simmons.
On we went to nearby Plymouth where we visited the large granite National Monument to the Forefathers that was erected in the 19th century. The huge figure of Faith stands atop the pedestal and faces appropriately toward the sea, which is visible from the monument’s location on high ground. At least one of the OHSers found the name of his Mayflower ancestor among those engraved on the base of the monument.
The remainder of the day was devoted to further Pilgrim matters and a visit to Plimouth Plantation, an extrordinary place that includes a living museum where one can wander through a recreation of what might have been similar to a portion of the Plymouth of 1627. Featured there are structures and events portrayed by “villagers” who will speak to the tourists as desired, but in an accent that is supposed to be like that of the Massachusetts colonists of the 1620s. We were admonished not to ask them or speak to them about anything in our current time as they would know nothing about events later than what happened in the Plymouth of 1627! Following this fascinating experience, we met for a “Pilgrim Feast” featuring 17th-century fare served by some of the same costumed and well-informed guides whom we had seen in the village. During the dinner they gave comments (in the same 17th-century accent) on the various dishes and “contemporary” ways of eating. Forget Emily Post or Miss Manners. Gentlemen, for instance, were shown the proper way to wear a dinner napkin (when one was used) in 1627—not in the lap, but slung over the left shoulder. Try it sometime—the thing really doesn’t want to stay there. The final event of the day took place in the Church of the Pilgrimage in Plymouth with Brian Jones, Organist Emeritus of Trinity Church, Boston, and Peter Gomes, distinguished author, theologian and Plummer Professor of Christian Morals at Harvard. Jones, a native of nearby Duxbury and at one time organist at the Church of the Pilgrimage, and Gomes, a Plymouth native and former organist at Memorial Methodist Church, became acquainted as youths, long before they went on to their respective notable careers. The historic building, a good one for support of congregational singing, houses a room-filling organ rebuilt and moved several times prior to its present reconfiguration by Roche in 1991. The program consisted of congregational hymns and organ works appropriate for both the location and the general themes of the convention. Aiding in the performances was a choir of singers from the Church of the Pilgrimage, William Richter, director; and First Baptist Church, Patricia Peterson, director. Both Gomes and Jones enlivened the evening with frequently humorous comments. The program: the hymn “O God, Beneath Thy Guiding Hand” sung to Duke Street; A Song of the Sea, Matthews; the hymn “It’s Good unto Jehovah to Confess” (from the Ainsworth Psalter) sung to Old 124th; “A.D. 1620” (from Sea Pieces, op. 55), MacDowell; the hymn “The Breaking Waves Dashed High” sung to Plymouth; March of the Magi, Dubois; choral anthems, The King of Love My Shepherd Is, Shelley and Praise the Lord, O Jerusalem, Maunder (conducted by Gomes); the hymn “Lead on, O King Eternal” sung to Lancashire; “War March of the Priests” (from Athalie), Mendelssohn; and the hymn “O Beautiful for Spacious Skies” sung to Materna. There was also time allotted for hymn requests, with numbers of favorites being shouted from the audience.

Monday

The final day of the convention was held in New Bedford, once the nation’s most wealthy city largely as the result of the extensive whaling industry that was centered here. Once again, because of limited seating in the first two churches, the group was split into two with the programs repeated.
Timothy Drewes, organ builder and husband of Cheryl, heard the previous Wednesday on the Hutchings at North Congregational Church, North Middleboro (q.v.), played a “whale” of a delightful program on the only surviving organ built by Charles Chadwick, his 2-manual Op. 1 of 1901 in North Baptist Church. As we entered the church, we were greeted by the ringing of the tower bell. The fine and generously-toned instrument was rebuilt with some tonal changes by Roche in 1981. The program: “The Pharos (Lighthouse) of Alexandria” and “The Pyramids of Giza” (from Ancient Wonders), Arcus; the hymn, “The Ribs and Terrors in the Whale” sung to Windham; “Pawles Wharfe” (from The Fitzwilliam Virginal Book), Farnaby; “Drake’s Drum” and “Pirate Song” (from Three Nautical Songs), G. W. Chadwick; and “The War Dance Festival” (from Impressions of the Philippine Islands), Moline. The Chadwick songs (by the more well-known composer brother of the organ builder) were sung both stylishly and with drama by tenor Frederick Louis Jodry who would be heard as organist at the First Unitarian Church later in the day. The informative program notes explained the seafaring thread that ran through the pieces performed. The Moline dance, which could serve only as a grand finale, was a truly wild romp. At St. Andrew’s Episcopal Church, Joyce Painter Rice played a program of appropriate pieces on the oldest organ in New Bedford, a transplanted 2-manual George Stevens tracker of 1852 that had been acquired by the church in 1977 through the advice of Barbara Owen. It had some restoration by Roche in 1978. It was a delight to hear the sweet and cohesive tone of this little jewel as it sang out from the gallery of the small building. The program: Andante in D Major, Blewitt; Fugue on Es ist gewisslich an der Zeit, Stirling; “Moderato in G Major” and “Allegro in D Major” (from American Church Organ Voluntaries), pub., A. N. Johnson, 1852; Choral Song and Fugue, S. S. Wesley; and the hymn “Thou Did’st Leave Thy Throne and Kingly Crown” sung to Margaret. Ms. Rice performed with grace and skill and did not let the occasional out of tune flue rank disturb her in the least.
The final program of the morning took place in the elegantly decorated and massive St. Anthony of Padua R.C. Church, which boasts the tallest spire in New England. The high, vast interior contains hardly a square inch of undecorated area and is a continual feast for the eyes. It is climaxed by 32 heroic-sized angels on pedestals that ring the room. The organ, Casavant’s 4-manual, 60-rank, Op. 489 of 1912, is located high in the second (organ) balcony at the west end of the church. It speaks with authority down the massive barrel vault and features a truly glorious crescendo. Timothy Edward Smith, assisted by Tom Murray, conductor, and Michael Calmès, tenor and narrator, presented the following program: “Sanctus” (from the St. Cecilia Mass), Gounod; Marche Funèbre et Chant Séraphique, Guilmant; Carnival of the Animals (with verse by Ogden Nash), Saint-Saëns; ending with the hymn “Angels We Have Heard on High” sung to the tune Gloria. The assembled audience formed the choir for the Gounod “Sanctus” (conducted by Murray), and Calmès narrated the clever Nash poetry that accompanied the Saint-Saëns menagerie. The hymn was an appropriate “nod” to the angels and seraphim that ringed the nave. For a final “Gee Whiz” moment we were treated to a display of some 5,500 light bulbs that enhance the curves of the many arches in the church. We were told that the local power company had to be notified in advance as to the exact time that the switches were to be thrown so that proper preparation could be made for the great power demand. Evidently all went well, as there were no reports of “brown-outs” in the city of New Bedford. Smith, justifiably long an OHS favorite, seemed quite at ease amid both the great roars and subtle tones of this terrific organ. His playing together with Calmès’s tenor and the large choral forces filled the room with glorious sound.
After lunch in St. Anthony’s large parish hall, we went to Our Lady of Guadalupe Parish at St. James R.C. Church for a recital by Christopher Marks on a much-rebuilt and relocated Hilborne Roosevelt, Op. 29 of 1876, that had originally been in Trinity Episcopal Church, Boston. After a couple of rebuilds there, it was moved to St. James in 1927 and installed in the rear gallery. The organ had been out of service for some time and was heard this afternoon for the first time in over 30 years. It was put into basic playing condition by a group of dedicated artisans, one of whom was seen with misty eyes during the program as the organ had regained at least some of its voice after several decades. Fortunately, there were many parishioners present who expressed their delight and appreciation at hearing the sounds from the west gallery, many for the first time in their lives. Marks, Syracuse University Organist, played the following program with great élan: the hymn “Come, Thou Fount of Every Blessing” sung to Nettleton; “Berceuse” (from Suite Bretonne), Dupré; Concert Variations on The Star Spangled Banner, Buck. He also supplied enlightening and witty program notes that explained some of his registrations. Will Headlee assisted at the console as there is currently no working combination action. Marks is a rapidly rising young star who seemed not at all hampered by what must have been less than ideal playing conditions, but who performed with great style and assurance nevertheless. Sincere bravos go to Marks, the consortium of technicians (under the guidance of Bruce Gardzina), and to the church and its pastor, Fr. Wilson, who gave us a hearty welcome.
Renea Waligora and narrator Sean Fletcher presented the next program in the recently closed St. Anne’s R.C. Church, which together with another parish had merged to join with that of Our Lady of Guadalupe, just visited. The organ, a 2-manual Hutchings, Plaisted Op. 42 of 1874, had been in a church in East Boston, and then another church in New Bedford before being moved to St. Anne’s by Raymond Whalon in 1985. It sounded magnificent in the almost barren church. The program: “Andante” (from Sonata I), Borowski; Dinosauria, op. 16 (“A Mesozoic Menagerie for Organ and Narrator”), Dinda; and the hymn “My Life Flows on in Endless Song” sung to the tune Singing. The fine little organ with its decorated façade pipes sounded clean and colorful under Ms. Waligora’s assured and flexible playing. Dinosauria was written by Waligora’s husband, Robin Dinda, and dramatically narrated by the talented young actor, Sean Fletcher. It is a whimsical piece very much in the tradition of the Saint-Saëns Carnival of the Animals heard earlier in the day. As an amusing prop, Fletcher produced a small dinosaur figurine that resided on the lid of a nearby grand piano during the performance.
After a short bus ride to downtown New Bedford, we were set free to wander around the historic district and to visit some of the museums and other attractions. All paths eventually led to the large stone Victorian Gothic First Unitarian Church for a well-played program by Frederick Louis Jodry, heard earlier in the day as tenor soloist at North Baptist Church. The room holds many items of interest for the audience including its original pew doors and a stunning large Tiffany mosaic, The Pilgrimage of Life, located at the very front of the room. Jodry’s program: “Allegro” (from Sonata in E-flat Major, BWV 525), Bach; Tiento de mano derecha, Bruña; Introduction and Variations on “Nicaea,” Post; the hymn “Bring, O Morn, Thy Music” sung to Nicaea; and the Fugue in E-flat Major (“St. Anne”), BWV 552, Bach. Jodry played with great panache on the church’s 2-manual 25-stop Flentrop of 1966 located in the rear gallery. It sounds quite strong in the large but acoustically dry room and had received needed restoration work and tonal refinement by Scot Huntington in 1995.
Dinner followed at the Wamsutta Club, an elegant facility that originally had been one of New Bedford’s many opulent mansions. A short walk took us to the final recital of the convention, a brilliant performance by the popular Peter Sykes on the much-rebuilt 2-manual E. & G. G. Hook, Op. 244 of 1859, in Centre-Trinity United Methodist Church. His program: Pastorale, Franck; “Scherzetto”, Lied” and “Arabesque” (from Pièces en style libre), Vierne; “Scherzo” and “Prelude – Chorale and Allegro” (from Ten Pieces), Gigout; the hymn “Abide with Me” sung to Eventide; Sonata, op. 65, no. 1, Mendelssohn; Abide with Me (“Improvisation”, “Prelude” and “Chorale”), Woodman; Prelude and Fugue in e minor, BWV 548, Bach. As usual, Sykes, always a favorite, played spectacularly with his accustomed musical intensity, which must have been difficult to maintain given the extreme heat and humidity, especially in the organ gallery. Also, an annoying “thrumming” of an idling diesel engine just outside one of the open windows of the church interfered with the enjoyment of the Franck Pastorale and the organ’s fine Hautboy stop. Fortunately, the engine noise stopped about half-way through the piece. An extremely brisk tempo for the Bach “Wedge” left many listeners breathless.
The many events of the very busy week had many ponder whether the otherwise well-organized (no pun intended) convention may have been over-scheduled. A wealth of interesting instruments are available in this part of the Old Colony, but perhaps we were led to see too many of them, particularly since there were quite a few that could hardly be considered as “historic” in the usual sense. Nonetheless, bravos must go to the hard-working convention committee and to the many organ technicians who put the instruments into playing condition.
Special mention is due to the compilers of the Organ Handbook, 2005 for the many hours of research and writing that went into the volume. It is the largest one produced thus far (at 288 pages) and again is a beautifully illustrated and information-filled source of background material on both the instruments and their locales. The editors, under the overall direction of Lisa Compton, deserve our admiring thanks.
OHS conventions are always enjoyable, and often much of the pleasure comes from being with colleagues who share the common interest of the history of North American organ building. The 2006 convention will be headquartered in scenic Saratoga Springs, New York, and will run from June 25 through 30. It will celebrate the fiftieth anniversary of the Society’s official founding. For further information, contact the Organ Historical Society at their website: .
(Note: Much of the background information on the instruments and their locales was distilled from the Organ Handbook, 2005, noted above. It and its predecessors offer the reader a great fund of information on the history of organ building in North America.)

The author thanks Scott Carpenter and Harry Martinas for editorial help with this report.

The 46th annual convention of the Organ Historical Society
(OHS) took place June 21-28, 2001, in North Carolina, centering around
Winston-Salem. Convention registration brings with it the fabulous Organ
Handbook, with recital programs, organ specifications and photographs, and bios
and photos of performers. It's the Bible for the week, eagerly devoured, and
kept in one's library forever. As with last year, the editor this year was
Jonathan Ambrosino.

Thursday, June 21

The opening concert was held at First Presbyterian Church in
Greensboro, the perfect convention opening on several levels. The building is
stunningly beautiful, designed by Hobart Upjohn, modeled on the cathedral at
Albi in France, and somehow built in 1929 and 1930, in the height of the Great
Depression. It was able to accommodate the entire convention, not the case with
quite a few buildings later in the week, when we were often divided into
smaller groups. The organ, finished by Létourneau just last year, fills
the 1400-seat building with great clarity and power. It is a grand creation,
with large instruments in both gallery and chancel, beautifully encased. The
acoustic of the building is organ-friendly, but nothing more. Having chancel
pipes on both sides and a large gallery division placed very high up gives the
instrument a great presence. There is a very effective en chamade reed atop the
gallery division. The whole enterprise is undergirded by digital 32's, not
obnoxious all of the time, but often enough.

Bruce Stevens plays with grace and elegance. The program
opened with the Kerll Passacaglia in D Minor, which introduced us to the clarity of the instrument's choruses and
other combination possibilities, through a great variety of variations,
building to a quite sturdy ending. Next, Beethoven, Adagio in F Major (Organ Sonata 8) played on a pleasantly limpid flute registration. Somewhere, at every recital of an OHS convention, a hymn gets sung, mostly meant to show the effectiveness of the organ as an accompanimental instrument, but the custom has taken on a life of its own. There is even a special hymnal printed, especially attractive this year. The recitalist gets to choose the hymn, and to accompany it with as much or as little freedom as wanted. The hymn, "I will give thanks with my whole
heart," to the tune Herr Jesu Christ, was sung in glorious harmony,
supported magnificently by Stevens. Next, Rheinberger, Introduction and
Passacaglia (from Sonata No. 8). This sonata is glorious, and both player and
organ did it complete justice. The huge power of the Pedal, some of it achieved
by illicit means (I would personally prefer a good Resultant), gave the ending
particular force. Then, Franck, Choral No. 2 in B-Minor
style='font-style:normal'>; next, Stevens and flutist Marcella Leonard
performed The Hedding Suite by
Everett Titcomb. Liszt's Prelude and Fugue on B-A-C-H
style='font-style:normal'> received a totally splendid performance, virtuosic
in the extreme, registered without fear, including the en chamade in the
balcony. The Liszt was a glorious ending to a great recital, and a promising beginning for the week to come.

Friday, June 22

The first full day plunged us right into the OHS convention
bus-church-bus-church routine at its richest and fullest, complete with an 8:30
a.m. departure (and I might add, an 11:30 p.m. homecoming). We had a wide
variety of experiences this day, in the vicinity of Danville and Chatham,
Virginia, a two-hour bus ride from the hotel.

The first stop was Mount Vernon United Methodist Church,
Danville, housing a gentle and lovely 1860 Boston-built Simmons and Willcox
organ, rebuilt with significant additions by George Bozeman in 1988. As this
organ was saved and relocated through the good work of the late Alan Laufman
and the Organ Clearing House, it was somehow entirely appropriate that this
recital was played by the new director of the Clearing House, John Bishop. The
program: Bach, Prelude and Fugue in C Minor (BWV 549), began quietly, very slowly, and passionately; the fugue, on the other hand, was quite quick, almost Newmanlike, on a reedy registration, building naughtily with the gradual opening of the box; Pachelbel, Aria Sebaldina (from Hexachordum Apollinis); Derek Bourgeois (b. 1941, student of Howells), Serenade, written for the procession at his own wedding, a fine, accessible work, in a fresh but not shocking harmonic idiom. The hymn, "Christ is made the sure
foundation," was sung to Westminster Abbey
style='font-style:normal'>--we got to sing in parts in our usual impressive
way, complete with descant. Langlais, Noël with Variations, Choral (from 24 Pieces for Organ or Harmonium); Lefébure-Wély, Sortie--this was so well done, it made up for the over-exposure from which this piece now suffers. He who occupies the director's chair of the Organ Clearing House is able to shape and encourage one of the greatest programs to ever come out of the OHS. Its achievements under Alan Laufman were noteworthy. We offer John Bishop thanks for showing us his musical side, and wish him the very best in guiding OCH in the years ahead.

At Sacred Heart R.C. Church, Danville, James Darling,
well-known for his many years at Bruton Parish Church in Williamsburg, gave an
excellent recital on a Simmons organ from 1877, rebuilt with some tonal changes
by Andover in 1980-81. The program began with the Concerto in C Major, op. 6, no. 10, by Corelli, adapted for organ by Thomas Billington; then Grave (with variations) from Voluntary in D Major (op. 6, no. 5) of Samuel Wesley. The hymn, giving us a good chance at some excellent harmonizing, used the tune Hereford by Samuel Sebastian Wesley  for the text "O thou who camest from above" by
Charles Wesley. The program next promised more Wesley, but the artist had a
change of mind and moved smartly into the 20th century with a quite flashy and
wonderful chorale-based work, Christ ist erstanden
style='font-style:normal'> by Ludwig Lenel, long associated with Muhlenberg
College in Allentown, Pennsylvania.

After a good lunch at the Knights of Columbus Hall (bar
closed!), we moved on to First Christian Church, still in Danville, which
became the scene of an unfortunate confluence of realities. OHS really tries,
with the help of always willing volunteers, to get organs into shape for our
pleasure and edification. This recalcitrant machine (built at a time when
Möller could actually build good instruments), through poor design,
including really ill-thought-out tuning and maintenance access, and long-term
neglect, in recent years due to the poverty of the congregation, defied all
attempts to bring it "online." Just to get inside the thing, lots of
heavy case pipes have to be removed, this landing one on the huge reservoir,
and leading to other contortions to actually get at the pipes that badly need
ministrations. With the complexities of running smoothly a convention of this
kind, and it does indeed run amazingly smoothly, this poor old organ and its
condition did not get sufficient attention. Baxter Jennings, longtime organist
at Sacred Heart Church, where we had just been, was the unfortunate player
assigned to play this instrument. Susanne Martin, choir director at Sacred
Heart, came along to sing the "Pie Jesu" from the Fauré Requiem, but was overwhelmed mostly by a too-loud registration, which in turn, might have been necessary if none of the softer stops had sufficient notes actually playing. I think too, that Mr. Jennings was totally terrified by the experience of not ever knowing what notes might play at any given time, and by knowing that under these almost impossible
circumstances he was playing for a church full of organists from all over the
country.

The next event took place at Chatham Presbyterian Church in
Chatham and involved a 1912 Möller. This 17-stop organ showed that in the
early 20th century some very good things could come out of Hagerstown. What a
solid and lovely instrument, and what a player is Randy Bourne. For the first
two pieces, the organ was hand pumped, with all the well-known benefits of
this: a Praeludium (WV33) of
Scheidemann, followed by the Prelude & Fugue in F Major
style='font-style:normal'>, from the "Eight Little," with supple and
sensitive playing. Bourne spoke during much of this concert, and the compelling
nature of both the playing and the chat kept the audience at full attention all
the way. One of the first things he mentioned was his use, in the Bach, of an
old edition of 1909, a product of its time, suggesting soloing out sections
using a solo Flute accompanied by strings. Would this have been taken seriously
by many organists as little as ten years ago? Some would say we are returning
to the corrupt old ways of the pre-Orgelbewegung days. Others, I with them,
might say that we have matured musically, and can now ask what is musical
rather than what do the "rules" say. Next, four gently busy Variations on "St. Catherine" written in 1999 by Robin Rokey. Bourne then played a ravishing transcription of Mélodie in E-flat Major (op. 42, no. 3) of Tchaikovsky, with the Flute solo accompanied on that rarity, "an audible Aeoline!" This was followed by another successful transcription, of a Mussorgsky piece, Fair at Sorochintzy, with images of the Cossacks
riding into a village, destroying it, and riding off--exciting stuff! The
program ended with the hymn "Love Divine, all loves excelling," sung
to Beecher. And here was a
recitalist who understands the wonder of hymn singing, and he gave us a chance
at some harmony, and accompanied rather than dominated.

J. R. Daniels, who is organist and choirmaster at Saints
Simon and Jude Church in Pittsburgh, has been around OHS conventions since
1994, in which year he was an E. Power Biggs Fellow. He gave a concert this
year at Emmanuel Episcopal Church in Chatham, on a much-moved 1865 S.S. Hamill
organ of about 12 stops. Taylor and Boody did a restoration in 1992, adding a
pedalboard and a Pedal Bourdon. Here is another recitalist who understands
hymns--he supported us gently in a sweet old traditional Roman Catholic hymn,
letting us happily harmonize to our hearts' content. He then made an apt little
speech about how much louder this gentle instrument would have sounded when it
was built, to people who had so little noise and music in their lives. His
recital made me wonder whether we have matured sufficiently to accept most of
the music on this program! Daniels is, at present, researching the music of
Théodore Salomé (1834-1896). The program began with The
Canterbury March, by Harry Crane Perin
(1868-1933), not a work of much substance. This was followed by the essential
Lefébure-Wély, Choeur de Voix humaines (The Nuns'
Chorus), consisting of Flute solo with
flourishes, accompanied on strings. Next, a kind of ornamented aria on "My
hope is built," by John Behnke, born 1953. It was then Salomé time.
Daniels warned us that the next piece, Offertoire in D-flat
style='font-style:normal'>, had been referred to by John Henderson, in his A
Directory of Composers for Organ, as the worst piece of organ music ever
written. The recital ended with a more interesting work of Salomé, Grand Choeur in A, altogether a better piece than the previous offering.

After a good dinner at the Stratford Inn Conference Center
in Danville, we headed to The Church of the Epiphany. George Bozeman,
organbuilder and a regular recitalist at these conventions, played the first
half on a 1928 Skinner of 16 ranks, I thought not a very successful example of
the breed. Bozeman, as always, gave us something unusual and interesting--the Sonata Cromatica (Seconda) of Pietro Yon. I was sure that what we were handed next was not going to work, but I underestimated us. We had in our hymnals a choral score of the Yon Gesù Bambino, and led by an excellent soloist who also conducted, Robert Sutter, we did a wonderful job. What a great idea, and what an interesting recital.

After a brief stretch, the program  moved to the balcony, with its 1978 Andover organ of 38
stops, for a contrast of epic proportions. There are 12 ranks of mixtures,
given unpromising names like Cymbal, or simply "Sharp." These are a
bit uppity, but judicious registrational pruning can work wonders, and there is
much that is beautiful in this instrument. The upstairs organist was Kathleen
Scheide, and she began with  Aria: Quis mutuos amores, by F.-X. Murschhauser; the hymn "Everlasting Arms of Love" to the tune Galliard; O Lamm Gottes (BWV 656) of Bach; the Reger Prelude and Fugue in B Minor,  and then we heard from Ms. Scheide as composer in a very pleasant piece called Aria
La Romanesca. The program finished with
Scheide's own transcription of a Mozart piano duet, K. 358.

Saturday, June 23

This day began with John Farmer's fascinating history of the
much travelled Skinner (opus 248 of 1916), now comfortably and happily living
in the great Vanderbilt mansion, Biltmore, in Asheville, North Carolina, thanks
to Farmer's alertness and skilled ministrations. The following rather long
Internet address will give the story in some detail:

<http://www.biltmore.com/just_for_media/news_releases/whats_new_concert_…;
and this address will show the handsome console:

<http://www.biltmore.com/visit/biltmore_house/pipe_organ.html&gt;.
There are a few infelicities, like a "genuine forced-air organ," and
other minor oddities, but if you don't know Biltmore, or even if you do, this
is all interesting reading. My thanks to Harry Martenas for locating these
sites.

Next we boarded six buses for the longest journey of the
convention, a bit less than three hours, during which we were shown a rather
good video about the Biltmore mansion. The Asheville part of North Carolina is
wonderfully hilly, giving the bus drivers some anxious moments maneuvering the
sometimes narrow streets, including the one which brought us to Mount Zion
Missionary Baptist Church.

Presiding over Felgemaker Opus 713, 1901, two-manuals and 26
stops, was Will Headlee, always a wonderful presence at these conventions. He
spent some years of his life in Asheville, so this was something of a
homecoming. Out of respect for the organ's lineage, he began  the first movement of the Mendelssohn
A Major Sonata on original Felgemaker
sounds--distinguished and beautiful sounds they are, too. For the Andante, he
used the original strings. Next, two choral preludes by Ludwig Lenel: "Now
praise we Christ, the Holy One" and "How brightly shines the morning
star;" then, Was Gott tut, das ist wohlgetan
style='font-style:normal'>, Kellner; Voluntary No. 1 in D Major, Boyce. This organ really does sing. I think everyone realized that we were in the presence of royalty, an organ with
distinguished beginnings well and lovingly restored tonally and mechanically,
with some additions, by John Farmer and Company. Also, somehow, in its
simplicity, the organ is really fine visually as well. Then, "Sarabande" and "Rhythmic Trumpet" (from Baroques), Bingham; "Balm in Gilead" and "Swing Low," Utterback; Fantasy on "Roll, Jordan, Roll," Ralph Simpson (b. 1933), a really great fun piece (published by Morning Star); and the 1875 hymn, "I am thine, O Lord."

The next program took place at St. Matthias' Episcopal
Church, Asheville, and featured Carol Britt playing a one-manual organ built by
Reuben Midmer. Britt, organist and choir director at St. Augustine's Episcopal
Church in Metairie, made fine use of the single-manual instrument. The organ,
built in 1898, is original to this building. Ponder this from the program note:
"Original to the church, the Midmer organ is in a remarkable state of
preservation. Apart from maintenance and some patching to the bellows leather,
the instrument is essentially as installed 103 years ago." Was that a good
investment or what? The program: Triptych
(Prelude, Scherzo, and Fugue), Robert Powell; Grand Triumphal March, Nicholls (1877), a real two-step played with wonderful panache. To play the Partita on O Gott, du frommer Gott of Bach on an instrument with limited variety takes a bit of work. With impeccable phrasing and some careful registration planning, this was a fine and arresting performance. It made perfect sense for us to next sing "O Gott, du frommer Gott," and we did indeed, happily with some directions for harmony and unison verses.

The next move was well up the social ladder, as we visited
the Vanderbilts in their stately home, Biltmore, in Asheville. After a lovely
dinner in "The Stable" on the estate, we then proceeded to the main
house to hear the organ, played partly by the Skinner player mechanism, and
partly by Kristin Gronning Farmer. Kristin, who chaired this convention, and
whose good and thoughtful work in that capacity we benefited from daily, has
also played for OHS conventions in the past, including Boston last year. In
addition to which, she is an organ builder, working with her husband, John
Farmer, and specializing in "gilding, pipe stencilling, polychrome
painting and faux finishes," which skills she makes available not only to
the "family firm," but also to other builders. After a demonstration
of some of the resources of the instrument, she let us sample some of what is
available on the Skinner semi-automatic rolls. It was all good fun.

Sunday, June 24

After yesterday's long ride to Asheville, we spent today
staying quite close to Winston-Salem, beginning the day at the hotel with the
annual meeting of the OHS. Bill Van Pelt presided, and those in charge of other
projects and committees of the society reported on activities since the last
meeting (in Boston in 2000). There were two E. Power Biggs Fellows this year:
Ryan Celestin of Metairie, Louisiana, and Bruce Ludwick, Jr. of Keyser, West
Virginia. An election of officers was held by mail prior to this meeting, with
some ballots submitted on the day. Elected as President: Michael Barone, whose
radio program, Pipedreams, produced and disseminated by Minnesota Public Radio,
is known throughout the U.S.

On to the buses at 11, going to the workshop of J. Allen
Farmer, Organbuilders--a great barn surrounded by beautiful countryside. On
display, a two-manual and pedal mechanical-action residence organ, two stops on
each manual division and a pedal 16'. Outdoors, on a perfect day, we were
treated to a fine buffet lunch.

Next stop, Maple Springs United Methodist Church to hear
James Hammann, who is on the faculty of the University of New Orleans, is
organist of St. Francis Xavier Church, and in his spare time runs an organ
maintenance business! The organ is a 1926 Casavant, originally located in
Detroit, but moved to Winston in 1982. Voluptuous describes it well, a 3-manual
instrument with all the good (big) stuff and a sound that is broad and warm.
The program: James Houston Spencer (1895-1967), Symphonesque
style='font-style:normal'>, op. 12 of 1933, a rich work, somewhat inventive
harmonically in a way occasionally somewhat reminiscent of Sowerby, followed by
our second convention performance of "Rhythmic Trumpet" from Seth
Bingham's suite, Baroques, of
1944. This had the benefit of a wonderfully bold Trumpet, and was given a
really swaggering performance. Last, in this concert of music by composers who
lived at just about the same time, Air with Variations (
style='font-style:normal'>written for William Strickland) by Leo Sowerby
(1895-1968).

Here, we did our famous split, dividing into two groups
because of some limited seating in one of the churches. My group went first to
Ardmore United Methodist Church, which houses an organ by Fritz Noack from
1978. Although I recognized a bit of aggressiveness in the sound occasionally,
its was more than compensated for by a luminous clarity and some really lovely
stops and ensembles. This was a most interesting recital, played by William H.
Bates, professor of organ at University of South Carolina in Columbia. He chose
"When in our music" to Engelberg as his hymn, which he played very broadly and did interesting things with the accompaniment. Abruptly changing modes, he played Retrové (Estampie III) from the Robertsbridge Fragment of the early 14th century; then Fantasie sus orgue ou espinette, arr. Guillaume Costeley, mid to late 16th century; the choral prelude Der Tag, der ist so freudenreich of Buxtehude, with the cantus on a beautiful Tierce with tremulant; John Stanley, Voluntary in C: Adagio and Andante; then, Brahms, Herzlich tut mich verlangen, played sensitively on Principal sounds; and Partita on "When in our music God is glorified" by Professor Bates himself. This recital was carefully designed to match the instrument, and all was played with great musicality, technical skill, charm and as needed, wit!

The buses took us then to St. Timothy's Episcopal Church for
a recital by Rachelen Lien, from New Orleans, where she is organist and choir
director at St. Matthew United Church of Christ and Parker Memorial United
Methodist Church. Lien chaired the OHS's national convention in New Orleans in
1989. Her assignment this day was to perform on the smallest instrument heard
in the convention, a charming Erben from 1851, temporarily living in the chapel
at St. Timothy's, while its home church in South Carolina is undergoing
structural work. The organ has one manual, no pedal, 5 stops, 5 ranks, 190
pipes! An 8' Open Diapason goes down to Tenor F, a Dulciana does the same, and
both are anchored by 17 pipes of a Stopped Diapason Bass. There is a 4'
Principal and a Flute to Tenor F. There is a very tight Swell box. For some of
the pieces, the hand pump was used. The program: Adagio in e minor
style='font-style:normal'>, J.S. Bach; Allegro
style='font-style:normal'> from a Thomas Arne Concerto; Soeur Monique of François Couperin, using the Swell box for the contrasts called for in the piece; Pastorale by Charles Wesley, using first the Dulciana, and then the 4' Flute for contrast, sounds of enormous beauty and integrity; Partita on "Ah, vous dirai-je, maman," Johann Christoph Friedrich Bach (1732-1795). Next, mezzo-soprano Mary Martin, violist Tony Pruett, and cellist Worth Williams collaborated with Rachelen in the Brahms Lullaby for the Christ Child, opus 91. A really special treat, followed by another, the Saint-Saëns The Swan with cellist Williams. Following this, the hymn "Built on the Rock." A fascinating program, beautifully played, ended with a good chance to sing.

The convention then moved into the main church for two more
events, and they were something of a family affair, in the broadest sense of
family. It honored people of this community and people who worked to make this
wonderful convention possible. Starting with the organ builder: this amazingly
versatile one-manual instrument is Opus 22 of 1994, by John Farmer. Through the
judicious use of common basses, space and money was saved, and divided stops
made possible accompanied solo effects. The organist who next played a recital
and then accompanied Evensong was Scott Carpenter. He is assistant organist at
this church--Kristin Farmer is director of music. The composer whose music we
heard both in the pre-service recital and in Evensong itself is Margaret
Sandresky, another treasure of this area, of whom more later. The recital: Préambule (24 Pieces), Vierne; next, an anonymous 18th-century English Cornet Voluntary, and courtesy of divided stops, we heard a beautiful accompanied Cornet, three ranks just from middle c up; next a full Trumpet divided at middle c made possible a Trumpet Voluntary of Thomas Dupuis (1733-1796); then, Nun freut euch (BWV 734) of Bach; next we heard the really lovely Celeste in Prayer in E-Flat of Guilmant. The final works on the program were two
parts of an Organ Mass by
Margaret Sandusky based on the little 15th-century waltz tune L'Homme
armé. This was a wonderful recital,
which fact the audience acknowledged fully. Scott Carpenter is a player of
great assurance, musicality, and clarity.

Next was a really glorious Evensong, sung by the splendid
unauditioned choir of St. Paul's, Winston-Salem, conducted by Barbara Beattie.
Evensong began with the Richard Strauss Solemn Entry
style='font-style:normal'>, with the Giannini Brass Quintet. Preces
and Responses were by Martin Neary, then
followed the hymn, "O blest creator, source of light," to the Haydn
tune Bromley. The Psalm was No.
19, impeccably sung to a fine S.S. Wesley chant. The canticles (Magnificat and Nunc Dimittis in D) were by Sir Herbert Brewer (1865-1928). For the anthem, another lovely piece by Margaret Sandresky, The Turtle Dove. The closing hymn was "The day thou gavest, Lord, is ended," to the magnificent tune St. Clement.

After a good dinner at the Adams Mark Hotel, it was off to
St. Paul's Episcopal Church, and a joint concert by Margaret and John Mueller.
The organ is Skinner Opus 712 of 1929. Aeolian-Skinner did some revoicing work
in 1965, and in 1996-97 the Thompson-Allen firm of New Haven, Connecticut, did
a complete restoration. The St. Paul's organ has four manuals, 42 stops, 51
ranks--not huge, but quite telling in the space. The event began with Margaret
Mueller at the console as we lustily sang "For All the Saints," to Sine Nomine, complete with harmony for stanzas 5 and 6. After that, came an organ demonstration (Margaret). We were handed a two-sided, tightly-spaced sheet describing the demonstration. There were seven sections for the demonstration of the reeds, six for the Diapasons (no Prinzipals here), seven for Flutes, and three for the Strings; ah, and one
short section for the Harp and Celesta! Each of the sections dealt with
divisions separately, and ensembles and stops alone in those divisions. We then
heard March on a Theme of Handel
by Guilmant; Fantasie in C,
Franck; and finally the charming A Wreath of Carols
style='font-style:normal'> by Margaret Vardell Sandresky (b. 1921), making use
in lovely and clever ways of the Sussex Carol, Greensleeves, Lo how a
rose, and In dulci jubilo
style='font-style:normal'>. John Mueller then took over for a very fine Sonata da Chiesa for Flute and Organ assisted by flutist Julie Frye, written (1998) by North Carolina composer Dan Locklair (b. 1949). Dr. Mueller ended the program with the Allegro from the Widor Sixth. The audience essentially erupted at the end of this definitely "feel good" program, a tribute to two North Carolina composers, two well-loved North Carolina organists, and a most beautiful instrument.

Monday, June 25

The day began with a fascinating lecture by Jonathan
Ambrosino, who was just finishing a two-year term as President of the OHS.
"The Residence Organ, 'The Final Touch of Beauty for the Well-Planned
Home,'" took us back to those days of "yesteryear," the early
part of the 20th century when even radio did not exist commercially. If you
wanted music, you made it yourself. Just about everyone had a piano in the
parlor, and someone in the family who could play it. Those with wealth and
space had pipe organs.

After the lecture, a short bus ride took us to Centenary
United Methodist Church, Winston-Salem, for a concert involving Margaret
Vardell Sandresky and Dan Locklair. Centenary U.M.C. is not a small church,
surely seating at least a thousand souls. The church was begun in 1929, and
Austin installed an organ in 1931. With its usual uncanny thoroughness, the
Organ Handbook for the convention provides both the original specification and
that of today, after a number of revisions. The main redo was in 1963, not a
promising year! Right away, one notices that the Great lost its 16' Double Open
Diapason in favor of a Quintaten! Five 8' stops were whittled down to three.
The Second Open (albeit an upward extension of the 16') is gone, as is the
Doppelflute. The Great reed unit, Trumpet and Clarion, is gone. To be sure, in
the 1931 instrument the Great only went up to a 2' Principal, and that was an
extension of the 4'; now there is a IV Mixture, surely an improvement. The
Swell did not fare too badly, although it did lose its 8' Open Diapason, always
a shame, I think. It gained a 16' Contra Fagotto. I think I weep a bit for the
Choir organ, which must have had breadth and presence with an English Diapason,
Concert Flute, Flute Celeste, Dulciana and Unda Maris. These morphed into just
a Nason Flute, Dulciana and Unda Maris. It lost its Clarinet and Orchestral
Oboe in favor of a Larigot and Krummhorn. The Solo and Echo divisions are
changed somewhat in character, and possibly improved by the 1963 rebuild. In
1987, Austin made two additions of great significance: a not-too-frightening en
chamade reed in the back, and a solid 32' Bombarde in the Pedal.

The first part of the program was played by Margaret Vardell
Sandresky, who began with a work by her father, the first organist in the new
1931 building, Charles G. Vardell, Jr. (1893-1952). Appropriately, Mrs.
Sandresky registered using only stops from the 1931 organ. Skyland is a
wonderfully atmospheric work, with great soaring lines, and bits of nice glassy
effects, using also the French Horn and the Harp. Next, three works by Mrs.
Sandresky herself, beginning with a year 2000 commission from the Home Moravian
Church, a suite entitled The Good Shepherd, consisting of four chorale preludes based on Moravian Chorales; then a Wedding March written in 1982 while Mrs. Sandresky was organist of this church--somewhat British sounding, with great flourishes; and ending the first half of the program, En Chamade, written for OHS 2001. There are several movements, some with chimes, and some cleverly using the big reed in the back.

After a short break, the program resumed with Dan Locklair
playing his own music, beginning with a Fanfare for Organ
style='font-style:normal'>, written in 2000 on commission from Fourth
Presbyterian Church of Chicago. This was followed by three sections from the
Windows of Comfort (Organbook 2),
commissioned in 1996 by First Presbyterian Church, Topeka, Kansas, and inspired
by that church's Tiffany windows. Then, Ayre for the Dance and Jubilo
(A Prelude for Organ), a 1998 commission
from the AGO for the 2001 regional competitions for young organists. Finally,
we had a chance to sing, and a good chance indeed with the Parry tune to
"O praise ye the Lord!"

We next did a rather free-form triple split. We all drove to
the great estate that Tobacco built, Reynolda House in Winston-Salem, spacious
and elegant. The room from which to hear the organ is not huge, hence the split
with assigned times for each group for hearing the recital, for eating lunch in
the various restaurants on the estate, and for simply walking around the
beautiful grounds. It did not work out exactly as planned, because it took
rather a time to check out the various restaurants and to get into fairly long
lines and to wait for service.

After this visit, the buses took us back to the hotel for a
rest period. Then, we rode to Greensboro for dinner at First Presbyterian
Church, and then to Christ United Methodist Church, the scene of which could
have been a convention planner's nightmare, but turned out more than o.k. We
were to have heard Lenora McCroskey. Ms. McCroskey suffered an injury to her
arm some days before she was to play, and realized it would not be possible to
meet the commitment. Her excellent former pupil Stewart Wayne Foster was,
fortunately, available to play. He is artist in residence and associate
style="mso-spacerun: yes">  organist of First (Scots) Presbyterian
Church and is founder/musical director of the Orchestra of St. Clare,
Charleston's first full-scale Baroque orchestra. Mr. Foster has been
coordinating the pipe organ component of the Piccolo Spoleto Festival since
1999.

We began with a hymn, "O Gladsome Light," to the
tune Cantique de Simeon, a Louis
Bourgeois tune harmonized by Claude Goudimel. The notes on the instrument
indicate that this was one of the organs completed in the last year of Charles
Fisk's life, 1982, and mentioned that it is  considered a sister organ to the one at Downtown United
Presbyterian Church in Rochester, New York. Mr. Foster is a superb player, possessing a very easy sort of grace, his movements sure and musically based. With very little notice, he was able to put together a most interesting program. He also spoke very clearly and well, with comments carefully chosen and useful. Nicholas Bruhns, Praeludium in e minor; Bach, Toccata in d minor, BWV 913 (written with harpsichord in mind); Clérambault, Suite on the Second Tone; a setting of "Amazing Grace" by Robert Hebble, who was one of Mr. Foster's teachers; Toccata on "Old Hundredth" by Jack Jones (another of Mr. Foster's teachers). The recital ended with the Final from the Vierne Third Symphony, brilliantly played. By this point, I had wondered if Mr. Foster, given the late notice about playing, had actually had a chance to go out in the room and listen to the instrument with his registrations. Some judicious pruning could have made the big moments more bearable, something that was very much wanted in the Vierne, which was so splendidly done, but was also painfully loud.

Tuesday, June 26

The day began with a lecture by Peter Cameron entitled,
"George Jardine and Son, New York Organbuilders--An Era of Spectacular
Organs." Cameron has had a long career in organ maintenance, repair, and
restoration, and from 1977 to 1994 served as maintenance coordinator for the
Andover Organ Company. His lecture was a wonderful appreciation of a once great
company, from one who has had extensive hands-on personal experience with their
output. A great story, well told.

After the lecture, we did our three-way split to accommodate
one very small but beautiful venue in Historic Bethabara within Winston-Salem,
the "Saal" of the 1771 "Gemeinhaus," the meeting room in
which services were held in the Congregation House. While one part of the group
was hearing the recital, the other two parts were visiting the historical exhibits and enjoying the beautiful grounds. The little three-stop, single-manual organ in the "Saal" is by Charles McManis, built in 1971 after a 1772 organ by North Carolina builder Joseph Bultischek, an instrument that perished in a fire in 1942. Sadly and strangely, no one knows what the specification of that organ was, so Charles McManis, fortified with some knowledge of other very small organs used by the Moravians, settled on an 8' Gedact, 4' Principal, and 2' Octave.

Michael Rowland is director of music at Ardmore United
Methodist Church, and staff accompanist at Salem College. He played an
18th-century program beginning with Four Preludes of the English Moravian,
Christian Latrobe (1758-1836), followed by three Bach chorale preludes: Erbarm dich mein (BWV 721), Gelobet seist du (BWV 697), and Allein Gott (BWV 717). We then sang Allein Gott, two stanzas with harmony provided--sheer joy in that lovely place. Mr. Rowland was then joined by Lauren Kossler, a fine violinist, and together they played a suite for violin and keyboard by John Stanley. Thanks to them both for a perfect program for a most attractive and historic place.

Andrew Unsworth played an 18-stop Hook and Hastings
instrument of 1924, with no stop over 4', in a quite dead acoustic at Calvary
Moravian Church in Winston-Salem. Both Unsworth and the organ conquered all,
aided, no doubt, at times by the 73-note chests and attendant super coupler.
Currently organist and choirmaster at St. Paul's Evangelical Lutheran Church in
Durham, he holds a Ph.D. in performance practice from Duke. The program began
with two pieces by Henry Dunham (1853-1929), who taught organ at New England
Conservatory for 52 years: from the First Sonata in G Minor
style='font-style:normal'>, op. 10 (from 1882), an Allegro moderato, followed
by Impromptu from a set of 12
pieces of 1912, op. 24; next, "Vision," Rheinberger, a lovely piece
requiring some dexterity at registration changes, which were very deftly
handled. The last of the organ pieces was the War March of the
Priests, Mendelssohn, played with great
flair and a fat and powerful registration--very satisfying indeed. Unsworth
proved himself to also be a very fine hymn player, giving really good support,
and doing clever bits of descanting, with a rather nice reharmonization of the
last verse of the hymn Redeemer of Israel, to a tune by Freeman Lewis.

Lunch was served at Centenary United Methodist Church,
Winston-Salem, following which we bused to Old Salem where we again broke into
three groups in order to accommodate the limited capacity of the "Saal" in the Single Brothers' House. While one group was at the recital, others were touring Old Salem. In the "Saal," Lois Regestein played her excellent recital three times in order to fit everyone in. The organ, by David Tannenberg, 1798, is gentle and sweet, and comprises five stops. The console is slightly detached and reversed. The instrument was rebuilt by Charles McManis in the mid-60s. The program: Organ Obbligatos to an Anthem, by Johann Ludwig Freydt (1748-1807); Fuga, by Johann Gottfried Gebhard (1755-?); Prelude No. 2 in C Minor, Prelude No. 6 in E-flat, by Christian Latrobe; Nun rühen alle Walder, by Ernst Immanuel Erbe (1854-1927), then another "Chorale Verse" based on the same tune, by Carl Anton Van Vleck; Voluntary IV in G, op. 7, by John Stanley; and then the hymn Morning Star, written in 1836 by Francis Florentine
Hagen (1815-1870). James Boehringer, former director of the Moravian Music
Foundation, and Kevin Brown, present administrator of the foundation, were both
acknowledged as having provided help in organizing the program.

We next walked to Home Moravian Church, where Paula Locklair
presented a most interesting slide-talk about the work of David Tannenberg and
his relationship with the Moravians in North Carolina. Mrs. Locklair has worked
with the various collections at Old Salem since 1975, and has been director of
collections since 1987, and is married to composer Dan Locklair. After her
talk, she introduced John Boody of the firm of Taylor & Boody, who gave a
slide-talk presentation about the company's project for restoring the 1799
Tannenberg organ for the Home Moravian Church. This is the oldest American-made
two-manual instrument extant. (For information on the project:
<www.taylorandboody.com&gt;.)

We then moved upstairs to the church, where the Piedmont
Chamber Singers, directed by James Allbritten, and accompanied by David
Pulliam, led us in a Singstunde, which is just what it sounds like--a wonderful
hour of singing, much of it done by us, with some choral works sung by the
Chamber Singers. We sang hymns that would be known to a Moravian congregation,
but not necessarily to us, and thus learned some new and quite interesting
hymns.

OHS planners always try to find occasional experiences other
than organs and organ music, and tonight was the night. We bused quite a long
way out of town to the Pollirosa Restaurant, obviously a very popular spot.
There was a long line and the place was really packed, but they were ready for
our group, and we had some wonderful barbecue and lots of other good things,
all accompanied by bluegrass music, live, on stage. There were also hayrides
available, but I did not notice any of our group indulging. We had six buses,
and they left for the hotel at intervals, so you could leave when you had had
your fill of food--and possibly of bluegrass. A lot of our gang really got into
it, singing and dancing up a storm, and me without my camera!

Wednesday, June 27

This penultimate full day of the convention featured an
array of various instruments. Here is the pipe count for the day: 362, 363,
951, 4926, 1038, and finally 6663. The day began with an almost two-hour bus
ride to New Hope Presbyterian Church in Chapel Hill, to hear Steve Barrell play
the 1987 one-manual organ by John Brombaugh. The program: Pieter Cornet (c.
1560-c. 1630), Four Versets on "Regina Caeli," featuring various combinations of sound, some of the fuller
bits somewhat on the harsh side, some individual voices quite beautiful.
Divided stops make possible solo and accompaniment, used to good effect. Then,
Johann Pachelbel (from Hexachordum Apollinis
style='font-style:normal'>, 1699), Aria Prima with Six Variations, the second variation on a beautiful Flute with tremulant. For something entirely different, we sang the hymn "Were you there," with a harmony of Barrell's own devising, based on the music of Fats Waller.

A very short bus ride brought us to Hillsborough and St.
Matthew's Episcopal Church for a recital by Grant Hellmers, an Australian by
birth, who has been at St. Paul's Episcopal Church in Richmond for 20 years,
and was assistant for the four years before that. Before his time in Richmond,
he held church positions in Australia and in Vienna. The two-manual Hook &
Hastings stock model organ dates from 1883. The program: Humoresque (L'organo
primitivo), Toccatina for Flutes, Pietro
Yon; the beautiful Schübler Wer nur den lieben Gott lasst walten, Bach, after which we sang the two stanzas given for the chorale, one in harmony, and the second in unison with a very nice reharmonization. The power of even half of an OHS convention was just too overwhelming (we were split in two groups at this point)--every stop was indeed on! Following the hymn, three charming pieces by Leopold Mozart, from Der Morgen und der Abend (Morning and Evening); then, "Lied" (from 24 Pieces in Free Style), Vierne, with the lovely Open Diapason for the melody; Percy Whitlock, Divertimento (No. 2 from Four
Extemporisations); and finally, Allegro
(Number 6 of Six Short Preludes and Postludes, Set 2, op. 105) of C. V. Stanford. Well conceived and beautifully played was this program, and the little stock organ really is
lovely.

Both New Hope Presbyterian and St. Matthew's Episcopal
provided lunch for their half of the convention party, after which we gathered
at the Chapel of Peace College in Raleigh, where Rosalind Mohnsen played her
16th OHS convention recital. The organ is a transplant, a gift to the college
given by Christ Church, Raleigh. I don't know how many intact organs by
Pomplitz & Company are extant. Here at Peace College, this 17-stop Pomplitz
found an excellent home, and it and the college were presented with an OHS
Plaque in recognition of this. It was accepted by the president of the college,
who said a bit about how much she enjoys this instrument. With only 17 stops,
this two-manual organ nonetheless has both a 16' Double Open and a Bourdon, and
is quite robust in other ways as well. The program began with March from Ten
Progressive Pedal Studies of George
Whitefield Chadwick; then, Gavotte Pastorale by Frederick N. Shackley (1868-1937); Prelude
in E-flat Minor (op. 66-1911), Vincent
d'Indy (1851-1931); Prelude and Fugue in B Major
style='font-style:normal'> (op. 99), Camille Saint-Saëns; Pastorale in D Major, op. 13, William Wolstenholme (1865-1931); and finally an Allegro Moderato in D by Henry Smart (1813-1879). The recital came to a rousing close with the hymn "The Day of Resurrection" in glorious harmony to Henry Smart's well-known tune Lancashire
style='font-style:normal'>.

A bus ride brought us to the beautiful campus of Duke
University, with a chapel boasting three remarkable organs, upon each of which
we heard what could only be described as a perfect recital, tailored to match
the qualities of the instrument. We began at the west end of the chapel with
the famous four-manual Flentrop of 1976, with Mark Brombaugh offering a recital
of Buxtehude, Scheidemann, de Grigny, and a partita by James Woodman,
commissioned by Brombaugh in honor of his father. Woodman's Partita on
"Spanish Hymn" was written in
1999 and comprises seven sections: Prelude, Chorale, Bicinium, Trio, Aria,
Fughetta, and Canon. The program ended with the hymn "Spanish Hymn,"
complete with three harmony verses and even a bit of a descant! The Flentrop
organ had a robust sound in the louder works and permeates the building wonderfully. The chapel's walls have been treated with several coats of sealant with excellent results. Equally impressive were the clarity and color of the quieter sounds.

The next event generated something akin to hostility. I
suppose the behavior of a few of our colleagues might be compared to the
reactions of some who demonstrated their opprobrium at the first performance of
Rite of Spring. Well, in truth, no
tomatoes were thrown on this occasion, but it saddens me to report that a
number of people left the building, saying things like "I don't have to
listen to this." Some even said things like: "I listened to the damn
Flentrop, but this is too much!" Meantone is not nearly as sinister as it
sounds! I heard Margaret Irwin-Brandon at OHS Boston the previous summer, where
she had the assignment of playing the Charles Fisk dual-temperament instrument
at Wellesley College. The anti-anything-different folks were in evidence there,
too. As at Wellesley, she chose a program absolutely perfect for the instrument
at hand: Frescobaldi, Toccata Sesta, Bk. II, per l'organo sopra i pedali, e senza; Canzona Quarta; Toccata Quinta, Bk. II, sopra i pedali per l'organo, e senza. Then we sang "Savior of the nations, come" (Nun komm der Heiden Heiland), five harmony stanzas in our hymnlet, which means we all sang in meantone without any permanent injury, with the exception of stanza 3, which got switched amazingly into a triple meter, which we all managed quite well. Then Canzona II of Froberger, followed by Ballo della Battaglia of Bernardo Storace. Now, if anyone was in doubt about the personality of meantone tuning, the Frescobaldi works left no doubt. There are intervals that jar our "well"-conditioned brains and ears, and I found myself, as at Wellesley, looking straight up at the organ and listening with as much attention as I could muster--this contemplation coupled with a totally relaxed attitude. This is edgy, this is somewhat unsettling, but I can get used to it, and find these sounds more of a condiment than a threat. The very gentle beauty of this Brombaugh organ at Duke beguiled me into complete acceptance, and pleasure at having the opportunity to hear something from the history of our instrument. The Froberger was wonderfully gentle and sweet, and then the Storace was, well, a battle, with the little Regal on the Brustwerk doing yeoman service!

The journal of the Organ Historical Society is called The
Tracker, and back in the very early days, this was the perfect name.
Conventions included visits to, if not totally exclusively, almost exclusively
mechanical-action instruments. The broadening happened gradually, and now
convention goers visit historic E. M. Skinner organs, on which are often
conferred OHS plaques in honor of their preservation and maintenance. We have
often even visited new organs of note, no matter what mechanism makes the pipe
speak, e.g., the new Létourneau instrument at the first recital of this
convention! Welcome, I think, to the real world, with a broader view of real
excellence. I have not, and I know others who are driving the work of OHS have
not, abandoned a belief in the great virtues and advantages of tracker action.
This does not prevent me from thrilling at the sound of the Wanamaker Organ,
for example. The full circle we have made was brought into full view by all the
buzz and almost palpable anticipation of the next event, a recital on the
Aeolian organ in the east end of the chapel, an organ so reviled in times past
that there was a powerful movement to junk it. It makes the heart glad to know
that the OHS had a role in the campaign to save it, so there was some reveling
in all of this as we settled down to hear Ken Cowan give a convincing
demonstration of this instrument: Allegro vivace from the Widor 5th; Ave
Maria of Marco Enrico Bossi (1861-1925) demonstrating the ravishing strings of the instrument; Roulade, Seth Bingham; Overture to The Flying Dutchman, Wagner; the hymn "In our day of thanksgiving one Psalm let us offer," to the glorious tune St. Catherine's Court, with harmony. (Let it be here stated that Ken Cowan does know how to accompany a hymn. I wrote in my book: "What an accompaniment!!") Words won't do in describing Cowan's simply stunning performance of a perfect piece for right where we were, the Liszt Ad nos, ad salutarem undam.

Thursday, June 28

The last day of the convention began with Rachelen Lien from
New Orleans, a regular performer at OHS conventions, giving a preview of a
January 2002 mini-convention entitled "A South Louisiana Organ
Odyssey." This event, to be held January 3-5, was to include tours of
plantations, monasteries, and convents, as well as the famous French Quarter.

A 45-minute bus ride brought us to the First Presbyterian
Church of Lexington, for a recital by Edward Zimmermann, a native of North
Carolina, now teaching at Wheaton College in Wheaton, Illinois. The organ, Opus
499 of Geo. S. Hutchings (1900), was relocated to this church through the Organ
Clearing House and members of the staff of Andover Organs, which company
rebuilt and enlarged the instrument in 1994. The program consisted entirely of
works by Otto Dienel (1839-1905), beginning with a chorale prelude on Lobe
den Herren, for which Zimmermann used only
original Hutchings stops; we then sang just one stanza of the chorale. This
two-manual instrument of 23 stops and 28 ranks is very fine. There followed
three more chorale preludes: Komm, O komm, du Geist des Lebens; Mach
dich, mein Geist, bereit; and Wer
nur den lieben Gott lasst walten. The
program ended with a three-movement Grand Sonata No. 3 in F Major, op. 18, on the chorale Wie gross ist des Allmaecht'gen Guete. At some of the convention recitals, we are joined by varying numbers of members of the
congregation, which suggests the good news that there is interest in the organ.
From this church, there were many congregants, and I am sure they had their
interest and pride in the instrument strengthened.

After lunch in Winston-Salem, we moved on to another
surprisingly effective organ, speaking out of a very small rectangular hole
high on the east wall, looking for all the world like a large
style="mso-spacerun: yes">   speaker enclosure. No date is
given for this Kilgen unit organ of 11 stops and 13 ranks. The church was built
in the early 1930s by a Presbyterian congregation, and the organ would seem to
be of the same period. In 1964, the congregation of St. James A.M.E. Church
bought the building. The organ was last played publicly 30 years ago. The last
time it was played at all was 20 years ago. At some point, before the organ
ceased to be used, some tonal changes were made under the direction of John
Mueller, which now, at this time of our organic thinking in the 21st century,
will either bring cheers or jeers. The Great 8' Open was replaced by a Mixtuur
III. The 8' Clarabella became a Gedeckt. The Dulciana became a 4' Octaaf. On the
Swell, the Vox Humana became a 2' Vlakfluit. When members of the convention
committee went to inspect this instrument, it was not playing at all--there was
no longer electricity to the blower. John Farmer and a crew, along with a
licensed electrician, got it all cooking again. There were a few members of the
congregation around for the recital, and I hope they might be persuaded to make
some use of the instrument, now that it can be played again. Those there seemed
impressed. Here we were treated to a concert by bass-baritone John Williams and
organist Max Smith. The program: Handel, Thanks be to Thee
style='font-style:normal'>; Mendelssohn (Elijah
style='font-style:normal'>), Lord God of Abraham (preceded by the recitative);
Margaret Vardell Sandresky, O God, my heart is fixed on thee
style='font-style:normal'> (Psalm 108); for organ alone: Adagio from Widor Symphony No. 6; "I Stood on the River of Jordan," arr. Harry Burleigh; "Let Us Break Bread Together"; provided with full harmony, we happily sang "Fairest Lord Jesus" to the tune Crusaders' Hymn.

A 45-minute bus ride brought us to the third and last
"stately home" of the convention, the Chinqua-Penn Plantation,
devised and built by Mr. & Mrs. Thomas Jefferson Penn. A Skinner organ,
Opus 565, was installed in 1926. The pipes are in the basement, speaking out
into the great living room through large grates. For this visit, we were
divided in two groups to avoid crowding in the room where the organ resides.
While one group was walking the extensive and interesting grounds, the other
was listening to a recital, well played and chosen for the organ and venue, by
Mary Gifford, who is director of music at St. Leonard Catholic Church in
Berwyn, Illinois. Her program was perhaps a reproduction of at least the spirit
if not the specifics of what might have been heard by the residents of this home. There were four charming Edward MacDowell piano works arranged by Ms. Gifford: Hunting Song, An Old Love Story, To a Humming Bird, and the inevitable To a Wild Rose; next A Southland Song by William Lester, an English organist who settled in Chicago in the early part of the 20th century, and was for some years a reviewer for The Diapason; then we attempted to sing "When Mother Played the Organ," by George B. McConnell (text by Dick Sanford) and did not do
too badly at all. The perfect closer was the Mendelssohn War March of
the Priests arranged by Theodore Dubois.

After dinner at the plantation (one could get used to that),
we hopped on the bus for a one-hour relaxing trip to Greensboro, and West
Market Street United Methodist Church, where Peter Sykes played the final
recital of the convention. Organist at First Church in Cambridge,
Massachusetts, Sykes teaches organ, harpsichord, and chamber music at the Longy
School, and serves on the faculty of the extension division of New England
Conservatory. The organ at West Market Street is by Dobson in collaboration
with Manuel Rosales. Quoting from the Organ Handbook: "In the final
equation, Dobson designed and constructed the organ; Rosales provided basic
scaling with input from Dobson; and both companies shared equally in the
voicing and tuning process." Key action is mechanical, stop action,
electric. Some Pedal ranks are on electric action. There are three manuals and
39 stops, the third manual being a small Solo Organ, with an Harmonic Flute, a
5-rank Tenor G Cornet, an 8' Trumpet and an 8' Clarinet. The program:
Mendelssohn, Sonata No. 3 in A Major; a five-movement "suite" by
James Woodman, All Creatures of Our God and King: Sister Moon, Brother Sun, Mother Earth, All of Tender Heart, and Alleluia; the tune Lasst uns erfreuen appears here and there. Then, Tocccata in F (Bux 137); Fantasia and Fugue in C Minor, BWV 537, Bach; three "Tonstücke," op. 22 of Niels Gade; and to close, Duruflé Prélude, Adagio, et Choral varié on Veni Creator. The last hymn to be sung at this convention followed, a rather angular but ultimately attractive and singable tune by Derek Williams (b. 1945) to the text, "Give us the wings of faith." The Dobson/Rosales instrument, though not large, provided plenty of variety and color for such a varied program. There were, for me where I was sitting, a very few overpoweringly loud and harsh moments, and I thought it had to do with the Great Reeds, 16, 8 & 4, but others will have felt differently, I am sure. The instrument is surely a great success, and Mr. Sykes' performance was superb. The buses soon departed for the hotel, and one last look at the exhibits and the convivial bar  and it was all over for another year.

This was another wonderful OHS convention! Readers please
note: the 2002 OHS national convention will take place June 25-July 1 in
Chicago, Illinois. For information: 804/353-9228;

<www.organsociety.org&gt;.

Malcolm Wechsler, of N. P. Mander, Ltd. - U. S. A., is Organist/Choirmaster at Trinity Episcopal Church, Stamford, CT.

Day One - Sunday, June 21

The convention day began at 1 p.m., the morning being filled with arrivals and registrations. First venue: The Paramount Theater, with its remarkable 20-rank WurliTzer, which speaks clearly and forcefully into the room from big, open chambers on either side. The Pedal is incredibly strong and quick. There is a tremendous variety of solo sounds, all of which we heard. The program began with the two consoles rising majestically from under the stage, with Joel Kremer and Robert Castle at the main console and "slave" console,  respectively, giving us a great medley of popular show tunes. It being Sunday, we made a feeble attempt to sing "The church's one foundation," accompanied by Robert Castle in something other than the "cathedral tradition," and without us having words in front of us. Robert then pushed a switch on the left side of the "slave," that sent it slowly back to the basement. Joel Kremer continued with several solo pieces, ending with "The Stars and Stripes Forever." Professor of History at the University of Colorado, Thomas Noel, then gave us, with slides, some history of Denver's development, which was partly spurred by a secondary gold rush, about a decade after the great one to California. James Mosby Bratton, complete with slides, spoke to the topic "Hook Your Hastings to a Steere," a history of Denver and area churches and organs. All too often, seeing the slide of a wonderful, old church building, we learned that it had been torn down or the organ replaced by an electronic substitute.

After a break, we returned to our seats for "White Desert," a full-length, wonderfully-made 1925 silent film about the building of the railroad through the mountains west of Denver. This was both a "cliff-hanger" and a "tear jerker," the effect heightened greatly by Robert Castle's seamless and suitable accompaniment on the great organ. Everyone was a bit drained and teary-eyed when the lights came up.

After dinner on our own, we were bussed to St. John's in the Wilderness Episcopal Cathedral for a glorious, if to some, a bit radical, Evensong. I was personally moved by the whole service, and in at least one place, to my great surprise. Donald Pearson is the Cathedral's musician, and his very capable associate is John Repulski. The organ is the justly celebrated 1938 Kimball, recently restored. Donald Pearson began with the ravishing Frank Bridge Adagio, followed by the Invitatory, from a set of Responses by Pearson, all of which we heard during the course of the service. Phos Hilaron was a plainsong-like setting by Richard Proulx, with several refrains for us all to sing. Psalm 138 was sung to an attractive verse-with-fauxbourdons sort of music by Glen McGrath. The Magnificat and Nunc Dimittis were the South American Rhythm-inspired settings by Bryan Kelly. We sang the Apostles' Creed on one note, accompanied by a lush chordal organ accompaniment by Jeffrey Rickard. In Donald Pearson's setting of the Versicles and Responses, the versicle was in each case accompanied richly, using mostly harp-like sounds, on an electronic keyboard played by John Repulski. I have an innate resistance to the presence of loudspeakers in church music-making, but I have to say, I found this very effective, and even beautiful. The music is well-written, the performance was solid, and there was clear amplification of the sound, with no distortion. Here followed three fine anthems, confidently sung by the very large Cathedral Choir: "O sing to the Lord with hymns newly made," by Donald Pearson; "How lovely are the messengers," Mendelssohn; and "How lovely are your dwellings," by John Leavitt. We finished with a rousing singing of Lauda Anima, "Praise, my soul, the King of Heaven," as only an OHS congregation can provide.

After a short stretch, we were treated to "A Concert of Mighty Organ Duets," played by Donald Pearson and John Repulski: Mozart, Fantasia K.608, four hands enriching the harmonies; Danse Macabre (Saint-Saëns), four hands; the C Major Soler Concerto, Andante and Minuet, with John Repulski going to a small Casavant continuo/chamber organ; The Ride of the Valkyries, with a wonderful thick texture, made possible by four hands. After singing "O filii et filiae" from the 1982 Hymnbook, we heard John Rutter's variations on it for two organists; Ragtime by Charles Callahan; and finally, French Toccata on the name Helmut, by Ralf Bölting (b. 1953). The performers were buoyed by the great ovation at the end, including many shouts of Bravo.

And so ended a great OHS first day!

Monday, June 22

Day two begins in Lyons, CO, and in line with convention policy, we are gradually experiencing higher and higher altitudes. Yesterday, it was enough just to adjust to mile high Denver. Today, we are at 8,500 feet. Tomorrow is a day in Denver, and on Wednesday, we will spend some of the day at over 10,000 feet. On this clear, beautiful day, we are surrounded by snow capped mountains, and are told we will be throwing snowballs by day's end! Enough travelogue.

The first musical event of the day took place at The Old Stone Church of Lyons with Will Headlee, Professor of Organ Emeritus, Syracuse University. The organ: Hook & Hastings two-manual, 9 stops, Opus 1948, built in 1902, an organ of great charm and beauty. Will Headlee is a regular at OHS conventions, and his cheerful playing, programming, and comments are always a delight. He also makes a point of telling helpful bits about his registrations, which really explored the organ very effectively. The program: Mendelssohn, Allegro con brio (Sonata 4); J.S. Bach, Wer nur den lieben Gott (Schübler); Rheinberger, Vision; Hobart Whitman (1904-1952), Elegy (1947); Charles Quef (1873-1931), Noël Parisien (1904); hymn, a rousing performance of "When morning gilds the skies" (Laudes Domini, Barnby).

First United Methodist Church, Boulder--Bruce Stevens, another welcome regular at these conventions. The organ: Frank Roosevelt, No. 382, built in 1888, a gutsy 3-manual instrument of about 35 stops. The program, a stolid collection of music, none of which I had heard before, full of interest, and beautifully played: Fleury, Variations on a Burgundian Noel "When, in the frosty season"; Soler, Sonatas in E minor and G Major; Fr. Davide da Bergamo (1750-1830), Sonatina for Offertory or Post Communion; Bonnet, Second Legend, op. 7, no. 10; Jongen, Cantabile, op. 37, no. 1; Rheinberger, Sonata No. 5 in F-sharp Major, op. 111; hymn, "I vow to thee, my country" (Thaxted, Gustav Holst).

Next came the great climb up to Central City, at 8,500 feet, first stop St. James United Methodist Church, to hear Jane Edge. As you will see below, she manages to find totally unusual programs--I thought I knew nothing on her list, but did discover that I recognized Narcissus, which I think I must have played on the piano as a child. The whole recital was great fun, played with spirit, and with registrations that showed careful thought, therefore showing off this charming instrument beautifully. The organ: J. W. Steere and Son, Opus 456, 1899, 16 stops. The program: hymn, "Praise, my soul, the King of Heaven" (Lauda Anima); F. Opel (??), Opening Voluntary (arr. from Farmer's Mass); Ole Bull (1810-1880), Solitude on the Mountain (arr. for organ by Claude F. Saunier); W. Hewitt (??), French Air With Variations (The Air turned out to be Twinkle twinkle, little star); Stravinsky, Berceuse from The Firebird (arr. for organ by J. T. Quarles); Horatio Parker, Impromptu, op. 17, no. 2; Ethelbert Nevin, arr. for organ by Reginald Goss-Custard, 1. The Rosary, 2. Narcissus; Easthope Martin (d. 1928), Evensong; Liszt, Adagio; Whiting, "Onward, Christian Soldiers" (something I would love to do as a postlude at home--possibly on my very last Sunday!).

A walk down the hill brought us to St. Paul's Episcopal Church, a fine-looking stone building, with a rather chaotic interior. The Anglican Spirit greeted us right inside the door, where we were offered iced cappuccino and lots of cookies, and a big collection basket seeded with dollar bills already. We were well and truly crammed into this church, with people standing all around. The charming James Mosby Bratton, retired U. of Denver professor whom we had heard talk at the Paramount the day before, presented a recital on a Mason & Risch Vocalion (a "first class reed organ"), No. 1033 (1893). He had some help with pumping, apparently much more strenuous at 8,500 feet, given the thin air. We began by singing a song, "Colorado Home," to the tune of "Home on the range." The rest of the program: Bach, Prelude in d minor (BWV 539); Willing, General Custer's Funeral March, op. 43; Louis Adolphe Coerne (1870-1922), Bagatelle, op. 24, no. 1; Gustav Baumhauser, Pike's Peak March (c. 1875); Lefébure-Wély, Fugue in d minor, op. 122, no. 6.

After this program, we were at liberty to explore the town and find some dinner on our own. Colorado has permitted three dying old mining towns to open casinos, and Central City is full of them. As is true in casinos elsewhere, meals are available at very low prices, and we ate in the dining room above one such, with Prime Rib for about $3. The food was good and plentiful, too.

Winding down the mountain on the bus, we reached the Roman Catholic Cathedral of the Immaculate Conception in Denver, where Fred Hohman delivered himself of lots of bombast, interspersed with some more delicate fare. The room is quite vertical, and despite carpeting everywhere, there is plenty of resonance bouncing off the hard surface walls and ceiling, and plenty of organ sound to do the bouncing! The organ was basically a Kimball, but is now, at least in large part, a new 3-manual instrument of about 35 stops by Ivan P. Morel & Associates, a well-regarded area builder. Fred, who is well-known for his skill as a transcriber, played a program entirely of works originally for the organ, as follows: Vierne, Symphony No. 2 in E, op. 20, Allegro, Scherzo; Naïades (Pièces de Fantaisie, Fourth Suite, op. 55); Franck, Choral No. 2 in B minor; Widor, Finale from the Sixth Symphony; Dupré, The World Awaiting the Savior (Symphonie-Passion); Langlais, Cantilène (Suite Breve); Mulet, Tu es Petra (Byzantine Sketches); Duruflé, Sicilienne and Toccata (Suite, op. 5).

Tuesday, June 23

Day three began at the Scottish Rite Masonic Temple, where three stars were in evidence: Richard Purvis, Kenneth Matthews, and the mighty Kimball, all working together for good. Kenneth was a student of Purvis, and also presided over another great Kimball, at a Christian Science Church in San Francisco for some time--so he came to his task with experience. This 1924, 3-manual Kimball, very much a theatre style instrument, is located all over the ceiling, but despite what look like relatively small places for tonal egress, it has immense impact. It appears to be about 18 stops, greatly unified and extended. Kenneth Matthews knew exactly what to do to demonstrate all the organ's virtues, using as a vehicle Christmas music of Purvis. We could not have asked for a better demonstration of the organ's resources, including the Bass Drum, Chinese Gong, Harp, and Chimes. The program, all Purvis: Prelude Solennel (Veni Immanuel); Offertory (Resonet in Laudibus); Communion (Gaevaert); Carillon (Puer Nobis Nascitur); Greensleeves (from Four Carol Preludes); Pastorale (Forest Green, from 7 Chorale Preludes on Tunes Found in American Hymnals); hymn: "O come, all ye faithful," with our sopranos having some success with the Willcocks descant from memory; Carol Rhapsody.

We walked across the street to the First Baptist Church of Denver, to hear a large organ built originally in 1945 by Aeolian-Skinner for the ubiquitous Senator Emerson Richards, of New Jersey. By 1949, he was tired of it, bought a replacement, and Opus 1047 was sold to the Denver Baptists. If it sounded in New Jersey as it now sounds in Denver, I have no problem understanding the Senator's wish to replace it. In Denver, it is buried in chambers, and speaks out only with difficulty. I could not help wondering if our ears ever thought that was a wonderful sound! To be fair, there may be beauty in small combinations and solo stops, but we never did get to hear any of them. Raymond Garner chose a program that basically featured full organ primarily, not this organ's happiest mode. The program: Wagner, Fanfares from Parsifal, arr. Virgil Fox; Widor, Allegro from the Sixth Symphony; hymn, "Behold a Sower."

Jonathan Ambrosino took the lectern, and delivered himself of a splendid lecture entitled "The Transition from the Symphonic to the English Ensemble 1925-1940: Denver's Response to a National Trend." I do hope the text of this will become available--I have no doubt it will.

We had a pleasant lunch at the Temple Events Center Uptown, a former Jewish Temple. We could see but not hear the 1911 Estey with two similar cases. Imagine two large auditoria side-by-side, completely open to each other at the point of joining. In each of these auditoria is a platform, and a choir loft above with an organ case. There is only one console, at the case to the right. One assumes that the left side auditorium was for the great overflow of the High Holy Days, and that this was a clever, if expensive, way to provide equal organ coverage in both places.

Our next stop, the fine former Second Church of Christ, Scientist, now The Spiritual Assembly of the Baha'is of Denver. Baha'i worship makes no use of the organ, and the congregation had plans to try to sell it, but the local OHS gang stepped in, and made a case, successfully it would seem, that the organ should be preserved in situ. The Baha'i community has now embraced the instrument, and is planning a concert series in which it can be heard. That this large (3-manual, 34 stops) and wonderful Hook & Hastings, Opus 2370 of 1916, is worthy of preservation was more than amply demonstrated in a fine recital by Charles Rus, from San Francisco. He registered with wonderful care and imagination, enabling us to hear just about every possible combination of sounds. The program: Howells, Master Tallis' Testament; Schumann, No. 1 in C and No. 4 in D-flat of the Four Sketches for Pedal Piano; hymn, "Creation Spirit, by whose breath" (Herr Jesu Christ, dich zu uns wend'), with us singing the four stanzas of the hymn, one each after each of four variations on this tune by Georg Böhm. We sang in unison the rhythmic version found in the ELCA Hymnal. How lovely it would have been for us, glorious harmonists as we are, to have sung in four parts; Craig Phillips (b. 1961), Fantasy: Torah Song (Yisrael Voraita).

In yet another event demonstrating well the beauty of an old instrument, Dana Robinson of Davenport, Iowa played the following program in the South Gate Masonic Lodge Hall: Widor, Praeludium Circulaire from Symphony No. 2; Boëly, Andante con moto; Mozart, An Andante for a Cylinder in a Little Organ (K 616), Lasst uns mit geschlungnen Handen (Let us now with joined hands), appropriately from "A Little Freemason Cantata"; Liszt, Ave Maria von Arcadelt; hymn, "The spacious firmament on high," on which I thought we did quite well; and then, in a further inspired choice, Handel, Variations in E (The Harmonious Blacksmith). The organ--a tiny (7-stop) Farrand & Votey, Opus 776, c. 1897--made lots of music this day!

Next stop, the Iliff Theological Seminary Chapel to hear a rich and satisfying 1910 Wirsching organ of 16 stops. Richard Robertson, Denver, played the following program, which showed off the great power and variety of this instrument: Hurd, Suite in Three Movements (commissioned for this convention); Reger, Benedictus; Warlock, from Capriol Suite: 1. Pavane and Basse, 2. Danse; Mendelssohn, Prelude & Fugue in F Minor, op. 35.

After dinner at our hotel, back to St. John's Cathedral to hear the perfect match of music, instrument, and musician. I do believe that Thomas Murray is one of the most thorough of all performers in working out registration, and will limitlessly complicate his time at the console, if it means getting just the right effect. He also listens, as do very few, to what the instrument and building are telling him about tempo, texture, and touch. In addition to which, there is no more sensitive swell pedal foot in the organ world. We, and a large audience of non-OHS types as well, were the beneficiaries of all that work, in the following lovely program: Bach, Sinfonia from Cantata No. 29; Saint-Saëns, Prelude & Fugue in B Major; Elgar, Severn Suite, op. 87 (1932), transcribed by Thomas Murray. After a short intermission, Barbara Owen presented to the Junior Warden of the Cathedral, the OHS Plaque awarded to churches that have "instruments worthy of preservation," and have kept them well--certainly a well-deserved honor in this place. Fleury, Variations on a Burgundian Noël (heard earlier in the week); hymn, "Come down, O love divine" (Down Ampney); Rheinberger, Sonata No. 13, op. 161 (the opening theme of which is almost identical to the opening phrase of Down Ampney); encore: The last of Saint-Saëns Seven Improvisations, op. 150.

Wednesday, June 24

We reached maximum altitude, peaking at 11,300 feet at one point. Leadville, where we began our day, is, we were told, just 12 feet less than two miles above sea level, and I for one, really felt this, as did many others. It became most noticeable during the hymn singing. There clearly was not as much air to go around as one is used to. One of the local people told me that it can take six months to fully adjust. Around us, and slightly above us, was quite a bit of snow.

Lois Regestein, another regular at OHS conventions, played at St. George's Episcopal Church, on a gentle but lovely little George Ryder (1882) organ of 11-stops. Besides the fact that her program showed off the little organ very well, she made thoughtful and interesting connections with the organ and the town. Her program: Mendelssohn, Prelude in G, op. 37, no. 2; Woodman (b. 1957), Variations (selected) from Greensleeves; Mendelssohn, Fugue in G, op. 37, no. 2; (I did not get to ask Lois why she chose to break the Mendelssohn up in the manner of the Bach St. Anne in the Clavier Übung, part III. Did Mendelssohn somehow conceive of a split performance like that?) Having discovered the quality of the Oboe on this organ when she arrived in Leadville for the first time, Lois added at this point a little trumpet tune sort of piece of Telemann; Thomas Ryder (1836-1877), Moderato (Thomas Ryder was the brother of George Ryder, the organbuilder, and often dedicated his brother's instruments.); Douglas Moore, The Willow Song (from The Ballad of Baby Doe); (This was sung by Patti Smith, a wonderful soprano living in Leadville, but with a career well beyond her community. We had an interesting discussion about practicing daily in Leadville, with its very thin air, and then appearing in places closer to sea level. Apparently, in terms of breathing, this puts her at a decided advantage. Anyway, this was an ingenious bit of programming, as Baby Doe herself lived in Leadville!--well done, Lois!) Vaughan Williams, Prelude on Rhosymedre; hymn: "My song is love unknown" (Rhosymedre).

I first met and heard Grant Edwards last year at OHS in Portland, and thought his a very special musical personality, full of control, confidence, and good cheer, with clearly very careful preparation in every detail. Today's concert continued in that mold. It having been announced that the organ for today's performance might well be at least the second highest pipe organ in America, if not the first, Grant explained that he was convinced he was given this assignment because of his complaints last year in Portland about the bench not being high enough! We are now in First Presbyterian Church, Leadville, and the organ is a 13-stop instrument by William Schuelke, Opus 67 (1889). The program: Böhm, Partita on "Ach wie fluchtig, ach wie nichtig"; hymn: "What does the Lord require" to the lovely Erik Routley tune, Sharpthorne; Kodaly, Six Epigrams (charming pieces which Grant graciously substituted for the Vaughan Williams Rhosymedre, when he realized that Lois Regestein was going to play it); Widor, Pastorale from Symphony No. 2; Diemer, Farewell, Good Friends (Shalom Chaverim - 1996).

Next stop, Georgetown, and its very small Grace Episcopal Church. The group was broken into three parts, and Marilyn Stulken, another old hand at OHS conventions, had to play her program three times, while the rest wandered this interesting old town. I went to the group 3 recital, at the beginning of which, the church was given an OHS Plaque honoring its organ of "historical interest, and worthy of preservation." Quite a number of members of the congregation showed up for this--I think they are justly quite proud of the single manual, seven-stop instrument. It is a rare, intact survivor by Denver organbuilder Charles Anderson, built in 1876, and may well be the oldest organ in the state, although somewhat altered tonally. Marilyn gave a good demonstration of the organ, beginning with the Bach Partita on "O Gott, du frommer Gott." This was followed by two interludes from "Melodia Sacra," c. 1850, by George Frederick Bristow, after which we attempted to sing an old hymn written out with the melody in the tenor, "Jesus, the Conqueror reigns," to a tune called Germania. We were not a success. This was followed by two more of the Bristow interludes, after which we sang another hymn, "Awake, and sing the song," to Festal Song. We did much better this time around. The program finished with a Festival Postlude in D by W. Eugene Thayer.

At this point, music was done for the day. We were treated to a delightful narrow gauge steam train ride on the Georgetown Loop Railroad. The old steam engine was a marvel, making all the wonderful noises steam engines make, and with a very complex chord for a whistle! The scenery was spectacular. We then partook of a barbecue in the city park, with entertainment by the Queen City Jazz Band, playing in the old band stand. Back at the hotel, it was time to visit the last night of the exhibits and sales desks, and to spend, spend, spend on all the wonderful books, music, and CDs.

Those who know the OHS Catalogue will not be surprised that the many tables were littered with probably more organ and church music CDs than might have ever been seen under one roof. Joseph Vitacco was there representing his company, JAV Recordings, Ray Biswanger had a display and materials representing the Friends of the Wanamaker Organ, a truly worthy endeavor. Several members of the Richard Bond organbuilding team (Portland, Oregon) were on hand with large pictures of this excellent builder's work, and with a brand new, fine, and very attractive, three-stop continuo organ.

Thursday, June 25

We were scheduled for an earlier departure this morning--8:15 instead of the usual 8:30--but the bus company, creatures of habit, showed up at the usual time. No one would have minded, were it not for the fact that the Pharmacy Association was having its convention beginning today, and in the large lobby where we await the busses, there was laid out a most impressive breakfast spread. Most of us, unbreakfasted, tried removing our OHS badges and looking like pharmacists, but the tables were well guarded. No luck!

We bounced along I-225 South to Colorado Springs, and the Air Force Academy, to hear two organs in the Roman Catholic and Protestant Chapels respectively. Here, the work of designing the instruments and the job of building them were separate contracts, that in a state institution had to be put to tender separately. Walter Holtkamp Sr. won the design contracts, and Möller the building contracts. Holtkamp, I believe, voiced and finished the organs. Joseph Galema has been at the Academy since 1982, as Music Director of the Cadet Chapels since 1989. He is organist at the Protestant Chapel, and is responsible for ten choirs! He began his peripatetic recital in the Roman Catholic Chapel on the three-manual, 28-stop organ, as follows: Bach, Six Schübler Chorales; Gade, Festligt Präludium over Choralen "Lover den Herre." This Chapel is the basement of the chapel building, relatively low ceilinged, without resonance of any kind, but nonetheless clear and intimate. The Schüblers were probably the perfect vehicle for a demonstration, and much about the sound of this instrument strikes me as honest and good, after all these years. The Gade piece was a bit of a meander, I thought, not signifying very much, but I know others did indeed like it. A trumpeter was on hand just to play the choral and a bit more at the end.

We then walked upstairs to the Protestant Chapel with a three-manual, 62-stop instrument: hymn, "All creatures of our God and King" (Lasst uns erfreuen); Mathias, Jubilate, op. 67, no. 2; Gardner, Sonata da Chiesa sopra una tema di Claudio Monteverdi. I thought, given the great, soaring space (well worth seeing, inside and out) and a larger instrument (striking to look upon), we would hear something spacious and grand. I found the organ not really supportive in the hymn, nor projecting very well in the Mathias. Here is perhaps an example of a situation in which an encased instrument could really prove itself. In ensemble with two wonderful trumpet players in the Gardner, the organ was at its best--and what a truly amazing and wonderful piece this is, I say, as a long time Gardner fan. The main theme (there may have been others I did not recognize) was the majestic opening of the Coronation of Poppea, which, once heard (and seen), can never be forgotten. What Gardner does with it in four glorious movements is nothing less than magical. I am really grateful to Dr. Galema for bringing this to us.

We bussed to the dining hall at The Colorado College, also in Colorado Springs, for a sumptuous lunch, with many different food stations on offer, with all sorts of edibles, hot and cold, all one could eat, courtesy of Marriott Catering. I think I went to college too soon.

We walked across campus to Shove Memorial Chapel, wherein Frank Shelton, organist at Grace and St. Stephen's Parish, and College Organist, gave us a brilliant program full of interest, after Jonathan Ambrosino presented a "significant organ" plaque to a college official who had been instrumental in keeping the instrument and interest in it alive. The program: Simpson, Fantasy and Fugue on "My Lord, what a morning" (1994); Payne, Prelude, op. 19, no. 2; hymn, "O God, our help in ages past" (St. Anne) (The Colorado College Hymn!); Weaver, Passacaglia on a Theme by Dunstable (1978). The organ: Welte-Tripp Organ Corporation, Sound Beach, Connecticut, Opus 314, 1931, three manuals, 42 stops. There is a fascinating article in the convention book about this organ, and two names of great interest are involved in the history of the instrument: Richard Whitelegg and Charles Courboin. The convention book is available from OHS, and is full of information about a place that is very important in the development of the pipe organ in this country. And not at all by-the-way, this organ sounds really wonderful! I do believe that in some ways, it outdoes some Aeolian-Skinners of that time (1931). I found myself wondering if the Great chorus through mixture was truly of that period. It was silvery and brilliant.

We walked the few blocks to Grace and St. Stephen's Parish, Episcopal. In my little mental database of "Best Recitals Ever" was one played by Thomas Brown at the OHS Mini-Convention at Round Lake, New York last summer. Now I have to start a Tom Brown file, and put today's recital in beside the other one. It was an Anglophile's Orgy, played as last year entirely from memory, with everything perfectly in place--beautifully registered and wonderfully musical. There were lots of smiles around, and a spontaneous standing ovation at the end. The program: Bairstow, Prelude in C; Whitlock, Reflections (Three Quiet Pieces for Organ); Mendelssohn, Sonata in F minor; Karg-Elert, Chorale Prelude on "O Gott, du frommer Gott"; Vierne, Naïades; Grayston Ives (b. 1948), Entrata; hymn, "Sing we of the Blessed Mother" (Rustington - C. H. H. Parry). Methinks me heard the spirit of Henry Willis (Father) rustling around at the first notes of the play-through of this hymn. There are six manual 16' stops on the organ--I think perhaps they were all on! The organ: Welte (NY) opus 261, 1928, three manuals, 49 stops--a splendid organ, of great historic significance, and Frank Shelton, who had played at Shove Chapel, organist of Grace Church, accepted an OHS plaque.

Our next journey was to Manitou Springs, by way of an astonishing natural wonder, a place called The Garden of the Gods--gigantic outcroppings of a beautiful red rock, amongst many evergreens. It was like a very oversized sculpture park--around every corner, as we climbed, was yet another sight to take the breath away. Our goal was the Community Congregational Church, a lovely stone building, charming outside and in, and on the national register of historic buildings. There are two transept balconies, and I was busy dreaming up programs of Gabrieli and company. Surrounded as we were by great, high mountains, the inscription on the organ case announced: "Thy Righteousness is Like the High Mountains." The organ is our second by Charles Anderson of Denver: two-manual, 13 stops, built in approximately 1879. It seemed a bit transparent, after the two Weltes we had just been hearing. MaryAnn Crugher Balduf has been a regular at OHS conventions for some time. On the first day of the convention, she slipped getting off the bus (where is her lawyer when needed?) and was in some pain. But as always, gamely, she gave us the following interesting program, with helpful comments about her registrations: Pachelbel, Toccata in F; Benjamin Rogers (1614-1698), Prelude (Voluntary); Selby, A Fuge or Voluntary; Held (b. 1914), Flourish; Cadman, Legend, op. 30, no. 1; West, Passacaglia; Howells, Miniatures for Organ, nos. 12, 17, 18, 21; hymn, "O beautiful, for spacious skies" (Materna); Langlais, Prelude Modal; Sjogren, Fantasia, op. 15, no. 1.

Next, we rode to Pueblo, and to the Pacific Union Depot, a disused train station, now a restaurant, where we had a quite wonderful dinner. This was as close to a convention banquet as we get, so it was a time for a little OHS business and some heartfelt thanks to the members of the Denver committee, who had truly done a wonderful job with program and with organization. After dinner, we walked to the Memorial Auditorium, which contains Austin organ No. 860, of 1920, an instrument of 56 full stops, plus various bells and whistles, all of which got a workout during the evening. There are pipes all over the place, on the side and in the ceiling, plus an echo organ in back, all of which made possible a strong presence despite a very dead acoustic. The audience was not entirely our convention, we being joined by many others, possibly tourists, possibly town folk, or both. Paul Fleckenstein, I discovered tonight, is the perfect "town hall organist," possessed of great showmanship, total technical assurance, and a prodigious memory, and my goodness, he certainly knows how to get around that kind of instrument--finding an endless array of combinations. It was a terrific show, all from memory, beginning with the Choral, Minuet Gothique, Prière à Notre Dame, and Toccata from the Boëllmann Suite Gothique. This was followed by the seven parts of the ballet music from Gounod's Faust, in a terrific transcription, uncredited, so possibly Paul's own. Sharing in this concert was the Pueblo Chorale, a large and enthusiastic amateur choir, conducted by Charles Merritt. There were some lovely moments, but quite often, the inbuilt vocal limitations, particularly of the tenor variety, gave cause for alarm. I thought the choice of music a bit odd (Vierne Messe Solennelle), perhaps being something of a stretch for the non-musicians in the audience, not accustomed to a Latin Mass or the style of Louis Vierne. However, having thought that, I was probably wrong. The audience seemed genuinely interested, the choir was obviously very much into the music, and there was a great ovation at the end. Paul Fleckenstein's coloration and support at the organ were superb. After the Chorale left the stage, we all rose and sang, not half badly, the Star Spangled Banner, after which Paul played the Budley Duck variations really well. We hit the busses pretty quickly, and managed to get back to the Denver Doubletree just a bit after midnight.

Friday, June 26

What a beginning to the day! In a not terribly prosperous neighborhood, we walk into a church of great beauty, built by German immigrants--Annunciation Roman Catholic Church. The windows are thought to all be from Munich. As a fan of the Father Dowling Mysteries on TV, I was delighted to learn that this is the very church used in these wonderful programs! The irrepressible James Mosby Bratton gave us a fabulous musical start to our second last day. We had previously heard him on the Vocalion. Today, we took a great step up in the reed organ hierarchy, and heard his own 1887 instrument by Victor Mustel, of Paris. The sound, brilliant, somewhat steely, and perfectly adequate for the large-ish building we were in, is quite different from American harmonia some of us have known. It was placed down front, against the south wall. It would be somewhat underpowered for leading hearty hymn singing, but wonderful for lots of repertoire. Jim began with a really powerful and passionate performance of the Allegro assai from the Guilmant 4th Sonata. After being rewarded with thunderous applause, he gathered some friends around him--a 'cellist and a harpist--and they gave us a beautiful performance of the ravishing Nocturne in E flat, op. 21 for 'cello, harmonium and harp, by Marcel Fournier (1879-1951). Then, harmonium alone in Introduction and Fugue in D Minor, op. 62 by Franz Lachner (1803-1890), and last, with a pianist, Finale, op. 8, no. 6 (for harmonium, four hands) by Saint-Saëns, great fun, with a pianist who was able to balance well with the somewhat gentler harmonium. From the balcony, Robert Barney took over at the organ, leading us in singing Lobe' den Herren, aided by a trumpet player in a long introduction, in interludes, and in some verses of the hymn. The rest of the program: Karg-Elert, Lobe' den Herren, op. 65 (rather a perfect piece for demonstrating the virtues of the organ, beautifully and clearly played); Mozart, Andante, K. 616; Zeuner, Fugue No. 14 (just about as pallid as its name!); Schmidt, Prelude and Fugue in D. The organ is a 1910 Kilgen of 20 stops, much of which is really lovely and full, with only the full ensemble seeming a bit unblending.

I think I lack the Purvis gene. I have never appreciated the style and idiom of a lot of his music, although I did like some of the Christmas pieces that Kenneth Matthews played earlier in the week. I have mused about this a bit, particularly in regard to George Bozeman's program at the Chapel of Our Most Merciful Saviour, Episcopal. I have, in my wisdom, decided that you had to have been there, Grace Cathedral, San Francisco, that is--to have known the man, and heard the pieces in the context of a service, on that organ, and in that acoustic. He had to have been a remarkable person, as the people I know, and it is not a few, who had contact with him as students, choristers, or just listeners and friends, are immensely loyal to his music and his memory. Or maybe it is genetic after all. Some of the pieces in today's program required chimes, and George brought along his trusty synthesizer, which I heard and hated in Round Lake last summer, and did not grow to love any more today. (To think that I even helped him carry it upstairs at the beginning of the convention!) Having got all that out of my system, let me say that George played wonderfully well, as always, and I did really find lots to like in some of the pieces. The program: hymn, "Once to every man and nation" (Ton-Y-Botel or Ebenezer); Chorale Preludes on Tunes found in American Hymnals: Fantasy on Ton-y-Botel (dedicated to Ruth Barrett Arno), Pastorale on Forest Green (to George Henninger), Canzona on Liebster Jesu (to Frederic Freeman), Grand Choeur on Austria (to Porter Heaps), Contemplation on Tallis' Canon (to Alma Morse), Poeme Mystique on Manna Mercy (to Sally Harris), Toccata Festiva on In Babilone (to Clarence Snyder). The organ is by Farrand and Votey, Opus 88, 1890, of two manuals and 17-stops. Not possessed of great power, there are individual stops and combinations of beauty, and its decorated case pipes are wonderful to look at.

We next visited the Lotus in the Flame Temple, Denver Zen Center, a building which was formerly the Fourth Church of Christ Scientist. The members of the center were in a retreat when we arrived, one involving silence, so while we were able to talk, once in the church auditorium, and obviously make music, we were asked to enter the building in complete silence. Given our usually voluble nature, our success at this was all the more remarkable. The organ is a 1925 Austin, Opus 1233, of four manual divisions (Swell, Great, Choir, Echo and Pedal) over only 20 stops. Everything on the choir is from the Great, except a celesting rank. There is only one Pedal stop not borrowed. The highest pitched stop on the organ is one 2' on the Swell, and that is an extension, and is only a Flautino. Not an instrument of great brilliance or power! Thomas Brown, who played so wonderfully earlier in the week, gave us four completely brilliant improvisations on familiar hymn tunes: A sonata-allegro form on Salve festa dies; a Rondo (Scherzo) on Puer Nobis; Free form on Eventide; and Fugue and Finale on Salzburg.

Thomas Murray then stepped to the podium, to deliver a truly fascinating lecture entitled "Recording the Organ: The First Ten Years (1926-1936)." We heard 27 short examples recorded by all the great names in organ playing at the first part of this century, on a large number of significant pipe organs, recorded onto tape from Tom's extensive collection of 78s, accompanied with lots of interesting commentary and also some slides. With each example, we saw on the screen (a really nice touch) a slide of the actual record label--sometimes two labels, one for the original European or English release, and one for U.S. release. When possible, other slides were shown, perhaps the artist, or the building or organ. The organ was a "phonographic black sheep," because of its range, and powerful bass, but became less so with the advent of electric microphones in the mid-20s. The problem was getting such low frequencies on the grooves. Another problem for all music was the shortness of time available before a record had to be turned over--41/2 to 5 minutes on a 12-inch record, less on a 10-inch one. This was a fascinating history not only of developments in recording techniques in the 20s and 30s, but also of the organs and players of the time, and the music they chose to play.

Next, to Messiah Baptist Church, to hear Mary Gifford play the following program: hymn, "When the roll is called up yonder" (Roll Call) (We really shouted it out!); Roy Spaulding Stoughton (1884-1953), The Courts of Jamshyd, from Persian Suite; Edward d'Evry (1869-1950), Nocturnette; Gawthrop, Passacaglia, from Sketch Book 1 for Organ. The organ is a gutsy little thing, despite having only one 4' stop, the Orchestral Flute on the Swell. The scaling and voicing are such that there is real power and brightness, despite the way it looks on paper. Mary Gifford commented about the Open Diapason that "parts the Red Sea!" The organ is two manuals, with just eight stops, Kimball (1914). Rick Morel, who services and has built a number of organs in the area, got the roll player working for this organ, and we heard two rather fun organ rolls, provided by Jonathan Ambrosino.

Next, to All Saints Roman Catholic Church, a large, modern structure with a quite small Hook and Hastings, Opus 1702, 1896 way back in a very deep balcony. Lovely as it might be close up, sitting downstairs, it is insufficient for the singing of hymns--you simply cannot hear it. Nor did it have much oomph in the recital. Joseph Adam, organist of St. James Cathedral, Seattle, played the following program: Berlioz, Marche Hongroise (Damnation of Faust); Saint-Saëns, Improvisation in A Major; Vierne, Scherzo from Symphony No. 1; Herzogenberg, Orgel Fantasy on Nun danket, alle, Gott; hymn, "Now thank we all our God."

After a short break back at the hotel, on to Trinity United Methodist Church, where we were fed dinner, and then heard the splendid Peter Sykes. The organ is by Frank Roosevelt, No. 380, 1888, a wonderful and very large instrument of 65 stops, housed in a case that is a huge fantasy in beautiful wood, designed by George Ashdown Audsley! The Pastor of the church accepted an OHS Plaque from Mary Gifford, who announced that this was the church she attended as a child--so the presentation was particularly important to her. The program: Franck, Choral no. 1 in E Major; Whitlock, Three Extemporizations, Carol (Homage to Frederick Delius), Divertimento, Fidelis; Janacek, the organ solo from the Glagolitic Mass; Reger, Benedictus; Reubke, Sonata on the 94th Psalm; hymn, "God of Height and Depth and Sweep," to the fine tune "Shoemaker," composed by Peter Sykes. A recital by Peter Sykes is always a great event, and this was no exception. I think the most thrilling piece on the program for me was the Reubke Sonata--truly brilliant!

On our last day, we are on the busses, and heading up into the high mountains for a tour of Rocky Mountain National Park, having just heard the last two recitals of the convention, both played by David Macfarlane, of New York. The first was a somewhat bitter-sweet occasion, as the fine old building (the former Asbury Methodist Church) has been bought by a developer. Mike Rowe, convention chairman, says a great effort is being made to find a new home for this one of not-too-many remaining organs by Denver builder, Charles Anderson. This may not be an easy task, as the instrument is not small, and is divided in two cases on either side of a window. It's not fabulous, but is solid and good, if not overly colorful. It might also be one of those cases in which the owner would be just happy to find someone to take it out, without asking for money. David's program: hymn, "Father, we praise thee" (Christe Sanctorum); Saint-Saëns, Prelude & Fugue in G, op. 109, no. 3; Sweelinck, Variations: Balletto del Granduca; Vierne, Communion (Messe Basse) op. 30; Woodman, Noel Anglais; Mendelssohn, Allegretto and Finale from Sonata 4.

This program served to demonstrate all the possibilities of the instrument, built by Anderson in 1882, with two manuals and 16 stops. We next drove a short way to what is now a Roman Catholic home for the elderly, called The Gardens at St. Elizabeth's, with the lovely Chapel of Christ the King, built in 1903. The style is Christopher Wren, and the windows are by Clayton & Bell of London. The organ is one of the oldest extant Austins, Opus 92 from 1902/3. David's program was cleverly entitled and organized as "A Little Organ Mass," and was as follows: Introit, Frescobaldi, Toccata IX (2nd Book of Toccatas); Kyrie, de Grigny, Fugue à 5; Gloria, Bach, Allein Gott (BWV 663); Offertoire, Reger, Ave Maria (op. 80, no. 5); Elevation, Gaspard Corrette, Dialogue des Flutes (Missa Octavi Toni); Communion, Milhaud, Pastorale; Sortie, Langlais, Point d'Orgue; hymn, "From all who dwell below the skies" (Duke Street).

I think to do a program like this wants an organ of color, articulation, and variety, and also, perhaps, in a room which will give it space to expand. On a rather pallid instrument of 10 stops, with the highest pitch being four-foot flutes on both divisions, I don't think a program of such scope really works, being more "eye candy" than "ear candy." However, there were things to like, and many thanks to David for doing two recitals on two different organs back to back.

I wish I could "review" Rocky Mountain National Park for you, but mere words will not do. Go see it. Nor are mere words adequate to describe how wonderful was this convention. Like all OHS events, it was organized and run essentially flawlessly, by an army of totally devoted local volunteers, assisted and advised by the headquarters staff in Richmond. Great thought went into deciding what instruments, artists, and music would be heard, and how best to combine these elements. Great care and consideration was given to the comfort and convenience of several hundred attendees. I hope those of you who have made it to the end of this review will want to give serious thought to attending next year's convention, different in two ways from those in the past. Next summer, the convention will run from a Thursday through the following Wednesday. This requires only one Sunday off from playing in church, and includes an overnight Saturday, important to lower air fares. The second difference in this year's convention is the fact that it is outside of the U. S., in the magnificent cosmopolitan city of Montréal, with visits to many organs, old and newer in the region, and also to Ste. Hyacinthe, which may, in terms of numbers of builders, be the organ-building capital of the world! The dates: Thursday, August 19 through Wednesday, August 25th. The phone number in Richmond for joining OHS: 804/353-9226. I hope to see you there!