Pipes around the Pacific

Christ Church Cathedral, Victoria, British Columbia, Canada

Herbert L. Huestis

Herbert L. Huestis is a graduate of the Eastman School of Music, where he studied organ with David Craighead 40 years ago. After a stint as a full-time church organist, he studied psychology and education at the University of Idaho, where be obtained his Ph.D. in 1971. He spent time as a school psychologist, and was subsequently lured back into the organ world and took up pipe organ maintenance with his wife Marianne and son Warren. Now retired, he spends more time tuning pianos and reconditioning harpsichords.

Christ Church Cathedral, Victoria, British Columbia, Canada, and the Westfield Center, Orcas, Washington, presented an international conference entitled “Central/Southern European influences on Bach,” June 7–10, 2006. The conference celebrated the new cathedral organ by Hellmuth Wolff, Laval, Quebec, Canada, and honored organ virtuoso, historian and teacher, Harald Vogel, Osterholz-Scharmbeck, Germany.

The Westfield Center

The Westfield Center is a national resource for the advancement of keyboard music, serving professionals and the public since 1979. In pursuit of this goal, they host symposia to celebrate major instruments of our day, and have sponsored more than 30 conferences. This year they met in Victoria to honor the career of Harald Vogel, noted organist and scholar, and a new organ built by Hellmuth Wolff for Christ Church Cathedral, Victoria, British Columbia.

The new Wolff organ

I have dubbed this organ of 60 stops a “singing organ” because it stands nearly alone in its ability to bring to life the vocal effects and Italianate characteristics that infused the music of Bach and his predecessors. For Hellmuth Wolff, the creation of this organ was no small accomplishment. In fact, this masterpiece caps a career that is filled with instruments of artistic merit.
Delicate and well-balanced voicing is a hallmark of Wolff organs, and in this case the organ matches the room perfectly. Wolff has a reverence for historical organs and is able to build in various styles for his clients and the contemporary buildings they offer. The musical requirements of Christ Church, Victoria, and inclinations of the builder came together when a design was chosen that followed the work of builders such as Holzhey and Riepp, who were linked to French, German, and Italian organ building practices in the 18th century.
Hellmuth Wolff established his firm in 1968, after serving his apprenticeship in Switzerland with Metzler and continuing as a journeyman with Otto Hoffman in Texas and Charles Fisk in Massachusetts. In Canada, Wolff worked with Casavant Frères in the development of their mechanical-action workshop and subsequently worked in collaboration with Karl Wilhelm until he started his own workshop in Laval, Quebec. There, he heads an elite group of organbuilders who participated in the design and construction of this organ over a period of several years.
The organ comprises 61 stops, located in five divisions, including the pedal. Three manual divisions begin with 16' sub octaves, while the pedal has two stops at 32' pitch. There is an abundance of unison tone on every level, and the harmonics of the pipework are enhanced by both third- and fifth-sounding mixtures spread over four keyboards. Wolff was able to integrate character and variety into an extremely broad ensemble while at the same time emulating vibrant examples of organ style from times past. This sense of integration is perhaps the strongest aspect of Wolff’s art.
Spatial variety is a very strong characteristic of this organ. The wide case with Hauptwerk split on either side and Oberwerk in the center provided unique opportunities for registration at many volume levels by combining these two divisions into a large ensemble or playing them separately. The Rückpositiv lies well forward of the rest of the instrument and speaks directly to the listener, creating a clear, three-dimensional sound.
The variety of stops is compelling, both in flues and reeds. All are voiced with a sense of just the right volume so that interplay between stops is remarkably well balanced. Trumpets of all national styles are available on each keyboard and pedal, providing a tonal palette seen in few organs. Wolff has an intuitive sense of proportion in the placement of these reeds, so that volume and stylistic variation work very musically. He has taken great care in the selection of pipework to amplify his concept of the Holzhey organ style found in southern Germany in the late 18th century.

The conference

The conference topic, “South/Central Influences on J. S. Bach,” grew out of advances in musical scholarship and organology that have increased the understanding of influences of Pachelbel, Frescobaldi, Kerll and others on the music of Bach. The celebration of the work of Harald Vogel reaches to the beginnings of the Westfield Center, founded by two of his early students, Lynn Edwards Butler and Edward Pepe. This all culminates in the largest publication of the Westfield Center to date: Orphei Organi Antiqui: Essays in Honor of Harald Vogel. This Festschrift brings together 21 articles and essays that delineate the Vogel personality as well as performance practice, improvisation, congregational singing, organ restoration and organ culture. This work was edited by Cleveland Johnson, professor of music history and dean of the School of Music at DePauw University. Harald Vogel’s legacy as a teacher was outlined by Elizabeth Harrison, assistant professor of music at Westminster College in New Wilmington, Pennsylvania. She gave an inside look at the North German Organ Academy, the founding of which she described as his most pivotal accomplishment.

Recitals

One should note that there are two audiences who have interest in an event such as this, “those who were seen and those who were unseen.” For those who heard this amazing instrument and the recitalists who presented this organ literature in a vital way, this report may serve to crystallize the event itself. For those who were not able to attend, it is hoped that some idea of the freshness and originality of these players will be communicated.
It is invigorating to see how a group of players could present varied aspects of this unusual organ in such a concerted way. Harald Vogel praised the instrument as one of the finest of its type in the world, and each artist contributed a unique vision to the celebration of this organ. One had the feeling that all recitalists read from a similar script, with great attention paid to Southern influences on German music.
William Porter, professor of organ and harpsichord at the Eastman School of Music, presented the inaugural concert with a fresh idea that served the symposium very well. He designed his concert after the style that Bach himself used when he played, as described by Forkel, his biographer. This showcases the instrument rather than the repertoire. Porter has a strong reputation as an improviser, which led him in this direction for the concert. He maintained that “since the repertoire of the 17th and 18th centuries has its roots in improvisational practice,” he could take the opportunity to show off all the colors of the organ. Italian influences were immediately apparent, and Porter, like all of the recitalists, concentrated on variation and ciacona forms.
Michael Gormley, Christ Church Cathedral organist, and Erica Johnson, a student of Hans Davidsson, Eastman School of Music, continued the concert series with an exploration of the breadth of the instrument and a further presentation of Italianate aspects of the music and instrument. Johnson explored the concerto style and played with a lightness and delicacy that characterized subsequent recitals. Her theme for the recital was the dance—both in her playing style and aspects of the musical styles of Italy and Germany. She characterized this as a “pas de deux” where Italy led and Germany followed. Indeed, Italian influences on German music were the order of the day.
Harald Vogel continued these ideas with toccatas, canzonas, a spectacular battaglia and the famous Capriccio Cucu of Johann Kerll. His program reached a zenith with intense colors found in his interpretation of the second Biblical Sonata of Johann Kuhnau. In this organ he found a tonal palette with which to characterize the depression and madness of Saul as Kuhnau envisioned it. Beauty was everywhere, but more than that, the organ could communicate real emotion, passion and feeling, even fear and anxiety.
Edoardo Bellotti, who teaches organ, harpsichord, and continuo playing in Trossingen, Germany, and Bergamo, Italy, brought these recitals to a climax with a presentation of Frescobaldi, Pachelbel and Bach. By limiting his repertoire to three composers, he was able to explore the styles of variation, toccata and ciacona, building in the listener an expectation of both floridity and drive culminating in a rendition of Bach’s Passacaglia and Fugue full tilt, with no resorting to the usual registrational variation in the Passacaglia. His performance was so musically varied, and the organ so clear and delicate in its ensemble that he could play the whole piece in a continuous, driving plenum. He was so convincing in this performance that he gave immediate credence to statements that Harald Vogel had made, that organists are often the victims of “bad traditions,” which they must rethink in order to fully appreciate this music.
The final concert was a mix of vocal and organ works in which Michael Gormley, director of the CapriCCio Vocal Ensemble (of Christ Church Cathedral, Victoria) and Carole Terry, professor of organ at University of Washington, Seattle, stood the conference topic on its head and presented a concert entitled “Bach influences on Central/South Europe.” These included vocal works of Mozart, Bruckner, and Reger, among others. Dr. Terry made a final and climactic statement of what the organ could do with masterful renditions of the works of Max Reger. Reger’s music gave a final contrapuntal and harmonic lushness to the sound of this organ, whose 60 stops exhibited a monumental heroism. Again, it seemed that all of the recitalists had similar goals: to show the full effect of this magnificent new organ and to trace the beauty of the musical styles that made their way from Italy to Germany in the 17th and 18th centuries and beyond.
These musical influences were further elaborated in noontime recitals by Colin Tilney, harpsichordist, and Ulrika Davidsson, fortepianist. Tilney explored the Italianate forms and Davidsson followed J. S. Bach’s influence through C. P. E. Bach to Joseph Haydn.

Keynote addresses

The academic side of the symposium centered on the presentation of a Festschrift, Orphei Organi Antiqui by Cleveland Johnson, to Harald Vogel on the occasion of his 65th birthday. The publication (“Orpheus of the Historic Organ”) is a collection of 21 articles and essays. It features writings about Vogel as teacher, performer and scholar, and deals with keyboard literature, performance practice, improvisation, congregational singing, organ restoration and organ culture.
Harald Vogel took the opportunity in his keynote address to open up some very interesting concepts regarding organ culture. He examined “organ tradition” and outlined some rather subjective but important considerations. The most notable of these seemed to be the idea that somehow “traditions” were carried from Bach through the 19th and 20th centuries unbroken, when in fact, they are deeply flawed in terms of playing style, registration and type of instrument. He appealed to his listeners to look toward historical evidence to make decisions regarding playing style, rather than rely on old traditions that have been passed through many teachers and students, with all the attendant changes in organ culture, of each period of time and style of instrument.
Lynn Edwards Butler also presented a keynote address on the general topic of organ examinations, which harkened back to the celebration of the Paul Fritts organ at Arizona State University and the topic of “The Historical Organ” presented in 1993.
In a third keynote address, Keith Hill, the noted harpsichord maker, took a look at the psychological aspects of artistic performance in a topic called “The Craft of Musical Communication.” This is a difficult subject, and he was able to create the imagery to help his audience grasp important concepts involved in music making. He outlined various building blocks of artistic performance so that some analysis could be made of performers and their art. A certain objectivity was welcome in an area that is almost always purely subjective!
Masterclasses were provided by the artists, and of course there was the joy of discovering all the various aspects of the organ and its construction. Michael Gormley and the cathedral staff were most gracious, and the setting in the provincial capital of British Columbia was magnificent. From a meeting in the parliament buildings on the first day to high tea on the last, there was the constant infusion of Canadian culture and magnificent weather, found only on this enchanted isle on the west coast of North America. I suppose the only thing that can be said is “You should have been there!--Herbert L. Huestis

Improvisation jam session

For many of us the culmination of the symposium was the jam-session of the three improvisers by name of Vogel, Porter and Bellotti. The demonstration was divided into three parts, first the reeds, second the solo possibilities and then the different organo pleno possibilities.
Harold Vogel demonstrated the many different reed stops—there are six trumpets at 8' pitch, four reed stops at 16', and one 32' Posaune, besides softer reed stops, such as Hautbois, Krummhorn, Schalmey and Vox humana. The sound of the latter, a Voix Humaine after Dom Bédos, can easily be coloured by adding flutes at different pitches. Mr. Vogel’s improvisation was haute voltige—flying high, through all kinds of places unheard of—and concluded his flight with the glorious roar of the trumpets!
A good number of the organ’s solo possibilities where shown through William Porter’s delightful and poetic improvisations. The various flutes and strings—typical for organs of Southern Germany and Austria—and the mutations (there is a jeux de tierce in every keyboard division, except for the Swell) were shown in a single piece, wonderfully constructed by a great player.
One could have thought that demonstrating the mixtures might be a much more arduous task, but Edoardo Bellotti brought us to new heights with his magnificent demonstration.
Each organist was an inspired Orpheus, playing with great power and imagination—and each of them should have received an Olympic trophy!
—Hellmuth Wolff

by James B. Hartman

Grant Smalley Pipe Organs, Victoria, British Columbia (1984)

Born in Sidney, near Victoria B.C., Grant Smalley has worked as an organbuilder since 1966. He was associated with Gabriel Kney from 1968 to 1979, primarily building tracker-action organs and installing them throughout Canada and the U.S.A. During the last eight of those years he assumed Kney's tuning and maintenance business in addition to his organbuilding duties. He returned to Victoria in 1980 and established his own business four years later, buying out the organ maintenance service of Hugo Spilker, who had done restorations in the area. His associate, Douglas Adams, received formal training in instrumentation and systems technology, and manufacturing engineering technology; in addition to assisting in the construction of the new shop, he is responsible for electrical design, construction, and mechanical work. Beverly Smalley, the wife of Grant Smalley, handles the business and financial operations. All three are active participants in community choral groups.

Grant Smalley has built several small organs: a four-stop positiv organ, mechanical action (1985); a four-stop, portable, continuo organ with 56-note transposing keyboard, mechanical action (1989); and two continuo organs of 31/2 and 41/2 ranks, both with mechanical action (1995, 1997). The major activity, however, is organ restoration, along with regular tuning and routine maintenance work: about 50 organs throughout Vancouver Island and Greater Vancouver. A number of heritage organs in Victoria, including several instruments built by Casavant Frères in the early 1900s, and others by English and American makers, have received extensive overhauls in recent years.

Wooden pipes, most windchests, consoles, and casework are built in the shop; metal pipes are ordered to specifications and voiced there. Other components acquired from suppliers include keyboards, drawknobs, switching systems, and blowers.

Blair Batty & Associates, Simcoe, Ontario (1985)

Blair Batty was born in Simcoe, and as a teenage organ player he acquired an interest in the mechanical workings of organs. His organbuilding career began with the Keates Organ Company, Acton, Ontario, where he learned windchest construction, wiring, tuning, and installation procedures. In 1976 he moved to Europe, where he learned the craft of metal pipemaking with Jacques Stin-

kens, Zeist, Holland, and the art of reed manufacturing with Carl Giesecke & Sohn, Göttingen, West Germany. During that period he travelled extensively throughout Europe to study examples of French, German, and Dutch organbuilding. In 1977 he went to Gloucester, Massachusetts, to join C. B. Fisk as a pipemaker and draftsman, then in 1979 he was invited to head the pipe shop of the Noack Organ Company, Georgetown, Massachusetts. In 1981 he returned to Canada to work for Brunzema Organs, Fergus, Ontario, then returned to Simcoe in 1985 to establish his own firm. Since then he has visited England on several occasions to study the instruments of Willis and Hill.

The company has built three new organs. One is a two-manual, 27-stop instrument of eclectic design incorporating Schnitger-inspired choruses, a French-character trumpet, and Dutch/French-style Swell mutations, with console-equipped MIDI (1991). Another is a two-manual, 19-stop instrument of British-inspired design in which the basic choruses follow William Hill, but includes a Schnitger-style trumpet, a cornet and mutations of classical French design, and string stops scaled and voiced on Cavaillé-Coll principles (1993). A four-rank box organ was built for a private customer.

The company specializes in restoring and rebuilding older organs, employing the techniques and materials of the original builder as far as possible, and provides tuning and maintenance service to about 100 churches annually throughout southwestern Ontario. Most of the components of organs are produced in the factory: Pitman and slider windchests, bellows, rollerboards, tremulants, keyboards and pedalboards, and consoles. Pipes, both wooden and metal (including reeds), are generally made on the premises; the metal pipeshop and foundry section has a 12-foot, polished granite casting table, one of the few in Canada. Blowers and electrical combination and switching actions are acquired from external suppliers. The firm also provides services, parts, and pipes to other builders and tuners. A large reference library of historical and current organ design data, including pipe scalings of hundreds of historic organs, is maintained. A computer-assisted design (CAD) system is used. The firm had three full-time employees and several part-time helpers in 1998.

Gober Organs, Toronto, Ontario (1985)

Halbert Gober was born in Austin, Texas, and began his organbuilding career with Otto Hofmann (1969-1972), an organbuilder in Austin known as an early proponent of the tracker revival. Following university studies in liberal arts and architecture, he lived in Germany from 1972 to 1980. During the first four years he studied music, architecture, and organbuilding; in the remaining years he was employed with various organbuilders, including Rensch in Lauffen-am-Neckar (1972); Jann (1977-1980), where he completed his formal apprenticeship in 1979; and Felsberg in Chur, Switzerland. Following his move to Canada in 1981 he was employed as a voicer with Karl Wilhelm until 1985, before opening his own shop in the Montréal area in that year. From there he served as a freelance voicer and pipemaker for several organbuilders in North America and Europe.

He established his own shop in Toronto in 1991, where he commenced building tracker-action organs. Output to date amounts to six two-manual instruments of medium or small size; the most recent of these is a five-stop studio organ for the University of Notre Dame, South Bend, Indiana. Rebuilds and tonal revision projects are also undertaken. His philosophy is to draw on the full heritage of historical organbuilding in the construction of cohesive and logical instruments, with equal priority to dependability and musicality.

Wooden pipes, along with metal pipes made of cast and hammered lead, are manufactured on the premises. Reed pipes, including shallots, are also made in the shop. Action parts are from Germany. There were three employees in 1998. 

Pole & Kingham, Chatham, Ontario (1985)

 Donald Pole and Ron Kingham founded their company in 1979 and then incorporated in 1985, when the construction of complete new organs commenced. Earlier, between 1966 and 1968, Ron Kingham had been an employee of John Bright, a co-founder with Gabriel Kney of the Kney & Bright Organ Company in 1955; he built a house organ under John Bright's supervision. In the first five years of their association, the partners' work was limited to tuning, repairs, cleaning, and general maintenance.

Since 1985 they have built and installed seven new electrical-action instruments (two incorporating some older parts), mostly of medium-size, all in Ontario churches; two other instruments were provided to churches in Michigan, U.S.A. While their instruments are designed to meet both liturgical and performance needs, recent organs have a Romantic bias, and the Symphonic era is recalled in a new, three-manual, 36-stop instrument (the largest to date), with its six-rank String Organ division, installed in Holy Trinity Anglican Church, in Chatham, Ontario, in 1997. Other services include restoration of both tracker- and pneumatic-action organs, rebuilding with solid-state switching, enlargement, and tonal additions, along with general maintenance and tuning.

Wooden pipes (Bourdon, Chimney Flute, Gedeckt, and Doppelflute--the latter scaled after a fine Karn stop), windchests and reservoirs, and consoles are made in the shop; metal pipes are obtained from suppliers in Canada, U.S.A., Germany, and Holland. Five employees worked with the partners in 1998.

Juget-Sinclair, Montréal, Québec (1994)

Denis Juget, a native of the Savoy region of France, received his diploma in fine cabinetmaking in Annency, Haute-Savoy, France, in 1979, then worked as an apprentice with leading organbuilders on both sides of the Atlantic, with whom he acquired skills in all phases of organbuilding: Lucien Simon, Lyon, France (1979-1983); Robert Chauvin, Dax, France (1983-

1985); Wolff & Associés, Laval, Québec, upon his arrival in Canada (1985-1991); Orgelbau Goll, Lucerne, Switzerland (1990-1991); Orgelbau Rohlf, Seitzental, Germany (1992-1994); and Karl Wilhelm, Mont Saint-Hilaire, Québec (1992-1994). Special assignments be-tween 1988 and 1990 involved the restoration, renovation, and voicing of several organs in Austria, Italy, and Spain. His organbuilding enterprise began in 1994 in Saint-Basile-le-Grand, Québec, in a backyard, two-story, former chicken coop, which was converted into a workshop. In the following year he completed a two-manual, 3-stop house organ for a private client.

Following studies in science at McGill University in Montréal, Stephen Sinclair worked first as an apprentice cabinetmaker, then as an apprentice organbuilder with Wolff & Associés (1989-1991). He received practical working experience in general organbuilding and reed-stop restoration with Manufacture d'orgues Franc-comptoise, Courtefontaine, France (1995, 1997); pipemaking with Georges Blaison, France (1996) and N. P. Mander, London, England (1997); and general organbuilding, design, voicing, maintenance, and tuning with Wolff & Associés (1992-1998). He joined Denis Juget as an equal associate in 1998.

The company divides its time between the restoration of historic instruments and the construction of small mechanical-action organs. Since 1995 five two-manual, 3-stop, house organs and one continuo organ have been manufactured; three of the house organs for clients in the United States. Works in progress include two similar house organs for destinations in Québec and Germany, and a two-manual, 10-stop practice organ for the University of Cincinnati, ready in 1999. The house organs incorporate a design by Denis Juget that enables them to be moved relatively easily without breaking down the action.

All parts are made in-house, including wooden and metal pipes, wind chests, bellows, rollerboards, keyboards and pedalboards, drawknobs, and casework (hand-planed in solid wood, using mortise-and-tenon construction). Blowers are purchased from Laukhuff, Germany. Several part-time workers assist in various stages of production and installation. Following relocation in late 1998 to an industrial space with 30-foot cathedral ceilings in Montréal, the associates intend to make the leap from building practice instruments to full-fledged church organs in the near future.

D. Leslie Smith, Fergus, Ontario (1996)

Leslie Smith grew up in southern Alberta, and acquired his interest in music at an early age through involvement in church choirs and piano lessons. He developed an early fascination with organ building and enrolled in organ performance studies at the University of Calgary after completing high school. Using practical skills acquired from his father, who was a carpenter and mechanic, he completed several kits for harpsichords and clavichords, and established an association with a local organ serviceman who introduced him to the techniques of maintaining and tuning electro-pneumatic instruments. In 1973 he moved to London, Ontario, to continue his organ studies at the University of Western Ontario. While in that city, he became acquainted with Gabriel Kney, in whose organbuilding shop he worked on a part-time basis for several years. In 1982 he joined Brunzema Organs in Fergus, Ontario, where he remained for 10 years as a journeyman organbuilder. After the death of Gerhard Brunzema in 1992 and the closing of his organbuilding operation, Leslie Smith worked as an independent contractor in pipemaking and voicing on a number of projects in Canada and the United States. His first organ, a two-manual, 11-stop studio organ was undertaken in 1982 as a part-time project while working with Gerhard Brunzema; it was completed in 1992.

In 1996 he established his new workshop on part of the former Brunzema premises. In the same year he produced his first commission, a one-manual, 6-stop, mechanical-action organ, for a cemetery chapel in Montréal. A similar organ, but without pedals, was supplied to a church in Kansas City, Missouri. Although eclectic and innovative in terms of tonal and visual design, Leslie Smith's approach is inspired by the work of mid-19th-century Canadian and American firms such as S. R. Warren of Montréal and Hook & Hastings of Boston, favoring generous scaling and higher pressures.

Wooden pipes for these two instruments were made in-house, but metal pipes were supplied by F. J. Rogers, Leeds, England. Blowers came from Laukhuff, Germany. Keyboards, and key and stop action were fabricated in the shop. Stops are divided into bass and treble, using a special form of drawstop mechanism developed by the builder. Cases are made from common hardwoods, using traditional construction techniques.

Maintenance work to organs of all makes and construction in Ontario and Québec comprises a significant part of his activity; in 1996 he was appointed curator of the largest pipe organ in Montréal, a four-manual, 86-stop Casavant instrument (installed in 1932, rebuilt in 1992 by another firm) at the Church of St. Andrew and St. Paul, and will soon undertake complete rebuilding projects, as well.

The Future of Organbuilding

The status of organbuilding in the 21st century is not easy to predict, given the variety of factors involved. Generalizations about the number of future organ installations are risky; nevertheless, it is interesting to note that, within roughly the last three decades, while the annual production of instruments of all sizes peaked several times in the 1980s, the low periods of the 1970s were again matched in the years since 1994. Whether this recession will continue in the coming years is uncertain, but some recent trends provide clues to a possible future.13

The fact that few new organs have been installed in Canadian locations in recent years is not surprising, for the distinguishing characteristics of the "golden age" of the organ in the early years of the twentieth century--in terms of the erection of new church buildings, the proliferation of organbuilding firms that supplied both churches and motion picture theaters with instruments, and public enthusiasm for organ recitals played by local and touring recitalists--are not likely to be repeated, considering shifting cultural values along with the various musical and other forms of entertainment now available.

Although most organbuilders have confined their operations to meeting only local and regional needs, several Canadian firms have cultivated the international market with apparent success. The services of the Canadian Commercial Corporation, a crown corporation of the Government of Canada that assumes the role of prime contractor and subcontracts all of the contract back to the Canadian firm, are available for companies seeking worldwide clients.

As for the tonal design of new instruments, the uneasy hybrid designs of earlier years largely have been abandoned in preference to the rediscovered qualities of universally admired older instruments of the 17th and 18th centuries, without blindly copying them. Although instruments of neoclassical design, with their historically "authentic" stoplists, are not entirely suitable for the performance of all schools of organ music, they are probably more versatile than the earlier generation of organs for general liturgical and performance purposes. On the other hand, some organbuilders prefer an eclectic approach, a matter that is subject to ongoing debate.14 The recent strong demand for mechanical-action instruments may eventually stabilize, for reasons relating to architecture, economics, changing musical tastes, and a return to the Romantic idiom in repertoire. Purchasers may prefer some of the advantages of nonmechanical instruments, such as the consistent keyboard touch and flexible console location provided by electric action.15

Much of the earlier activity of new organ construction has been redirected to rebuilding and restoring older instruments, some of historical significance. Most Canadian organbuilders engage in this growing activity, which can provide churches with a cost-effective alternative to the purchase of a comparable new instrument. Routine maintenance work is also part of the service provided by many firms, large and small.

Pipe organs have always been expensive, so electronic instruments utilizing highly developed digital technology now provide an economic alternative for church congregations lacking the will or the means to acquire and maintain a pipe organ. The respective merits of pipe organs and electronic instruments have been debated since the latter were first introduced. Nevertheless, there is an obvious answer, based on musical criteria, to the question, Which is preferable: a poorly designed, badly maintained pipe organ, or a high quality electronic instrument? Electronic instruments have a place in locations where pipe organs are out of the question, whether for space or budgetary considerations. They have proved adequate for the liturgical requirements of many small or medium-size churches with limited budgets, and these instruments have provided competition for more costly pipe organs. The increasing acceptance of electronic instruments further diminishes the probability of a significant number of new pipe organ installations in the coming years. On the other hand, educational institutions (those that are not financially beleaguered, if any) and affluent congregations of some churches (not necessarily the largest) undoubtedly will continue to prefer pipe organs for musical, historical, or social reasons, and such instruments can be supplied only by the larger, well-established, organbuilding companies.

The role of the organist is of considerable importance in ensuring a future for organbuilding. If a church considering the purchase of a new organ already has a fully trained organist, this person, working with a musically educated and supportive committee, can influence the decision in favor of a pipe organ in preference to an electronic instrument, providing that a realistic fund-raising objective can be achieved. A church with an adequate pipe organ will seek a highly trained individual to play it, and such organists ordinarily prefer appointments to churches with pipe organs; once hired, their presence encourages the continuation of the pipe organ tradition.

Changes in the liturgical practices of some religious denominations may have a subtle, long-term effect on the future of organbuilding. The emergence in some congregations of youth-segregated services, with their unique liturgical practices that employ guitars or other instruments associated with folk music or religious rock groups, may produce a generation of worshippers unfamiliar with the organ, its musical heritage, and its literature. A broader associated issue is the question of the future of institutionalized religion and its possible decline due to the growth of science, education, and secularization, or its theological transformation into various manifestations of individualistic spiritual development. These possibilities undoubtedly will take many years, perhaps centuries, to resolve.      

Shifts in population characteristics introduce another factor into the question of the future of organbuilding. Some suburban churches located in stable neighborhoods now have congregations comprised largely of aging members living on limited incomes, not offset by significant numbers of younger, fully employed members. If the present job of organ maintenance is difficult for such congregations, even with skilled volunteer labor working under the supervision of a trained organ technician, the acquisition of a new instrument is beyond consideration; in fact, the amalgamation or dispersal of these congregations is the more likely scenario. The inevitable result would be the closing of some church buildings, along with the possible removal or relocation of existing pipe organs. The more affluent churches with a wider spread of ages among their members, and which encourage the full participation of younger members in their musical programs, are the only ones that will escape this fate, thus leaving open the possibility of the purchase of a new organ in the distant future. A related consideration, which provides a cause for optimism, is grounded in the speculation that recent declines in per capita real income may stimulate group activities at the expense of individual life styles, and that churches may again become a center of social as well as spiritual activities. In such contexts the pipe organ, as a cultural, religious, and artistic centerpiece, may serve as a source of pride and inspiration, and as a vehicle for the renewal of congregations.16

Over the longer term, increased public awareness, combined with both formal and informal educational opportunities, may contribute to the sustained vitality of the organ culture generally, including organbuilding. Radio broadcasts of organ recordings, instructive television programs, increased concert programming for organ and other instruments, and the development of audiences for subscription series of organ recitals, would increase knowledge of the organ among the general public. In the educational system, in-service sessions on the organ for school music teachers, the preparation of classroom learning materials for use in regular music instruction courses, and the participation of students in on-site inspection trips and demonstrations would provide practical contexts for raising awareness of the organ at a level that students can understand and enjoy.17 As for organists, competitions or commissions for hymn arrangements, sacred songs, or new compositions for the organ could be fostered on both the regional and national levels by the Royal Canadian College of Organists. These informational and educational programs would contribute to the development and maintenance of an appreciative audience for the organ throughout the coming decades. Such forms of revitalization would ensure the future of the King of Instruments well into the 21st century.

REFERENCES

                        13.              Some of the following material is adapted from the chapter, "The Future of the Organ," in Hartman, The Organ in Manitoba (note 5 above).

                        14.              See Quentin Regestein and Lois Regestein, "The 'Right' Organ," The Diapason, August 1998, 13-16; September 1998, 17-18. Radically opposing points of view debate the legitimacy of a "universal" hybrid organ, one that is perfect for everything.

                        15.              R. E. Colberd, "Pipe Organ Building: the Nineties and Beyond," The Diapason, July 1994, 12.

                        16.              Ibid., 14.

                        17.              For a description of a recent educational event for school children, see Valerie L. Hall, "Meet the King of Instruments: A Successful Workshop Model for Kids," Organ Canada, July 1998, 9.

Alain, Jehan. See Dzuris.

 

Apple, Warren. New Organ Music. Mar 11, May 13, July 13, Aug 12, Oct 11-12, Dec 12-13

Art of Fugue. See Kellner.

 

Bach. See Kellner, Shay.

Baggia, Aldo J. In the footsteps of Gottfried Silbermann. Aug 13-14†*

Beck, Charles. The Trials, Tribulations and Joys of an Organist on Tour. July 16-19*

Binford, Jeff. New Organ Music. July 13

____________.  New Recordings. May 10, 12, June 10, 12

Book Reviews. See Hartman, Huestis, Marigold, Simmons.

Brown, David Burton. 80th Birthday Tribute----Heinz Wunderlich. Apr 18*

Buzard, John-Paul. Reminiscences of Henry Willis 4. Part 1. Sept 14-15*             

    Part 2. Oct 16-18

 

Canadian Organbuilding. See Hartman.

Carillon Calendar. June 6-7

Carillon Music. See Swager.

Carillon News. See Swager.

Choral Music. See McCray, Smith.

Coleberd, R.E. The Economics of Pipe Organ Building. It's Time To Tell the     Story. Jan 14-17 #

Collins, Paul. The north German organ school of the Baroque: "diligent fantasy makers." + Nov 14-17

Conferences, Conventions, Workshops, Festivals

    Albert Schweitzer Organ Festival/USA, by David Spicer.* Nov 13

    Catharine Crozier at Illinois College, by David W. Shane. July 8*

    East Carolina Religious Arts Festival, by Keith Nash. May 8, 10

    Improvisation Symposium----Eastern Michigan University, by Susan Craig.   June 7

    SEHKS Conclave in London, by Lilian P. Pruett.* Nov 17-18

    The 43rd Annual Convention of the Organ Historical Society. Denver, June     

        21-27, 1998, by Malcolm Wechsler. Feb 19-23*

    The Organ in the New Millennium: Pacific Lutheran University, April 8-12,          

        by Herbert Huestis. July 14-15*

    21st Annual Organ Conference--University of Nebraska-Lincoln, by Marcia Van Oyen. Apr 16-18

    University of Michigan Historic Organ Tour XXXVIII, by Marian Archibald. 

        Feb 14*

    University of Michigan 1998 Organ Conference, by Pamela Ruiter-Feenstra.

       Mar 18*

 

Dean, Ronald E. New Recordings. Dec 11

Duncan, Miriam Clapp. See Hughes.

Durman, Bernard. New Recordings. Jan 8, 10, Feb 10, 12

Dzuris, Linda. Six French organs and the registration indications in L'Oeuvre d'orgue de Jehan Alain. June 16-18† #

 

Economics of Pipe Organ Building. See Coleberd.

Editor's Notebook. Mar 2, Apr 2, May 2, Dec 2

Ellis, Laura. New Organ Music. Jan 12,  Feb 12,  May 12-13, Dec 12

 

Gasparini, Francesco. See Sloane.

 

Handbell Music. See Nelson.

Harpsichord News. See Palmer.

Hartman, James B. Book Reviews. Jan 8, Apr 10, June 8, 10, July 10-11,  Aug 10-11,  Sept 11-12, Dec 10-11

_________________. Canadian Organbuilding, Part 1. May 16-18. Part 2, June 14-15

Holland, Jon. New Organ Music. Nov 12

Holt, Earl. New Organ Music. Jan 10-12

_________.  New Recordings. Apr 12,  Oct 8, 10

Horning, Joseph. See Neenan, Rosales.

Huestis, Herbert L. Book Review. Nov 11

_________________. From European Training to American Organ Building: Following the Career of Martin Pasi. Mar 14-15*

_________________. New Recordings. Apr 12

_________________. Project 2000 makes Y2K deadline. June 12

Hughes, Sarah Mahler. An Interview with Miriam Clapp Duncan. Oct 14-15 *

_____________________. New Organ Music. Apr 12, May 13, July 13, Aug 12, Sept 12-13

_____________________. New Recordings. Mar 10-11, Sept 10-11

 

Kellner, Herbert Anton. How Bach encoded his name into Die Kunst der Fuge together with his tuning. May 14-15+

 

Letters to the Editor. Feb 2, Mar 12-13, Apr 2, June 2, July 2, Aug 6, Sept 2, Oct 2

List, Ken W. Lawrence I. Phelps 1922-1999: A Tribute. June 13

Looking Back: Diapason Retrospective. Dec 14-15

Lowry, David. New Recordings. June 10, Oct 10-11

 

Marigold, W.G. Book Reviews. Mar 10

______________. New Recordings. Jan 10, Feb 12,  May 12,  June 12, July 12-13, Aug 11-12, Sept 11, Nov 10-11

McCray, James. Music for Voices & Organ. Jan 6, Feb 8, 10,  Mar 8, 10,  Apr 8, 10, May 10, June 8, July 11-12,  Aug 8, Sept 8, 10, Oct 7-8, Nov 6, 8, Dec 8, 10

Millennium. See Huestis.

Music for Voices & Organ. See McCray.

 

Neenan, Thomas. Joseph Horning--In Memoriam. Feb 4, 6*

Neighbarger, Randy L. New Recordings. Dec 11-12

Nelson, Leon. New Handbell Music. Jan 12, May 13, Sept 13, Oct 13, Nov 12, Dec 13

New Carillon Music. See Swager.

New Choral Music. See Smith.

New Organ Music. See Apple, Binford, Ellis, Holland, Holt, Hughes, Rigler, Schou.

New Recordings. See Binford, Dean, Durman,  Holt, Huestis, Hughes, Lowry, Marigold,  Neighbarger, Wyly.

North German Organ Music. See Collins.

 

Organ Design. See Van Oyen.

Organ Recitals. Jan 22-23,  Feb 28-29, Mar 23-25, Apr 23-25, May 23-24, June 23-24, July 15, 23-24, Aug 19-20, Sept 13, 24, Oct 23-24, Nov 23-24, Dec 27-28

 

Palmer, Larry. Harpsichord News. May 8, July 10, Aug 7-8, Dec 8

Pasi, Martin. See Huestis.

Phelps, Lawrence. See List.

Project 2000. See Huestis.

 

Rigler, Ann Marie. New Organ Music. Oct 12-13, Nov 11-12, Dec 13

Rosales, Manuel J. Joseph Horning--In Memoriam. Feb 4*

 

Schoenberg, Arnold. See Swedlund.

Schou, Larry. New Organ Music. May 13, Oct 13

Schübler Chorales. See Shay.

Shay, Edmund. The Schübler Chorales & The Numbers Game. Sept 16-17+

Silbermann. See Baggia.

Simmons, Morgan. Book Review. Feb 10

Sloan, Carl. Francesco Gasparini's Twenty-One Keys: Do they reflect the use of meantone? Jan 13-14#

Smith, Rollin. New Choral Music. Sept 10

Spong, Jon. Firmin Swinnen: An American Legend. Dec 16-17*

Swager. Brian. Carillon News. Jan 6, Feb 6-8,* Mar 8, Apr 7-8,*  May 6, 8,* July 8, 10,* Aug 6-7,* Sept 6, 8, Nov 6,* Dec 7-8

_____________. New Carillon Music. Oct 6-7

Swedlund, Ronald J. A Performer's Guide to Schoenberg's Opus 40. Part 1. Mar 16-18. Part 2, Apr 14-15

Swinnen, Firmin. See Spong.

 

Tuning. See Sloane.

 

Van Oyen, Marcia. The Post-Modern Fusion Style. Harbinger of 21st Century Directions. Dec 18-21*

 

Willis, Henry Willis 4. See Buzard.

Wunderlich, Heinz. See Brown.

Wyly, James. New Recordings. Nov 8, 10

 

Y2K. See Huestis.

Appointments

Arnold, Jeffrey,* to Heritage Congregational, Madison, WI. Sept 3

Austin, Kimberlee J.,* to President of Austin Organ Company. May 3

Bara, Thomas,* to Assistant Organist,   St. Thomas Church, New York City. July 3

Bohlert, Thomas,* to Operations Manager, Truckenbrod Concert Artists. Nov 3

Brown, David Burton,* to Idlewild Presbyterian, Memphis, TN. Apr 3

Brugh, Lorraine,* to Valparaiso University, Valparaiso, IN. Dec 3

Buchanan, Bruce Q.,* to Vice President & Tonal Director of Austin Organ Company. May 3

Cleveland, Douglas,* to Northwestern University, Evanston, IL. Oct 3

Craighead, David, to Eastman School of Music, Rochester, NY. Sept 3

Dodson, Robert K., to Oberlin College Conservatory, Oberlin, OH. Oct 3

Engels, Stefan,* to Westminster Choir College, Princeton, NJ.  Sept 3

Farr, Stephen,* to Guildford Cathedral, England. July 3

Faucher, Robert,* to Curator, Kotzschmar Memorial Organ, Portland, ME. June 3

Foster, Stewart Wayne,* to Associate Organist/Artist in Residence, First (Scots) Presbyterian, Charleston, SC. July 3

Freese, Faythe,* to Concordia University, Austin, TX. Apr 3

Gyllsdorff, Gregory*, to Trinity-by-the-Cove Episcopal, Naples, FL. Dec 3

Hackett, Andrew,* to Organ Scholar, University of St Thomas, St Paul, MN. Nov 3

Hubbell, Brent,* to First United Methodist, Marion, VA. July 3

Johansen, Amy,* to University of Sydney, Sydney, Australia. Feb 3

Lawrie, David, to St John's Episcopal, Huntingdon, MD. Oct 3

Leaver, S. Christopher,* to Director

   of Public Relations, Reuter Organ

   Company, Lawrence, KS. Aug 3

Mellichamp, James F.,* to Dean of

   School of Arts & Sciences, Piedmont

   College, Demorest, GA. Feb 3

Miller, Dan,* to Rodgers Instruments LLC. Dec 3

Morlock, John W.,* to tonal director,  Andover Organ Company. Mar 3

Newton, Robert C.,* to tonal director,  Andover Organ Company. Mar 3

O'Donnell, James,* to Westminster Abbey, London, England. Aug 3

Page, Daniel Bennett, to St Stephen's Parish, Pittsfield, MA. Oct 3

Pardee, Katharine, to Eastman School of Music, Rochester, NY. Sept 3

Perry, Chad,* to Rodgers Instruments LLC. Dec 3

Peterson, Gregory,* to President of Association of Lutheran Church Musicians. Oct 3

Preston, Simon, re-appointed Artistic Director of The Royal Bank Calgary Festival. Aug 3

Quinn, Iain,* to Trinity Episcopal, Hartford, CT. Apr 3

Robinson, Dana, to University of Illinois at Urbana-Champaign. Oct 3

Sedun-Ulyanovsky, Natasha,* to Gloria Dei Lutheran, Forestville, CT. Nov 3

Tate, Ken, to First Presbyterian, Mankato, MN. May 3

Teardo, Frederick,* to Schweitzer Scholar, First Church of Christ, Wethersfield, CT. Apr 3

Teel, Christopher B.,* to Organ Scholar, Truro Cathedral, Cornwall, England. Aug 3

Thallander, Mark,* to Glendale Presbyterian, Glendale, CA. June 3

Triplett, Robert,* to University of Iowa, Iowa City, IA. Sept 3

Visser, Larry, to LaGrave Avenue Christian Reformed, Grand Rapids, MI. Nov 3

Vozzella, Thomas R.,* to St Paul's Episcopal, Franklin, TN. Nov 3

Wagner, David,* to Madonna University, Livonia, MI. Mar 3

Zachacz, Thomas,* to Union Church, Pocantico Hills, NY. Feb 3

Honors and Competitions

Alain, Marie-Claire,* receives AGO Lifetime Achievement Award. Nov 3

Bastien, James & Jane, receive MTNA Achievement Award. Oct 3

Batastini, Robert J., named Music Director Emeritus, St. Joseph Roman Catholic, Downers Grove, IL. July 3

Beck, Janice,* receives Alumni Achievement in Music Arts Award. June 3-4

Belcher, Diane Meredith,* receives Outstanding Keyboard Performance award. May 3

Boyter, Mabel Stewart, awarded honorary DMA. May 3

Bratt, C. Griffith,* honored at retirement. June 4

Broome, David A.J.,* honored at Austin Organs. Feb 3

Bruch, Delores,* honored on retirement at Univ of Iowa. Dec 3

Craighead, David,* plays 75th birthday recital. Mar 3-4.

Crozier, Catharine,* plays 85th birthday recital. Mar 3-4

Deák, Lázló, wins prize in interpretation, Marchal Competition, Biarritz, France. June 3

Dunn, Wallace M. honored by Wichita AGO Chapter. Jan 3

Everhart, Ian,* wins Vernon deTar Scholarship Competition. Aug 4

Fahrer, Nicole, wins 25th annual Bowling Green Organ Competition. May 3

Gillock, Jon,* named Performer of the Year. Sept 3

Gran, Sarah,* wins first prize in 1999 Ottumwa Organ Competition. July 3

Hancock, Gerre,* receives honorary DMA from University of the South, Sewanee, TN. July 4; receives New York City AGO recognition. Aug 4

Hines, Lurley Whitty, celebrates 86 years as organist at Pollocksville Baptist Church. Mar 4

Joseph, Jeremy, wins second prize in Dublin Competition. Dec 3

Kwak, Tong-Soon,* elected President of the Korean Association of Organists. June 4

Kotylo, Andrew J.,* wins Arthur Poister Competition. June 3

Leach, Richard, wins Macalester-Plymouth Hymn Writing Contest. May 3

Locklair, Dan, awarded North Carolina Arts Council Artist Fellowship. Nov 4

Lord, Robert Sutherland,* named Professor of Music Emeritus, University of Pittsburgh, PA. July 4

Marks, Christopher,* wins Arthur Poister Competition. Jan 2

Martin, Béatrice, wins Bruges harpsichord competition. Mar 3

Oldengarm, Jonathan, wins third prize in Dublin Competition. Dec 3

O'Neill, Shane Douglas, wins first prize in Dublin Competition. Dec 3

Rigot, Vincent, wins first prize in improvisation, Marchal Competition, Biarritz, France. July 3

Steigler, Lou R.,* honored on 40th anniversary. Apr 4

Thurman, Frederick, awarded DMA degree. Sept 4

Travers, Aaron J., wins AGO/ECS Publishing Award. Aug 4

Weir, Gillian,* receives Albert Schweitzer medal. Feb 4

Wetzler, Robert, granted ASCAP award. Sept 4

Obituaries

Brooks, Gordon, W. Apr 6

Brown, Rayner.* Oct 6

De Tar, Vernon. Dec 6

Farris, Michael.*May 6

Guerra, Laeta Wentworth. Jan 4

Hansen, Edward. Feb 4

Heaps, Porter Warrington. July 6

Hofrichter, Joseph. Oct 6

Holmes, James. Mar 6

Horning, Joseph.* Feb 4

Israel, Michael.* Dec 6

Kean, Patricia "June". Apr 6

Martin, Madeleine Sue Henderson  Seid, Mar 6     

Matthews, Thomas. July 6

Phelps, Lawrence I.* Apr 6

Rayfield, Robert.* Dec 6-7

Shaw, Robert. Mar 6

Steed, Graham. July 8

Strahle, Arthur.* Sept 4

Worth, Ted Alan. Apr 7

Young, Gordon.* Mar 6

Organ Stoplists

Andover

     First Congregational, Rutland, MA. 2/19 tracker,* May 20

     Lutheran Theological Seminary, Gettysburg, PA. 1/4 tracker,* July 19

     Trinity Lutheran, Reading, PA. 1/4 tracker, July 19

     Northfield Mount Hermon School, Northfield, MA. 2/38,* Sept 19

 

Austin

     St Andrew's Roman Catholic, Columbus, OH. 3/48,* Sept 20

 

Bedient

     Madonna Rehabilitation Hospital Chapel, Lincoln, NE. 2/5 tracker,* Apr 20

     St. Vincent de Paul Parish, Omaha, NE. 2/23 tracker,* Aug 16

 

Berghaus

     St. Raphael the Archangel,  Naperville, IL. 3/58,* Oct 1, 18

 

Bono

     Feild Residence, Fork Union, VA. 1/5 tracker,* Oct 19

 

Buzard

     St George's Episcopal, Belleville, IL. 2/32,* Apr 1, 19

     Glenview Community Church, Glenview, IL. 3/69,* Dec 1, 22 

 

Cook

     Port Madison Lutheran, Bainbridge Island, WA. 2/22 tracker, * Mar 20.

 

Dobson

     Eastminster Presbyterian, East Lansing, MI. 2/19 tracker,* Sept 20

     Wartburg College, Waverly, IA. 2/32 tracker,* Nov 20

 

Fisk

     St. James's Episcopal, Richmond, VA. 3/62 tracker,* May 1, 19

 

Fritts

     Pacific Lutheran University, Tacoma, WA.  3/80 tracker,* June 1, 19

 

Geddes

     Immanual Lutheran, Pflugerville, TX. 2/16,* June 20

 

Glück

    Congregation EmanuEl, New York, NY. 3/53,* Dec 23

 

Harrison & Harrison

     St. James Episcopal, Hendersonville, NC. 3/48,* Dec 24

 

Harrold

     Kay/MacBird Residence, Brentwood, CA. 2/26 tracker,* July 1, 20

    

Hendrickson

     Wayzata Community Church, Wayzata, MN. 4/70 tracker,* Jan 1, 17-18

 

Hochhalter

     First United Methodist, Eugene, OR. 3/43,* Oct 19

 

Hradetzky

     St Christopher's by-the-River, Gates Mills, OH. 2/18 tracker,* July 20

 

J.C. Taylor (Hinners)

Immanuel Lutheran, Tigerton, WI. 1/6,* Jan 4

 

Jaeckel

Trinity Ev Lutheran, Richmond, VA. 2/22 tracker,* Aug 1, 15

 

Lewis & Hitchcock

Christ Episcopal, Gordonsville, VA. 2/15,* Apr 18

 

Muller

Trinity Episcopal Cathedral, Little Rock, AR. 4/82,* Nov 1, 19

 

Noack

The Old Dutch Church of Sleepy Hollow, Sleepy Hollow, NY.  2/19 tracker,* June 20

Christ Church Episcopal, Hudson, OH. 2/24 tracker,* Oct 20

 

Orgues Létourneau

First Baptist, Kalamazoo, MI. 3/57 tracker,* Feb 1, 23-24

St Ann's Catholic Church, Washington, DC. 3/61,* Aug 16

 

Parkey

St. Dunstan's Episcopal, Atlanta, GA. 2/6, May 20

 

Pasi

West Vancouver United Church, West Vancouver, British Columbia. 2/38 tracker,* Mar 1, 19

 

Rench

Bethany Ev Lutheran, Kenosha, WI. 2/22,* May 20

 

Reuter

St Therese Parish, Deephaven, MN. 3/51,* Sept 1, 18

 

Swanson

 Calvary Lutheran, Bellevue, WA. 2/15,* Nov 20

Brian Swager

Brian Swager is carillon editor of THE DIAPASON.

New world-standard console in Victoria, British Columbia
Rosemary Laing, carillonneur of the Netherlands Centennial Carillon in Victoria, British Columbia, sends news of the installation of a new playing console. The donor who underwrote the project wished for the most part to remain anonymous and chose August 1, 2007, for the dedication ceremony and inaugural recital in honor of his wife’s birthday. It came as a complete surprise to her, and she was moved to tears as the crowd belted out a rousing chorus of “Happy Birthday” accompanied by the carillon. She had been told that she was attending just another museum function. It was Victoria’s best-kept secret.
Several dignitaries were on hand, along with invited guests, the family of Carillonneur Emeritus Herman Bergink, patrons of the Royal British Columbia Museum, and a handful of the original Dutch donors who had made the Netherlands Centennial Carillon a reality in the late sixties. The media was out in full force, and the carillon was featured in all types of coverage, from live CBC radio interviews, to an article in The Globe & Mail, a national newspaper. A lavish catered reception followed the outdoor ceremony and carillon recital on a lovely summer’s afternoon in Victoria, a gentle breeze blowing off the water, the scent of flowers in the air.
But for Rosemary Laing, the story began in the dead of winter, when she was awakened from a deep sleep in the middle of the night by a phone call from the Royal Eijsbouts Bellfoundry in Asten, the Netherlands. Victoria was in the midst of a rare snowstorm, and the city had been at a complete standstill for days. When the phone rang, she panicked, afraid that it might be heralding the early arrival of her first grandchild, during a blizzard. Fortunately, it wasn’t her grandchild, but rather, a birth of a different sort. The voice on the other end excitedly spoke about a new carillon console soon to be on its way, and in her shock and disbelief the next morning, she wondered if it had been a dream. In fact, it wasn’t until she actually saw the new console in the tower that she was convinced that it was real.
The Royal BC Museum had gone shopping for a new automatic playing system to replace the broken original roll-type player, and, thanks to the Royal Eijsbouts Bellfoundry, had come home with a lovely new baton playing console, which conforms to the newly developed world standard, as well as an automatic player controlled by a MIDI system utilizing the clappers inside the lower 48 bells. Rosemary finds that the new console is aesthetically appealing and a real pleasure to play. Victoria is indeed fortunate to have this new instrument. Many thanks to the donor for his wonderful generosity!
The Netherlands Centennial Carillon was a gift from British Columbia’s Dutch community to honor Canada’s 100th anniversary in 1967 and in recognition of Canada’s role in the liberation of the Netherlands during World War II. The tower stands 90 feet high, and the carillon is composed of 62 bells cast by the Petit & Fritsen Royal Bellfoundry in Aarle-Rixtel, the Netherlands. The original 49 bells were installed in 1968, and 13 bells were added in 1971. The tower is located on Victoria’s Inner Harbour, in front of the Royal BC Museum and Provincial Archives.

Send items for “Carillon News” to Dr. Brian Swager, c/o The Diapason, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025; <[email protected]>. For information on the Guild of Carillonneurs in North America: GCNA, 37 Noel Dr., Williamsville, NY 14221; <www.gcna.org&gt;.