53rd OHS National Convention Seattle, Tacoma, Olympia, July 13–18, 2008 Frank Rippl

2 n the day before I was to leave for “Bydlo,” the ever-nearing ox cart thun- 32′, and Grosse Quinte 10 ⁄3′. The room hymn we had just sung. I especially liked Othe Organ Historical Society’s 53rd dering past us with its great weight, and is notorious for its poor bass response #4: “Watchman, Tell Us of the Night.” National Convention, I was eating a then disappearing over the hill; the snarl- and generally dry acoustic, so all that 32′ He used the reeds to great effect. I sandwich and reading the paper. I never ing reeds were very effective. The humor tone proved to be necessary to fi ll out the recommend these pieces! Marks, a fi ne read my horoscope, but for some reason in “The Ballet of the Unhatched Chicks” bottom of the range. player, gave us a great OHS recital with I happened to glance at mine (Cancer) was most engaging. The organ sparkled David Dahl introduced Ms. Terry as well-chosen literature to demonstrate and was startled to read: “You’re being as tiny beaks struggled to break through “Seattle’s First Lady of the Organ.” She the many lovely sounds of this organ. taken to beautiful places where there is their encasing shells. The majesty of “The began her program with Dahl’s fi ne Fan- Our fl eet of buses took us to the at- great attention to detail and where you Great Gate of Kiev” brought the piece to fare Introduction: The National Anthem, tractive Trinity Lutheran Church in are enveloped in someone else’s grand an end. The sweeping acoustics of this which we then sang. She continued with Lynnwood, Washington, where we vision. Sit back and enjoy the unfolding great church and the underpinning of three chorale preludes by Bach, putting were served a tasty box lunch. At 1:00, spectacle.” That got my attention. I had the mighty and blazing reeds and the 32′ various solo voices on display: the reeds, the tireless convention chairman David been to Seattle many times before and stops lifted us from from our pews. It was the cornet, and the fl utes. Next was Wil- Dahl gave a fascinating address: “Track- knew many of the instruments we were a brilliant performance. liam Bolcom’s Sweet Hour of Prayer, in er Organbuilding in the Pacifi c North- to hear, but OHS conventions always put There was a 40-minute intermission which we heard the Fisk’s strings and west.” He traced the arrival of American a different spin on things and shine a of sorts between concert and Compline. foundation stops. Then three pieces tracker organs from the East Coast in the spotlight on the instruments themselves. Halfway through this interval, David from François Couperin’s Messe pour late 19th and early 20th centuries. In the I couldn’t wait to experience “someone Dahl invited us to enter into a spirit of les Convents: Plein Jeu, Premier Couplet mid-20th century, European tracker or- else’s grand vision” of those instruments silence prior to the beautiful and famous du Gloria; Duo sur les Tierces, Troisième gans were brought in. The famous Flen- and the buildings in which they stand, Compline service, sung each Sunday eve- Couplet; and Chromorne sur la Taille, trop at St. Mark’s Cathedral in Seattle is and, of course, the many outstand- ning since 1955 at St. Mark’s by a volun- Cinquième Couplet, which showed that a good example. There were others, too: ing players and builders in the Pacifi c teer choir of about fi fteen men. It usually this versatile organ can speak French St. Thomas Episcopal Church in Medina Northwest. It is, as our handbook stated: attracts anywhere from 500–1000 young quite well. Sowerby’s beautiful Air with has a Metzler from 1971. But late in the “A Young Yet Vibrant History.” Each people who stretch out on the fl oor or Variations showed off the Swell strings, 20th century, the Pacifi c Northwest be- registrant had received the OHS Seattle the pews, some bringing bedrolls. They the Solo Clarinet, and later the Flauto Mi- gan to get its own voice from builders 2008 Organ Atlas in the mail before we absorb the simple beauty of the chants rabilis. These were full-throated and won- such as John Brombaugh, Paul Fritts, left on our respective journeys to the and the readings. It is broadcast live derful pipes! Carole Terry’s last piece was and Martin Pasi. West Coast: 174 lavishly illustrated and over KING-FM radio, and can be heard the opening Allegro Vivace from Widor’s painstakingly researched pages on the worldwide via the Internet. Symphonie No. 5. This heavily land-mined venues and instruments we would visit. We became silent as the hundreds of piece caused her to stumble slightly a few The team that put this colorful docu- young people joined us. The sun set, the times, but she managed to bring it off. Her ment together is to be congratulated. So, lights dimmed, candles were lit. There melodic lines were nicely delineated. She thus armed, we were ready and eager to were no “praise” bands, no guitars, no chose her literature and registrations well. get started. drums. The choir entered wearing black None of us could come away from this re- cassocks and long white surplices. They cital complaining that we didn’t hear a fi ne Sunday, July 13 stood in the back of the church in a cor- demonstration of this important instru- We began with some pre-convention ner. They were led by Peter Hallock, ment—part of a new generation of Ameri- activities on Sunday night. The weather Canon Precentor Emeritus, who found- can concert hall organs. was perfect: a clear sky and tempera- ed the choir and is composer of much of tures in the low 70s as our buses climbed the music they sing. The chanting was through the Capitol Hill neighborhood elegant and refi ned but never precious. to St. Mark’s Episcopal Cathedral over- The tuning in the homophonic sections looking Puget Sound. St. Mark’s was to was perfect. The beautiful anthem was have been a grand Gothic structure, but Canon Hallock’s If We Could Shut the the stock market crash of the late 1920s Gate, scored for male voices, violin, and brought those dreams to a halt. They organ. It was a tranquil and quietly spiri- were left with what is now lovingly called tual end to the fi rst day. “The Holy Box.” But it is still grand in its own way and with great acoustics. Monday, July 14 Once inside, convention chair David Our hotel was the Holiday Inn at the Dahl welcomed us, calling it “a gather- airport, standing in a cluster of airport ing of the family.” There were 310 of us hotels, including one called “The Clari- greeting old friends and meeting new on Hotel.” My room had a great view of ones from all over the world with a com- Mount Rainier rising majestically over the Pasi Organbuilders, Opus 4, Trinity mon interest: love of the organ. “Clarion.” We had a great rate of $82.00 1887 Geo. Kilgen & Son, Holy Rosary Lutheran Church, Lynnwood (photo: per night, which included a lavish break- Catholic Church, Edmonds (photo: William William Van Pelt) fast. Trouble was, we always had an 8:00 Van Pelt) a.m. departure. So, if we wished to dine We would hear many fi ne instruments in what was a rather small dining area, we We then crossed Lake Washington on by these gentlemen and others. In fact, had to be down there by 6:00! the Pontoon Bridge and climbed quite one of them stood to Dahl’s right: Martin high above Puget Sound through well- Pasi’s beautiful Opus 4 from 1995. This manicured properties to Holy Rosary 2-m, 30-stop, mechanical action organ is Catholic Church in Edmonds, Washing- in a freestanding black walnut case, with ton, to hear the church’s 1887 Geo. Kil- eight Italianate arches serving to frame gen & Son organ, the only surviving 3-m the façade pipes. It was demonstrated by Kilgen tracker. Christopher Marks, Julia Brown, who was born in Rio de assistant professor of organ at the Uni- Janeiro, Brazil, and received her gradu- versity of Nebraska, was our soloist. Holy ate-level training in organ at Northwest- Rosary is a modern church built in the ern University studying with Wolfgang round, with the organ standing to the Rübsam. She opened with a jolly Noël by right of the altar. The organ came from Jean-Francois Dandrieu, then two fanta- the First Baptist Church in Los Angeles, sias by Louis Couperin. A charming cho- and was relocated to Holy Rosary in 1980 rale prelude by Scheidemann was then via the Organ Clearing House. played on the clear 4′ fl utes. Next was a Marks opened with a toccata from Pre- beautiful chorale prelude on Wie schön mière Suite pour Grand-Orgue (1900) leuchet der Morgenstern by Niels Gade by Felix Borowski (1872–1956, a son of (1817–1890), leading into the hymn by Polish immigrants), which began on the the same name, which she and the organ Swell with shades closed, and built to a led with great ease and grace. Another fortissimo. Another piece by Borowski Noël followed, this one by José Jesus Es- 1965 Flentrop, St. Mark’s Episcopal followed: Allegretto-Allegro leggiero trada (1817–1890): Noel en estilo fran- Cathedral, Seattle (photo: William Van Pelt) C. B. Fisk, Opus 114, Benaroya Concert from his Third Sonata (1924), which ces del siglo XVIII, which demonstrated Hall, Seattle (photo: William Van Pelt) demonstrated some of the soft sounds of more of this wonderful organ’s stops in- We came this night, of course, to hear this lovely organ. Two andantes by Amer- cluding the Zimbelstern. Brown closed the landmark 4-m 1965 Flentrop organ, Monday morning took us into down- ican-trained organist George F. Bristow her recital with Buxtehude’s Praeludium with its spectacular and breathtaking 32′ town Seattle to Benaroya Concert Hall (1829–1898) from his Six Pieces for the in F, BuxWV, in which we heard the fi ne copper façade, in a concert by Thomas to hear Carole Terry demonstrate the Organ (1883) were followed by a hymn infl uence of Professor Rübsam. This was Joyce, the assistant organist at St. Mark’s, large 3-m concert hall organ by C. B. by Thomas Hastings: “Hail to the Bright- another outstanding recital. followed by Compline. Joyce played Pic- Fisk. The simple façade of this organ in- ness of Zion’s Glad Morning” to the tune Our buses took us back on the road tures at an Exhibition by Modest Mus- cludes some of the open wood pipes of Wesley by Lowell Mason. He closed for a visit to Blessed Sacrament Church sorgsky (1870–1937) as transcribed by the 32′ Prestant. I’m not normally a big with four selections from Seth Bingham’s in Seattle. The huge building, with gor- Keith Johns. He managed to make this fan of wooden façade pipes, but these Seven Preludes or Postludes on Lowell geous gardens and a school across the very romantic score work quite well on this blended well with the browns and tans of Mason Hymns (1945), which sounded street, loomed large in the neighbor- beautiful mid-20th century organ with all the Benaroya complex; also in the 32′ de- just dandy on this organ. He played Nos. hood. The organ stood in the left tran- its neo-baroque accents. My favorite was partment: Untersatz 32′, Tuba Profunda 1, 2, 4, & 5; the fi rst was based on the sept. It came from St. Dominic’s Ro-

20 THE DIAPASON

Mar 09 pp. 20-25.indd 20 2/11/09 8:21:35 AM man Catholic Church in San Francisco, on an organ that never fails to thrill. tation for the 2-m, 12-stop instrument— and was installed in Blessed Sacrament The second half began with Fanfare the 368th such citation the society has in 2005. The organ began life as an in- for Organ by Richard Proulx, which ran given to instruments of historic interest. strument by Henry Erben for a church a good circuit through the many trum- The organ’s fi rst home was in Philadel- in Nyack, New York, and was rebuilt by pet stops, vertical and horizontal. It was phia, then in Camden, New Jersey. St. Francis J. N. Tallman (1860–1950), who followed by In Quiet Joy from a com- Matthew’s acquired it from the Organ essentially made it a new instrument. It poser new to me: Mark Winges, b. 1951. Clearing House. was rebuilt again in 1914 by Michael A. Lovely fl utes and deep-water pedal 16′ Carol Foster, a woman with a long and Clark, and then moved to San Francisco. stops supported the occasional soft solo distinguished career, is currently parish St. Dominic’s decided after remodeling reed, then turned to quiet strings briefl y, musician at St. Augustine’s Episcopal that the organ no longer met their needs, and went on as before. The strings re- Church on Whidbey Island, Washington. so it ended up at Blessed Sacrament. turned supporting a solo fl ute. It is an Her fi rst piece this day was a charm- We had arrived early, so Scott Hun- exquisite piece. The hymn “When in our ing Andante & Gavotte from a sonata tington gave us an impromptu introduc- music God is glorifi ed,” sung to the tune by Thomas Arne. That was followed tion to the history of this fascinating in- Kaytlyn by Joseph Downing (1982), by Craig Phillips’s (b. 1960) Prelude on strument as only he can. That, plus the was followed by Canon Butler’s Fantasy “Divinum mysterium.” The room-fi lling fi rst-rate account of this organ written in on “Kaytlyn,” a fi ne piece with moments sound of even the fl ute stops on this little the convention atlas by Stephen Pinel, of quiet and introspection, ending gently organ let us know that this was indeed a provided us with unusually thorough with two rings from a chime. Hook organ. preparation for the concert. Butler rounded off his program with Next up was the early American tune Our performer was OHS favorite two pieces by the great 20th-century “Restoration” from Sacred Sounds by 1905 Jesse Woodberry & Co., Opus 225, George Bozeman. He began his dem- American organist and composer Leo George Shearing (b. 1919), in which Spanaway Lutheran Church, Spanaway onstration of this 2-m, 15-stop organ with Sowerby: Arioso and Toccata. Arioso, Foster gave us a good hearing of the (photo: William Van Pelt) C. P. E. Bach’s Sonate in G Minor, Wq with its plaintive call from a quiet reed foundation stops. That was followed by 70/6, perfectly suited to this fi ne organ. stop, gave us a sense of serenity tinged Song of Happiness (1914), by Roland Our next stop was Spanaway Lutheran The hymn was “Love Divine, All Loves Ex- with longing. It is a masterpiece, and Diggle: a sweet, sentimental piece that Church in Spanaway, Washington, and its celling” (tune Beecher). He then played Butler brought out each poignant nu- brought many a smile. Then came Theo- attractive 1905 Jesse Woodberry & Co. his own transcription of Four Sketches, ance. By way of contrast, Sowerby’s fi ery dore Dubois’ Cantilène religieuse. Fos- Opus 225 organ. Built in Boston, it was ac- op. 15, by Amy Beach (1867–1944), quite Toccata drew the evening and fi rst full ter joked about the tremolo, which was quired by the Organ Clearing House. Its intoxicating and evocative: “In Autumn,” day to a rousing and blazing close. But- a force unto itself. She used the Oboe walnut case and white façade pipes with “Phantoms,” “Dreaming,” and “Fire-fl ies.” ler’s fl eet fi ngers sent the notes fl itting (the organ’s only reed), but it sounded gold mouths make for a striking appear- George, if you haven’t published these from pillar to pillar in this great “Holy like there was a fl ute with the oboe. She ance, and its two manuals and 18 ranks pieces, please do! The music and your Box.” We cheered! ended with an energetic and jolly perfor- work very well in this appealing space, performance were both great! mance of Jacques Lemmens’s Fanfare. standing as it does to the right of the altar. Tuesday, June 15 The hymn “Come, We That Love the Much of the restoration work was lovingly Tuesday morning found us high atop Lord” (tune Vineyard Haven) closed done by members of the congregation our hotel in a circular ballroom with a this fi ne recital. under the leadership of organbuilder Ste- splendid vista of Mt. Rainier. We had We drove to Olympia, paying a brief phen Cook. Carpeting was pulled up and come to hear a loving tribute by Mark visit to handsome government buildings, a hardwood fl oor was installed. Brombaugh to his brother John, a semi- then went downtown to eat lunch in We began with the presentation of nal fi gure in American organ building. the lobby of the Washington Center for the Historic Organ Citation by Stephen The lecture was entitled “Singing Pipes: the Performing Arts. After lunch, Andy Schnurr. The recital was played by Kev- The Artistic Legacy of Organbuilder Crow performed for us on the theater’s in Birch from Bangor, Maine, where John Brombaugh.” Mark explained how mighty Wurlitzer. He has several silent he teaches organ and harpsichord at John’s early training with Fritz Noack, fi lm scores to his credit. We were treated the University of Maine’s School of the Charles Fisk and Rudolph von Becker- to his accompaniment to the Laurel and Performing Arts. He began with Arthur ath infl uenced him. He then proceeded Hardy silent fi lm “Double Whoopee,” Foote’s Festival March, op. 29, no. 1 to trace John Brombaugh’s own ideas of which was hysterical. His expert accom- (1893), which demonstrated the founda- voicing: the vocale style of sound—mak- paniment kept pace with craziness on tion stops nicely—a good solid forte. An ing pipes sing in a beautiful vocal man- the screen. He used the organ’s resourc- additional Foote piece followed: Alle- ner. He went through each of John’s es very well, and also played a number gretto, op. 29, no. 2 (1893), which walked instruments, giving well-thought-out de- of classic American songs. It was a fun us through this fi ne organ’s softer sounds. scriptions of each. I was especially inter- midday break. The Great Flute d’Amour 4′, played one ested in his Opus 33, which stands four blocks from my house, on the campus of Lawrence University in Appleton, Wis- consin. It was also fascinating to hear the Paul Fritts & Co., Opus 22, Thomsen list of men who had worked with John Chapel (photo: William Van Pelt) over the years and who have now gone on to be fi ne organ builders in their own Our next stop was a happy return to right. The list reads like a who’s who of St. Mark’s Episcopal Cathedral back on American organ building, and includes Capitol Hill. We had time to peruse the Fritts, Taylor & Boody, Pasi, Richards & fi ne cathedral shop, where we were given Fowkes. Not bad! It was a most enter- FIVE HOURS of exciting live a 10% discount. We also had a cocktail taining and informative summing up of JUST RELEASED! performances from the 2007 OHS National party with delicious snacks on the cathe- a great career. dral grounds, followed by a fi ne Bastille 2007 CONVENTION HIGHLIGHTS Convention in Central Indiana. Ken Cowan, Day French meal in Bloedel Hall. We Thomas Murray, Bruce Stevens, Carol took turns entering the beautiful Thom- Historic Organs of Indiana sen Chapel, the only part of the cathedral Williams, and many others play 31 pipe that was fi nished in Gothic style (one can organs by Aeolian-Skinner, E.M. Skinner, only imagine what the whole building would have looked like had it been fi n- Erben, Felgemaker, Hook & Hastings, ished), which now contains a jewel of Kilgen, Kimball, and more. The 4-CD set an organ by Paul Fritts & Co., Opus 22, 2003. This 2-m and pedal, 18-stop organ also includes OHS-trademark hymn-singing, sits in the west balcony and fi lls the room plus deluxe 40-page booklet with photos, with its beauty. Thomas Joyce, assistant organist at the cathedral, played brief stoplists, and historical information. demonstrations for us. He is a charming young man with a great future. OHS-07 4-CD Set $34.95 But the major event of the evening PLUS SHIPPING was in the cathedral itself: a brilliant OHS Members $31.95 concert by J. Melvin Butler (who, I’m Join today! www.organsociety.org told, is also a superb violist!), canon or- ganist and choirmaster of St. Mark’s. He opened with a dazzling performance of IN STOCK FOR IMMEDIATE SHIPMENT! Bach’s Prelude and Fugue in G Minor, BWV 535. Mel Butler’s talented fi ngers and toes and the marvelous clarity of the NOW CHOOSE FROM OVER 5,000 TITLES! Flentrop organ made the music sing. Two selections from Bach’s Leipzig Chorales ORDER ONLINE: www.ohscatalog.org followed: Nun komm, der Heiden Hei- E. & G. G. Hook & Hastings, Opus UPS shipping to U.S. addresses, which we recommend, is $7.75 for your entire order. 591, St. Matthew’s Episcopal Church, land, BWV 661, in which we heard the Media Mail shipping is $4.50 for your entire order. solo line on a small cornet with a gentle Auburn (photo: Stephen Schnurr) tremolo; and O Lamm Gottes unschuldig, Shipping outside the U.S. is $4.50, plus the cost of air postage, charged to your Visa or MasterCard. BWV 656. In the middle section, the up- Our fi rst concert of the day was at perwork glimmered like light glancing off St. Matthew’s Episcopal Church in Au- faceted gemstones. The majestic fi nale burn, Washington, by Carol Foster on ORGAN HISTORICAL SOCIETY (with the cantus fi rmus in the pedal) was the church’s E. & G. G. Hook & Hast- P.O. Box 26811 Richmond, VA 23261 pure muscularity. The fi rst half of the ings organ, Opus 591 from 1871. Its program ended with Buxtehude’s chorale caramel-colored pipes and honey-like Open Monday-Friday 9:30am-5:00pm ET fantasia on Nun freut euch, lieben Chris- case gleamed in the modern, light-fi lled Telephone: (804) 353-9226 ten g’mein, BuxWV 210. It was fi rst-rate room. The program began with the pre- [email protected] playing by one of Seattle’s best organists sentation of the OHS Historic Organ Ci-

MARCH, 2009 21

Mar 09 pp. 20-25.indd 21 2/11/09 8:23:13 AM octave lower, was particularly effective. on this organ. The Vox Humana buzzed Newcastle, Australia, was our performer. The Swell shades created an incred- along nicely with the 32′ humming be- He also serves as director of chapel mu- ible pp. The hymn was “Abide with Me” low. Tegels made the Finale burst forth sic at St. Andrew’s College within the (Eventide). In a masterful bit of accom- like fi reworks, timing it just right to catch University of Sydney. He has concertized panying, he never dominated, he led. us off guard. From start to fi nish, it was a all over the world, and had just turned The closing piece was Dudley Buck’s virtuoso performance by builder, player 27 when we heard him—a charming Variations on “The Last Rose of Sum- and architect. We had ended a long day, young man with a quick and ready smile. mer.” Among other fi ne things, we got to but our spirits were quite high! He opened his program with J. S. Bach’s hear the gentle Swell strings. I also liked Now Thank We All Our God as arranged the Swell Violin Diapason in its rich ten- Wednesday July 16 by Virgil Fox, which featured the foun- or range. I was struck thus far this week For the most part, this would be “Epis- dation stops and reeds. This is an intact by the number of recitals that ended copal Day.” Our fi rst stop on this bright organ—unchanged; it possesses a warm pianissimo. This was one of them. The and sunny morning was Seattle’s St. but somewhat brooding sound. Next up magic swell shades on this organ really Paul’s Episcopal Church, in the Space was from Bach’s Orgelbüchlein: Christ did their job! Needle area, nestled among several in- ist erstanden, BWV 627, which had plen- viting Asian restaurants. The churchyard ty of energy. Then came a piece by Gra- featured a labyrinth and imaginative ham Koehne (b. 1956), “The Morning landscaping. The organ we were about to Star” from his suite To his servant Bach, God grants a fi nal glimpse, which uses the chorale tune “How brightly shines the morning star.” It was written in a Mendelssohnian style, and Guy played Paul Fritts & Co., Opus 18, Pacifi c it with great sensitivity. I’d like to hear Lutheran University, Tacoma (photo: more music by this composer. William Van Pelt) Edouard Batiste (1820–1876) pro- vided the next piece, Andante in G “Pil- cious dinner in the University Center: grim’s Song of Hope”—a character piece roast pork with lingonberry sauce! God of its era, to feature many of the softer bless those Swedish Lutherans! We then sounds of this instrument. Then came a walked through the beautiful campus to favorite of mine, Rorate Caeli by Jeanne Lagerquist Concert Hall. The building’s Demessieux, played with great sensitiv- entrance windows were decorated in ity. Peter Guy then played Samuel Se- glass fl ower blossoms by the world-re- bastian Wesley’s Andante in E-fl at, which nowned Tacoma artist Dale Chihuly. came off quite well on this organ, which Upon entering the hall, our eyes beheld is in need of a thorough restoration. The the jaw-droppingly gorgeous Paul Fritts hymn was another favorite of mine, “O organ, Opus 18 from 1998, surely one Thou Who Camest from Above,” to the of the most beautiful organs in North tune Hereford by S. S. Wesley. Our America. The high tin content of the tenors had a grand time! He closed with façade pipes and the 250 square feet of Louis Vierne’s Hymne au soleil, played Geo. Kilgen & Son, 1890, Trinity basswood pipeshades and fanciful fi gures with lots of grandeur. If I had anything Lutheran Church, Tacoma (Parkland) all done by Jude Fritts, Paul Fritts’s sis- critical to say about this fi ne recital, it (photo: William Van Pelt) ter, made for a visual feast. The tall, hon- would be that we seemed to hear too ey-colored case is made of old-growth much of the same tone quality: rarely a We then went to the Chapel of Trinity Douglas fi r logs, which came from local solo reed, for example. I suspect that the Lutheran Church in Tacoma (Parkland). forests including Mount Rainier Na- condition of the instrument had much to A brass trumpet bedecked with blue tional Park. The hall itself has adjustable Gebr. Späth, Opus 753, St. Paul’s do with that. ribbons was suspended from a wrought acoustics from one to over four seconds Episcopal Church, Seattle (photo: Stephen iron stand outside the church’s door to of reverberation. Schnurr) greet us. We came to hear the Geo. Kil- The recitalist was Paul Tegels, uni- gen & Son organ from 1890. Now in its versity organist at PLU, who opened his hear is quite a remarkable instrument. It fi fth home (!), this well-traveled 2-m and recital with a Toccata in G by Scheide- hangs by cables from the trusses of this 12-stop organ seems quite happy in its mann. He gave it a grand sweeping sound A-frame structure—even the balcony is present surroundings. Even though its that seemed to invite us into the world of suspended. Marie-Claire Alain called it “a façade pipes are new, it was given a well- this instrument. Next we heard two se- fl ying organ.” On paper, the organ, built deserved OHS Historic Organ Citation. lections from the Netherlands of 1599: by Gebr. Späth (Opus 753, 1963, 2-m, 15 Our recitalists were husband and wife from the Susanne van Soldt Manuscript, stops), seems rather sparse. The only 8′ on Tim and Cheryl Drewes. This would Branle Champagne and Almande Brun the Great is a Koppelfl oete. So we were be a recital of duet and solo literature, Smeedelyn. Then it was on to four ver- curious to hear how it would do. Walter and they jumped right in with Horatio sions of the tune Von Gott will ich nicht E. Krueger, from Portland, Oregon, was Parker’s Quick March (for two organists). lassen, the fi rst a four-part harmonization our performer. He opened with Buxtehu- It was played with plenty of brio! Next by J. S. Bach, then three fantasies on Une de’s Praeludium in D Minor, Bux WV 140, was Humoresque for organ and piano by Jeune Fillette by Eustache du Caurroy which he played with great fl ourish. It was Widor—that was new to me. If you are in (1549–1609), which showed some of the immediately clear that this little organ was the market for a good piano/organ duet, reed stops; the next version of the cho- not afraid to speak up for itself. Next were I can recommend this one. rale came from Johann Ludwig Krebs’s two of Bach’s Schübler Chorales. Wachet Tim Drewes then played Sortie (from Clavierübung, showing us the beautiful auf used the Great fl utes 8′ and 2′, with L’Organiste Moderne) by Louis James Al- fl ute stops; and the last was a Fantaisie the Swell Trumpet 8′. The pedal seemed fred Lefébure-Wély, which sounded like sopra “Une Jeune Fillette” by Bert Matter to be Subbass 16′ and the Choralbass 4′. theatre music—spirited with plenty of (b. 1936), which had a variety of sounds It worked well. Kommst du nun showed contrast. Ah, how different early 19th-cen- rhythmic and pulsating. By the end it off the twinkle in the eye of this neo-ba- tury Parisian church music was from what receded to quiet fl utes, which restated roque organ. Krueger followed that with it would become! He then led us in the the chorale. Tegels closed the fi rst half a gentle reading of Krebs’s Herzlich lieb’ Bond Organ Builders, Opus 23, St. hymn “All my hope on God is founded” of his program with the Praeludium in D hab ich dich, o Herr, with the ornamented Stephen’s Episcopal Church, Seattle to the tune Michael, written by Herbert Minor (originally E minor) by Nicolaus chorale melody on the Swell Cornet with (photo: William Van Pelt) Howells and dedicated to his young son Bruhns. The small arpeggiated fi gures a sweet tremolo. The hymn was “At the Michael, who died of polio. I never fail to on the Positive were delicious. When he Lamb’s High Feast We Sing,” which was St. Stephen’s Episcopal Church in Se- be moved by this hymn and tune. brought on the 32′s at the end we were sung in alternatim with Pachelbel’s Partita attle was next, with a recital on its fi ne Cheryl then played Rooster Rag by transported. Thrilling playing! on “Alle Menschen.” It gave us a fi ne tour 2-m, 47-rank Bond organ, Opus 23 from Muriel Pollock (1895–1971), a humor- After intermission, we sang the hymn of this instrument. Full organ, complete 1994. Leslie Martin, organist and di- ous little piece that would make a good “Ye Watchers and Ye Holy Ones” (Lasst with zimbelstern, was surprisingly hearty. rector of music at the church, was the encore. Hopping back on the bench, Tim uns erfreuen) with a fi ne introduction It was a good demonstration recital. performer. The church is an A-frame Drewes played a cheerful Bergamasca composed by David Dahl. Tegels then On a very high bridge, we crossed the structure, and the organ stands behind by Samuel Scheidt, showing this organ’s treated us to Bach’s Prelude and Fugue ship canal that connects Lake Washing- the altar. Its mainly copper façade pipes versatility. Cheryl Drewes then ended in G Major, BWV 541. The boastful, ton with Puget Sound and entered the are surrounded by a wall of panels that this engaging concert with a fi ne reading chest-thumping music bounced along University District in bright sunshine. have lace-like carvings through which of Mendelssohn’s Sonata in D Major (op. with a sense of self satisfaction, the wind We parked in front of our next venue, we could glimpse a chapel behind the 65, no. 5). system giving us a lovely crescendo on University Christian Church, a fi ne struc- organ. The church also owns a portative Sometimes you can tell a great deal the fi nal chord. Next was a Suite, op. 34, ture in English Gothic style. The interior organ by John Brombaugh. It has carved about an organ builder just by visiting his no. 1, by Widor for organ and fl ute, in is dark, with a horseshoe balcony. Great fi gures on three sides of people playing or her shop. The Paul Fritts & Co. or- which Tegels was joined by fl utist Jenni- swaths of peach and white fabric were instruments. Brombaugh himself ex- gan shop in Tacoma (Parkland) is a thing fer Rhyne. It was very pretty music that hung from the side balconies to the rear plained many of the details. It came from of great beauty. The wooden building is seemed highly agreeable and accessible, balcony to help relieve the darkness. The a group of six instruments built in 1979 stained with an almost amber color. The although the Scherzo has challenges. windows were attractive, and the ceil- in his Eugene, Oregon shop. large main door rises twelve feet or so to a For his fi nal work, Tegels chose Alex- ing was painted in rosettes of deep blue, Martin began his program with Toc- curved arch with faceted wooden insets. andre Guilmant’s Sonata I in D Minor. pale blue, light green and a rich red. This cata Quinta by Frescobaldi, followed We were served wine and snacks and got He invested a great deal of vitality into would be our fi rst electro-pneumatic or- by Ricercar Quinto Giovanni, by Paolo to look at upcoming projects and parts of the Introduction and Allegro, followed gan: a large Casavant Frères, Ltée., Opus Cima (1570–1612). Next, Pange Lingua an early 19th-century case they are re- by just the right amount of letting up be- 1302, from 1929, 4-m, 60 stops. It was by Nicolas de Grigny: Plein Jeu en taille storing. It was all very inspirational. fore the da capo. I am so glad that in the dedicated by Marcel Dupré on October à 4, Fugue à 5, in which we heard the We then drove a few blocks to the last 25 years or so we are hearing Guil- 29, 1929, and stands in the front of the powerful Great Cornet V and the Swell campus of Pacifi c Lutheran University. mant’s music once again. The wonderful church, with the pipes in two chambers Trompette, and fi nally, Récit du Chant Huge old growth Douglas fi r trees tow- Pastorale, which I like to use during com- on either side of the chancel. de l’Hymne précédent, giving a good air- ered over rich green lawns and beauti- munion or as a prelude, was very nicely Peter Guy, organist and master of the ing of the fi ne Swell Cornet in the tenor ful landscaping. We were served a deli- played. There are so many fi ne 8′ sounds choristers at Christ Church Cathedral, register with tremblant.

22 THE DIAPASON

Mar 09 pp. 20-25.indd 22 2/11/09 8:23:34 AM Next was Brahms’s O Gott, du from- The fi rst variation used what sounded ia. He is also adjunct instructor in organ mer Gott, demonstrating the versatility like the Doppelfl ute 8′ on the Swell—a at the University of Richmond, and leads of this organ’s foundation stops. He then full, rich sound; 8′ and 4′ fl utes were up OHS organ tours of Europe. I truly ad- played Messiaen’s Apparition de l’Eglise next. He arched the phrases nicely. The mire and respect his playing. He began éternelle. I visited Messiaen’s church in strings repeated the opening theme. with J. S. Bach’s Canonic Variations on Paris, Eglise de la Sainte-Trinité, one Next were two pieces by Schumann: “Vom Himmel hoch, da komm’ ich her,” year ago. Even though I did not hear the Sketch in D-fl at Major and Canon in B BWV 769. After three variations, we organ, this music was in my head, and I Minor, in which he made the most of the sang the hymn “From Heaven Above to wondered at all the glorious improvisa- resources of this organ. The jolliness of Earth I Come” (Vom Himmel hoch). tions he must have created in that col- the D-fl at gave way to the jingle bell ef- The organ led us very well. Stevens then orful space. Leslie Martin’s tempo and fect of the B-Minor. He brought his fi ne played the fi nal two variations, delineat- approach were faster and more robust program to an end with Mendelssohn’s ing the parts of the canons with clarity than I would prefer, but in a room lack- Fugue in E Minor, giving it a spirited and grace. ing reverberation like this one, it may performance. Organ and organist were There followed yet another canonic have been a wise choice. He closed with well matched. He managed the wild ride piece: Schumann’s Piece in Canonic the Adagio from Widor’s Symphony No. that is the pedal part of this piece with Form, op. 56, no. 5; again we had a 2 in D Major, op. 13, no. 2. We heard the great élan. His clean playing gave life to clear idea of where the music was go- strings and the Great Harmonic Flute to the music. A superb performance! ing. He ended with Schumann’s Fugue which was added the Great Montre 8′. It on the Name of B-A-C-H, op. 60, no. 6. was a good, rich sound! The hymn was Stevens used this wonderful organ very “O Day of Peace That Dimly Shines” to well, letting us hear its fi ne colors and Parry’s distinguished tune, Jerusalem. refi ned voicing. The glorious ff fi nale I like a more majestic pace for this tune, was spine-tingling! but it was good to hear it sung by the Our next event was a dinner cruise Kenneth Coulter, Opus 6, Calvary great voices of the OHS! aboard the elegant “Spirit of Seattle.” Lutheran Church, Federal Way (photo: We were served a nice box lunch in The relaxing evening took us on a cruise Stephen Schnurr) the parish hall. On the way to the buses of the beautiful waters of Puget Sound. many of us were taking pictures of the The food was bountiful, the conversa- Böhm, which would be the hymn we beautiful fl ower gardens around the tion was friendly and stimulating, and would sing at the end of the program. church and in the neighborhood—blue the scenery was magnifi cent. The huge We moved forward to the end of the hydrangeas and giant roses of all colors! skyscrapers of downtown Seattle and the 19th century for Brahms’s O Welt, ich graceful Space Needle slowly began to muss dich lassen, and then heard Bach’s shrink as the natural landscape took cen- Herr Gott, nun schleuss den Himmel auf, ter stage. A full moon appeared as mist BWV 617. The ornamented chorale tune clung to the shores of islands and pen- was played on the organ’s Schalmei 8′, insulas, while the Cascade Mountains but it did not seem to be alone. She then rose behind. Dominating all was Mount played a gentle little Trio in C by Krebs, Rainier, gazing down like an Old Testa- followed by Bach’s Liebster Jesu, wir ment prophet. We began the cruise in sind hier, BWV 751, for which she used the bright sunshine of the late afternoon, the Rückpositive Cornet with tremolo. returning to shore at dusk just as the We heard the Trumpet on Bach’s Der lights of the downtown buildings and the Tag, der ist so freudenreich, BWV 605, Space Needle were beginning to twinkle and she closed with Fuga in C (“The magically. It was a perfect evening. Fanfare”) attributed to Bach. Shull gave Metzler Söhne, 1971, St. Thomas it a wonderful sense of momentum and Episcopal Church, Medina (photo: William Thursday, July 17 joy—fi ne playing all around! Van Pelt) Thursday began at Calvary Lutheran Our last stop of the morning was Church in Federal Way, Washington, Kilworth Chapel at the University of I was keen to get to our next church with a recital by Sharon Porter Shull, Puget Sound in Tacoma, with its elegant because I always enjoy Bruce Stevens’s minister of music at Agnus Dei Lutheran Paul Fritts & Co. organ, Opus 8, from concerts, but also because the church, St. Church in Gig Harbor, Washington, on 1989. We had gotten ahead of schedule, Thomas Episcopal Church, Medina, has the church’s Kenneth Coulter organ, however, so they gave us a brief tour of a 2-m and pedal, 22-stop Metzler Söhne Opus 6, built in Eugene, Oregon. Its two downtown Tacoma’s invitingly attractive organ, built in Dietekon, Switzerland in manuals, pedal, and 19 stops stand in the area. Dale Chihuly’s glass workshop is 1971. This would be my fi rst Metzler, rear balcony. Roger Meers’s essay in the there, as well as three grand old theaters and I’m told it is the only Metzler in the Atlas points out that the church’s low that have been mercifully spared the in- United States. I have many recordings of ceiling necessitated a Rückpositive. As dignities of the wrecking ball. Metzler organs, usually played by Ste- the church’s music program expanded, We soon arrived at the University 1892 Cole & Woodberry, Opus 225, vens’s teacher, Anton Heiller, so I am fa- the balcony was enlarged, bringing it for- of Puget Sound’s campus and its New St. John’s Episcopal Church, Kirkland miliar with their outstanding quality. The ward on each side of the Rückpositive. England-style chapel. The Fritts organ (photo: William Van Pelt) church is a cruciform pattern with tran- Shull opened with the Allegro from stands on the stage. Its case is white with septs, and the altar stands at the crossing Vivaldi’s Concerto del Sigr. Meck (sic) as accents of gold leaf and panels of pale We then crossed the attractive Lake beneath a lantern tower. The organ and arranged by Johann Gottfried Walther— green. Elaborate gold pipe shades stand Washington again and climbed up the choir are behind the altar. a most engaging piece, which she played guard above and below the dark façade steep bluff to St. John’s Episcopal Church Bruce Stevens, a well-known and in a most entertaining way. The organ pipes, heavy with lead. The organ is es- in Kirkland to hear Derek Nickels, di- distinguished fi gure at OHS conventions, has very sweet tones that were evident sentially North German, but the Swell rector of music at the Church of the Holy serves as organist at Second Presbyterian in the next piece, Partita on “Wer nur Oboe 8′ is a copy of a Cavaillé-Coll stop. Comforter (Episcopal) in Kenilworth, Il- Church in downtown Richmond, Virgin- den lieben Gott lässt walten” by Georg It was the fi rst Fritts organ to have a linois. I recalled hearing him at the 2006 convention and was eager to hear him again. He did not disappoint—secure, solid rhythm and sensitive musicianship again were the order of the day. The or- gan was a 2-m, 17-stop Cole & Woodber- ry, Opus 225, built in Boston in 1892. The OHS Seattle 2008 Organ Atlas has two articles about this fascinating instrument. Tom Foster tells of its original home in Highland Congregational Church, Westford Street, Lowell, Massachusetts. When the church closed, the organ was put in storage, and St. John’s acquired it in 1974. Glenn White of Olympic Or- gan Builders, Seattle, installed it in St. John’s, and later on Richard Bond Organ Builders did major work on the action. Stephen Pinel also wrote a fascinating essay for the Atlas on William B. Good- win, who designed the organ. The façade has three large false wood pipes followed by a row of some 27 pipes in a wide fl at. Its appearance is unique! Scott Hamil- ton described some of the other unique features of this instrument—it really was designed to play transcriptions. Nickels did just that. He made great use of the organ throughout the pro- gram, playing expressively in pieces like Meyerbeer’s “Coronation March” (Le Prophète) in an arrangement by Bryan Hesford, which showed contrasting sounds, and he built up to a wonderful ff. Next was John Knowles Paine’s Andante con Variazioni, op. 17. He began on a sin- gle string stop that fi lled the room nicely.

MARCH, 2009 23

Mar 09 pp. 20-25.indd 23 2/11/09 8:23:55 AM vorite of mine) began Hugo Distler’s Variations on “Frisch auf, gut Gsell, laß rummer gahn” from 30 Spielstücke. It was well played and demonstrated many more of the beautiful sounds of this landmark instrument. Gehrke’s fi nal selection was Bach’s Partita on “Sei gegrüsset, Jesu Gütig.” The chorale, played on the Great 8′ Principal, was a thing of beauty. Each variation revealed more of this truly great organ. The fi nal variation, with full organ, was powerful, intense, and moving.

Paul Fritts & Co., Opus 8, Kilworth Chapel, University of Puget Sound, Tacoma (photo: William Van Pelt)

Swell division, and Paul Fritts is a gradu- ate of this school. Fritts-Richards, Opus 4, St. Alphonsus Our recitalist was Paul Thornock, an John Brombaugh & Associates, Opus Roman Catholic Church, Seattle (photo: alumnus currently serving as director of 22, Christ Church, Episcopal, Tacoma William Van Pelt) music at St. Joseph’s Cathedral, Colum- (photo: William Van Pelt) bus, Ohio, where he presides over a large Reuter, Opus 138, First Presbyterian fantastic organ by Fritts-Richards, Opus 4 and magnifi cently red 2006 Fritts organ. California, Berkeley. He had the good Church, Tacoma (photo: William Van Pelt) from 1985. With 2-m, 33 stops in a fabu- His personality and his playing can best fortune to be assigned the organ by John lous acoustic, and a drop-dead gorgeous be described as ebullient. Thornock Brombaugh & Associates, Opus 22, 1979 Our next stop was the First Presby- case in the rear gallery featuring a Rück- opened with Buxtehude’s Praeludium (2-m, 23 stops) in the modern and strik- terian Church, Tacoma, for a recital by positive, it is a thing to behold. The case is in E Minor, BuxWV 142. This organ has ingly beautiful Christ Church, Episcopal, Lorenz Maycher. Whenever I see that of painted poplar. The carved and gilded power and a rich tone, and his playing Tacoma. David Dahl has been organist Maycher is playing for the OHS, I know pipe shades were made by David Dahl’s possessed the power and richness to there for 38 years and told us that while I’m in for a treat, especially when he is late father. This very German organ was match it. Next, in a partita by Walther the style is affectionately called “Brutal- seated at a big romantic organ like this built by two young men still in their twen- on Jesu, meine Freude, we heard a good ism” because it is all concrete and heavy large Reuter, Opus 138 from 1925 (4-m, ties who had never been to Europe. variety of the tonal features of this fi ne wood, the acoustics are great and people six divisions, 80 stops, 55 ranks, 121 reg- Our recitalist was Dana Robinson, 2-m, 34-stop organ. The Great Rohrfl öte can hear each other pray and sing. The isters). He led off with the hymn “Over who is on the faculty of the School of Mu- was very pleasing. The Swell 8′ Principal organ resounds nicely, too! the Chaos” to a tune by Russell Jackson sic at the University of Illinois. Those of with tremulant accompaniment by that The sun had just come out after a (b. 1962). Next was a piece by Richard us fortunate enough to have been at the Great Rohrfl öte was a truly beautiful cloudy morning, so it was appropriate Purvis, “Supplication” from Four Poems OHS convention in 2006 heard him give effect. Next, the Cantabile from Louis that we sang as our hymn “Now that in Tone. It was inclusive of all manner the closing recital on the amazing 19th- Vierne’s Symphonie No. 2 demonstrated the Daylight fi lls the skies” (Herr Jesu of supplication from quiet to intense. century organ in the Troy Savings Bank this organ’s romantic possibilities, includ- Christ, dich zu uns wend). Living as Then a work by Jaromir Weinberger Auditorium, and will not soon forget his ing its Cavaillé-Coll-style Oboe. I do just four blocks from John Brom- (1896–1994), The Way to Emmaus (A brilliant concert that warm night. So we More romantic literature followed: baugh’s Opus 33 (49 ranks) in the cha- Solo Cantata for High Voice with Organ) looked forward to hearing him again— the brilliant Toccata and Fugue in D Mi- pel at Lawrence University in Appleton, for which he was joined by gifted so- this time on a bright cool morning and nor, op. 59, nos. 5 and 6 by Max Reger. Wisconsin, I heard many familiar sounds prano Anneliese von Goerken, who sang on another amazing organ. Robinson Thornock’s keen sense of proportion and in Gehrke’s fi rst selection, Magnifi cat marvelously. Maycher made great use began his program with Modus ludendi architecture was evident, and he has a on the Third Tone by Lebègue. Brom- of the instrument’s many gorgeous solo pro organo pleno by Samuel Scheidt. He huge technique. The hymn was “Lo, baugh’s vocale voicing of the principals stops. If you have such an organ and a used the full plenum, which has a sur- He Comes with Clouds Descending” and fl utes, and the rich and full-throated good soprano, you might fi nd this a use- prisingly powerful sound. Next up were (Helmsley). This was another out- reeds were his trademarks on display. ful piece. two verses of Durch Adams Fall ist ganz standing recital at this outstanding con- The recently added Erzähler 8′ and I was glad to see that Maycher was verderbt by Heinrich Scheidemann. The vention. And we weren’t done yet! For Celeste 8′ made for a wondrous sound playing Sowerby. He is a Sowerby expert, fi rst featured the warm Principal and a lunch, we were treated to a midsummer in Langlais’ “Chant de Paix” from Neuf as anyone will tell you after listening to quiet reed. The second utilized a 4′ fl ute, cookout on the grounds of the campus Pièces. Written at the end of WWII, we his recordings. Today’s offering, ending beautifully and expressively played. He beneath the Douglas fi r trees that tow- can only wonder at the relief the French the program, was Sowerby’s Prelude on then went back for more Scheidemann: ered over an incredibly lush green lawn. felt in those days. This music takes us “Non Nobis, Domine,” which was played Es ist das Heil uns kommen her (two Our fi rst recital of the afternoon was there, and Messrs. Gehrke, Langlais and with great expression and strength. verses)—well played and using more of given by Rodney Gehrke, director of Brombaugh transported us to that eter- The evening event began with a bliss- the instrument. music and liturgy at St. Mark’s Lutheran nal song of peace with their gifts of skill, ful late afternoon non-scheduled free Up next was Buxtehude’s setting of Church, San Francisco, and at the city’s art, and grace. hour in downtown Seattle, followed by Nun bitten wir den heiligen Geist, Bux- Temple Emanu-El. He also teaches un- The Harfenregal 8′ on the Great a delicious meal in Hildebrandt Hall of WV 209. I believe we heard the Rück- dergraduate organ at the University of (a stop also on the LU organ and a fa- Plymouth Congregational Church. We positiv Sesquialtera II playing the orna- then made our way upstairs to the oval- mented chorale tune against the Great shaped church with its white/ivory walls Violdigamba 8′ (sic)—gorgeous, clear and small stained glass windows to attend sounds. That was also the hymn, which Choral Evensong as sung by the Choir followed immediately. It was quite an ex- of St. Paul’s Episcopal Church, Seattle, perience to sing this hymn with this very Gary James, choirmaster. Thomas North German organ in the resonant Foster was the conductor, and Craig space of St. Alphonsus Church. Then Phillips was the organist. The Rev. came Buxtehude’s Ciacona in E Minor, Ralph Carskadden, from St. Mark’s Ca- BuxWV 160. Robinson began with the thedral, was the offi ciant. It was a beauti- 8′ Principal and built from there. Or- ful service. The choir did very well, the gan, organist, literature and room were music was well chosen and conducted superb. Finally, we came to Buxtehude’s with grace. Craig Phillips played very great setting of Te Deum Laudamus, well on the church’s 3-m Schlicker, with BuxWV 218. I especially enjoyed the 53 stops and 63 ranks. All the pipes are Great Trommet 8′. This organ has big- behind a screen that stands in back of the scaled pedal reeds, which he used well, altar. Phillips wrote quite a bit of the mu- including a full-length 32′ Posaunen. sic performed at this service, including a We were given a most thoughtful dem- very nice Prelude from Triptych for Or- onstration of this instrument by one of gan, and Serenade for Horn and Organ, America’s fi nest players. for which he was ably joined by Maxwell After a windy ride through the city, we Burdick. Psalm 150 was sung to an An- found ourselves in the beautiful “First glican chant by Charles Fisk (Menlo Hill” neighborhood overlooking down- Park)—a nice touch! Phillips also sup- town Seattle. We arrived at First Baptist plied the anthem, Teach Me, My God Church and its newly acquired 3-m, 35- and King, that I liked quite a lot, and the rank Aeolian-Skinner from 1953, which postlude, Toccata on “Hyfrydol,” which came from First Methodist Church in Ta- is a terrifi c piece. coma, and was meticulously restored by Bond Organ Builders. Stephen Schnurr Friday, July 18 presented the OHS Historic Organ Ci- The last day of the convention—some tation. The organ is in two chambers on really fi ne events were coming our way, either side of the altar and baptistry. and we were eager to plunge right in. We Our recitalist was Douglas Cleveland, began at the large St. Alphonsus Roman who opened his program with Handel’s Catholic Church in Seattle, which has a Concerto in B-fl at Major, a piece played

24 THE DIAPASON

Mar 09 pp. 20-25.indd 24 2/11/09 8:24:14 AM on this organ 50 years ago by David Craig- ly, he knows and understands these re- head. The middle section featured what markable organs completely. I believe was the English Horn, a lovely The great and fi endishly diffi cult Toc- stop. Next was Virgil Fox’s famous ar- cata brought the Suite and convention rangement of Bach’s Come Sweet Death. to a dramatic conclusion. Adam’s perfor- Cleveland played it with great tender- mance was as magnifi cent as the organs ness and expressivity. The hymn, “O for a he was playing. We were all swept away Thousand Tongues” to the tune Azmon, by his powerful strength and energy. The was followed by a charming Scherzetto by air above and around us was charged with Joseph Jongen and the lovely Woodland his utter mastery of this music. With the Flute Call by Fannie Dillon (1881–1897), huge 32′ stops giving us ground, it was at which I believe was soloed on the Great Rosales Organ Builders, Opus 30, St. times almost gloriously terrifying—a fan- 4′ Flute Harmonique. James Roman Catholic Cathedral, Seattle tastic experience! There was an encore: Cleveland closed his program with (photo: Stephen Schnurr) Dupre’s Prelude in G Minor, a somewhat the brilliant and dashing Four Concert Hutchings-Votey, Opus 1623, St. James palate-cleansing feeling to calm and give Etudes by David Briggs (b. 1964). Fol- Roman Catholic Cathedral, Seattle Solemn Meditation by Timothy Tikker (b. rest to our spirits. I did not want to leave lowing an introduction, it charged into (photo: William Van Pelt) 1958). It is a lovely work, very quiet at fi rst, this building. It was a transforming recital, the toccata-like “Octaves.” The next almost brooding, the music leading into a one none of us will forget anytime soon. movement, “Chordes Alternées,” fea- fl oor ballroom. Then it was off to St. surrender to faith. It soon brightened, the tured the Choir fl utes alternating chords James Roman Catholic Cathedral, which manuals refl ecting the stepwise melody Closing thoughts in various octaves with a melody in the is perched dramatically on First Hill in fast notes while the pedal sounded out This was an unusual OHS convention. pedal. Then a “Sarabande,” featuring the overlooking the southern end of down- the theme in long notes. All the while a While we heard plenty of old instru- lush Aeolian-Skinner strings. The fi nal town Seattle, with its mixture of indus- crescendo grew. It is a fi ne piece and a ments, they were transplants from the movement entitled “Tierces” uses many trial loading cranes for the ships of Puget good addition to the repertoire. east or elsewhere. We were witness to a of the motives of the earlier movements: Sound, offi ce towers, and huge sports After intermission, Adam appeared at new, more youthful voice on the national octaves, alternating chords, etc. Cleve- venues. We were at St. James for the clos- the east end of the cathedral, and played and international stage, the emerging in- land gave a fi rst-rate performance. ing event of the convention: a recital by the Rosales organ. He began with an- fl uence of the modern organ world in the We then enjoyed a tasty box lunch in the cathedral’s organist, Joseph Adam. other piece by Timothy Tikker, Varia- Pacifi c Northwest. Two names came up the labyrinthian but cozy basement of This magnifi cent Romanesque church tions sur un vieux Noël. The Rosales again and again: John Brombaugh and the First Baptist Church. After lunch, we has been remodeled/restored so that organ makes sounds that complement David Dahl. These two gentlemen have returned to the sanctuary for the OHS the altar stands at the crossing. There is rather than compete with the room’s led this movement and deserve our ad- annual meeting. Orpha Ochse was fet- a large oculus above the altar, which, in elder statesman in the west end gallery. miration. Martin Pasi, Paul Fritts, Rich- ed for all her work on behalf of the organ photographs I’ve seen, sends a dramatic We heard bell sounds against strings, ards & Fowlkes, Taylor & Boody, and and the OHS. Joseph McCabe, chairman shaft of light into the building from the reeds creating open fi fths, tierces sound- others got their start here. of the 2009 convention in Cleveland, sun above—like the hand of God reach- ing against trumpets. A fugue broke out I had a great time at this well-organized gave us a tantalizing peek at all the good ing in. At the west end, in a beautiful that was quite lively and grew to full or- convention, seeing old friends, making things it promises. case, stands the historic musical treasure gan. I really liked this piece, and I like new ones, eating good food, and getting Following the meeting, we had a we had come to hear: the great Hutch- this organ. We then sang “Come Down, to know the organ world in this part of choice of spending some free time at the ings-Votey organ of 1906. It had escaped O Love Divine” (Down Ampney) to his the country. Much more will come from Seattle Center, which includes the Space unharmed when the great dome of the marvelous accompaniment. this school of organ building. Let us enjoy Needle, or attending a recital by Gregory cathedral collapsed under the weight of Joseph Adam closed this fantastic watching it unfold. The Organ Historical Crowell at German United Church of a massive snowstorm in 1916. In 1926 a recital (the cathedral, by the way, was Society will be observing it all with great Christ in Seattle. Since I had been to the Casavant sanctuary organ was installed in packed—we OHSers only occupied the curiosity, and interest. See you next sum- Seattle Center before, I chose the recit- the east apse. While it had only 21 stops, transepts!) with Maurice Durufl é’s Suite, mer in Cleveland, July 5–10! Oh, and my al. True to form, we were early by about it had a 4-m console that connected the op. 5. The Prelude used both organs, horoscope was dead on! ■ a half hour. The little church, in a quiet two organs. The 4-m Hutchings-Votey creating a sonic spectacle that is pos- neighborhood and with a small congre- organ has 48 stops. In 2000, the Casavant sible in only a handful of buildings. The Frank Rippl is a graduate of Lawrence gation, has a rare treasure in these parts: was replaced by a new organ by Rosales Sicilienne featured a solo reed that fi lled University Conservatory of Music, where he studied with Miriam Clapp Duncan and Wolf- a 1917 Hinners organ, Opus 2324. It Organ Builders, retaining fi ve ranks from the church. Sweet strings and a bubbling gang Rübsam. He is co-founder of the Appleton was built in 1917 for St. Jakobi Lutheran the Casavant. It totals 48 ranks on four fl ute lightly danced for us. Adam is an Boychoir, coordinator of the Lunchtime Organ Church in Allison, Iowa, and, after a few manuals. The Rosales pedal includes a alert and wise musician—able to address Recital Series in the Appleton, Wisconsin area, moves, it wound up in the safe hands of Bombarde 64′, which is unlabeled. Only composers’ thoughts and bring them to and has been organist/choirmaster at All Saints’ the Organ Clearing House. Legendary the BBBB sounds, but it is most impres- us in an astonishing array of color. Clear- Episcopal Church in Appleton since 1971. OHSer Randall Jay McCarty, organist of sive. The Rosales case wraps around the this church, installed the organ in 1976, wall of the apse in a series of Roman- replacing an electronic substitute. It has esque arches. Like the Casavant, its con- one divided keyboard and pedal and is a sole can play both organs. sweet charmer. Since we were so early, An ancestor of the cathedral’s fi rst our distinguished recitalist Gregory organist, Franklin Sawyer Palmer, was Crowell, a favorite OHS performer (this introduced to the audience. The direc- Eloquence and Artistry would be his sixth convention appear- tor of music, Clint Kraus, spoke of the ance), agreed to begin 30 minutes early. last visit by the OHS to the cathedral It was amazing how much he man- in 1982, when an historic citation was in Organ Building aged to get out of this six-rank instru- presented. Kraus said that that presen- ment. He began with Huit Fugues pour tation was the impetus to restore the le Clavecin ou l’Orgue by Johann Philipp Hutchings-Votey organ. Kirnberger: Preludium I & Fuga [1], Joseph Adam opened his program which worked quite well. The organ was on the Hutchings-Votey organ playing hand pumped. Then, using the electric Bach’s Chaconne in D Minor as tran- blower, Crowell played Contrapunctus scribed by Wilhelm Middelschulte. I from Kunst der Fuga, BWV 1080, by We were all transfi xed by the amazing Bach—something I never thought I’d fl utes on this magnifi cent organ. Then hear on a 1917 Hinners. But the organ came the foundation stops, which were held its own, and Crowell played it very followed by the trumpets. The kaleido- well. Next came music by Max Drisch- scope of tones being fl ung into the vast ner (1891–1971): Choralvorspiele für reverberant space was quite wonderful. Dorforganisten; “Wie schön leuchtet der It calmed down to a pp with rapid repeat- Morgenstern” was played on the pleas- ed notes on the fl utes. A big crescendo ing little 4′ fl ute; “Die Sonn’ hat sich mit briefl y included the 32′ reeds, followed ihrem Glanz gewendet” used the strings; by a lessening of tone as we heard more and “In dir ist Freude” employed the full and more of this instrument. sound. These are very nice and acces- The oculus let in the last light of day as sible pieces. we awaited the next selections, three well- Next was the hymn In dir ist Freude, known and loved pieces by Louis Vierne: which we sang in German. Again the or- Naïades, op. 55, no. 4; Claire de lune, op. gan was hand pumped. The next piece 53, no. 5; and Carillon de Westminster, was a bonbon: Träumerei, op. 15, no. 7 op. 54, no. 6. In Naïades, his fi ngers fl ew by Robert Schumann, in an arrangement over the keys, fl utes and strings seeming by Clarence Eddy. Then came a Pasto- to race up and down the Romanesque rale by Bossi, which seemed to use every arches of the cathedral. Claire de lune register on the organ—an amazing array was all tranquility—our thoughts could of sound and color. Next up was a Ca- wander slowly as they do in moonlight. Saint Andrew’s Episcopal Church, Denver, CO priccio by one A. Pedro Zuazo (fl . 1890) This was heartfelt organ playing. Who Timothy Krueger, Music Director, Frank Nowell, Organist that he played in a cheerfully agreeable could not love the organ hearing such a manner. Crowell closed his program with beautiful solo fl ute singing to us—lost in Church Sonata I, III. Allegro, by James beauty, awe and wonder. He played the Woodman (b. 1957). I never cease to en- Carillon de Westminster brilliantly: con- Member, Associated Pipe Organ joy hearing music by composers of our trolling and holding the reins together John-Paul time on old instruments. These instru- until just the right moment when he al- Builders of America ments are never out of date. This one lowed the music to explode. I’ve never Buzard 112 West Hill Street played music from a wide spectrum and heard it played better. Pipe Organ Builders Champaign, Illinois 61820 handled all of it with ease. Good organ We then sang the hymn: “Of the Fa- building is timeless. ther’s Love Begotten” (Divinum Myste- 800.397.3103 • www.Buzardorgans.com We then returned to the hotel for rium), followed by a piece commissioned our elegant buffet dinner in the twelfth for this convention, Divinum Mysterium:

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