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ities of their traditionally fully-equipped European counterparts. OK, we have the resources. How best A Commanding Voice should we use these marvelous, and expen- sive, gifts? You may think that the number of relevant organ works is small. Think Pipe organs are popping up in concert halls again. Through recordings and broadcasts, nationwide. Now—what to play on them? perhaps even more than through live per- formances, I have become aware of a con- siderable repertoire for organ-with-orches- by Michael Barone tra, not least being the three centuries of organ concertos ranging from G.F. Handel to Calvin Hampton. There’s more than just one “organ symphony,” too. And the pipe These are the best of times, or so Washington, D.C. (Aeolian-Skinner), and organ earns its place in the symphony’s they seem to those of us who relish the Milwaukee (Aeolian-Skinner/Austin) were space because it is used in core symphonic sonorous delight of a pipe organ in a con- somewhat ahead of the current surge of repertoire; who wouldn’t yearn for the surg- cert hall setting. In recent months, two activity. After a long dry spell during which ing effect of that extra octave of bass that fine American orchestras have inaugurat- too many new halls specifically omitted only the organ’s 32-foot pedal registers can ed lavish and costly new instruments: the pipe organs, most of the best recent orches- impart to a rich orchestral tapestry? Any Los Angeles Philharmonic at its eye-catch- tral performance facilities in the United conductor who attempts the final climax in ing, Frank Gehry-designed, year-old Walt States now, or soon will, match the capabil- Elgar’s Enigma Variations or Respighi’s Pines Disney Concert Hall; and the Mad- of Rome without the obbligato organ ison Symphony Orchestra, venturing presence does so at the risk of substi- a first season in its brand-new Over- tuting a mere standing ovation for a ture Hall designed by Cesar Pelli, season-ticket renewal. only blocks from the Wisconsin Composers in a remarkably broad capitol. Johannes Klais of Bonn, array, from Berlioz forward, under- Germany built the instrument for stood that the palette of orchestral Wisconsin, while behind Gehry’s tone color remains incomplete with- overtly postmodern Disney façade out the sometimes subtle, sometimes stands an organ engineered and con- seismic impact of a pipe organ’s com- structed by the Glatter-Goëtz com- manding voice. Saint-Saëns’s Third pany of Oewingen, Germany, with would be just another nice symphony tonal design and voicing by Los without its crucial organ part. Perhaps Angeles native Manuel Rosales. Both less obviously, Mahler’s Eighth, are marvelous. Khachaturian’s Third, Henze’s Sixth, These two orchestras join a signifi- Ives’s Fourth, Vaughan Williams’s cant list of other American orchestral First and Seventh, and Liszt’s Dante associations and concert halls now in and Faust symphonies would be seri- possession of recent or recently refur- ously diminished if denied the contri- bished pipe organs by noted builders bution of a concert hall pipe organ to from Canada, Italy, England, and the their overall effect. The instrument is United States: Dallas (Fisk), Seattle as indispensable in Respighi’s Roman (Fisk), Jacksonville (Casavant/ Festivals or Church Windows as in Quimby), Chicago (Moeller/Casa- Janácek’s Taras Bulba or Glagolitic vant), Boston (Aeolian-Skinner), and Mass. Master orchestrator Richard Cleveland (E. M. Skinner/Schantz). Disney Hall’s new organ makes a flamboyant visual impression Strauss calls for pipe organ in Also Additional new instruments are in- and a powerful aural one. It debuted in October with perform- sprach Zarathustra, and also in his process or planned for halls in ances of the Saint-Saëns “Organ” Symphony, Lou Harrison’s Alpine Symphony, Joseph’s Legend, and Philadelphia (Dobson/Rosales), Nash- Organ Concerto, Strauss’s Festival Prelude, and the world pre- even the final scene of Salome. Dare ville (Schoenstein), Costa Mesa (Fisk), miere of A Scotch Bestiary, a new work for organ and orchestra by we dispense with his organ-focused Atlanta (Dobson), and Miami (Man- James MacMillan. Also planned for the inaugural season are the Festival Prelude? Certainly not! der); while San Francisco (Ruffatti), Jongen Symphonie concertante and Copland’s First Symphony. Remove the organ from Tchai- SYMPHONY 57 R epertoire Top Ten, Times Two kovsky’s Manfred, Bartók’s Bluebeard, or King of Instruments Mahler’s “Resurrection” and you’ve got a But perhaps I’ve gotten a bit ahead of our Barone’s Top Ten List A flat soufflé. Holst’s may ask for only story by not first tracing the historic min- Planets Works featuring the pipe organ that one or two incandescent organ outbursts, gling of organ tone with other instruments. every orchestra maven should know but forget them and you might as well be This concert role for the organ began ten- scanning the heavens from your basement. tatively in the multi-choral works of 17th- 1. Joseph Jongen Symphonie concer- Play the organ part on an electronic imita- century Venetian composers. In the 18th tante for Organ and Orchestra, Op. 81 tor and sophisticated audiences notice— century, Vivaldi included organ parts 2. Francis Poulenc Concerto in G minor and complain—thus the recent interest in among his “concertos for diverse instru- for Organ, Strings and Timpani installing authentic pipes. (Honesty is the ments,” and Bach introduced virtuosic 3. Joseph Rheinberger Organ Concertos best policy.) organ lines in several of the sinfonias open- (No. 1 in F, Op. 137; No. 2 in g, Op. 177) Franz Liszt may have been the first to ing his cantatas—movements he later recy- 4. Samuel Barber Toccata Festiva for offer the pipe organ a new voice in secular cled as keyboard concertos. But I think Organ and Orchestra, Op. 36 symphonic circles of the mid-19th century. Handel deserves praise as the actual “inven- 5. Alexandre Guilmant Symphony No. 1 in D minor for Organ and Orchestra, Op. 42 6. Aaron Copland Symphony No. 1 for Organ and Orchestra 7. Howard Hanson Concerto for Organ, Harp and Strings 8. Paul Hindemith Kammermusik Con- certo No. 7 for organ and chamber orchestra, Op. 46, no. 2 9. Camille Saint-Saëns Symphony No. 3 in c, Op. 78,“Organ” 10. Horatio Parker Concerto in E-flat for Organ and Orchestra, Op. 55
Barone’s Top Ten List B A few masterworks you can be excused for having missed (in alpha- betical order)
Enrico Bossi Concerto in A minor for Organ, Strings, Horns and Timpani, Op. 100 In Madison, Wisconsin, the stage of the just-finished Overture Hall is dominated by the pipes of its Klais Alfredo Casella Concerto Romano for organ; the instrument has a moveable chamber that can be rolled onstage as needed. Inaugurated in Organ and Orchestra September with the Saint-Saëns “Organ”Symphony, Madison’s new pipes will also be feature this month Michael Colgrass Snow Walker (Con- in Jongen’s Symphonie Concertante; Janácek’s Taras Bulba and the Mahler Eighth, both with important certo for Organ and Orchestra) organ parts, are scheduled in the spring. Marcel Dupré Symphony in G minor for Organ and Orchestra, Op. 27 His Battle of the Huns (1857), one of the tor” of the organ concerto, with his path- Alexandre Guilmant Symphony No. 2 least known of his dozen excellent and rev- breaking works (sixteen of them) that fasci- in A for Organ and Orchestra, Op. 91 olutionary orchestral tone poems, casts the nated audiences during the intervals of his Naji Hakim Concerto for Organ and organ as a “Christian presence” amid a hea- oratorio productions. Other Londoners Orchestra,“Seattle” then hoard. The organ enters with a quiet, soon followed Handel’s lead, among them Jacques Hétu Concerto for Organ and chorale-like theme; but by the end, with all John Stanley (6), Philip Hayes (6), Charles Orchestra, Op. 68 stops drawn, it has become an overwhelm- Wesley (6), and James Hook (20). Two of Stephen Paulus Concerto for Organ, ing power, driving the score forward to a Bach’s sons also wrote organ concertos: Strings and Percussion (1992) thrilling, redemptive conclusion. This Johann Christian (6) and Carl Philipp Joseph Schwantner September Canti- organ part may not be technically chal- Emanuel (2). cle for Organ and Orchestra (2002) lenging, no stage for the virtuoso, yet its In France, Michel Corrette (6) and Malcolm Williamson Organ Concerto (1961) inclusion is absolutely compulsory in Jean-François Tapray (6) found their own —M.B. Liszt’s powerful and provocative score. way, while from later in the 18th century
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come works by Haydn (5), Frantisek By the mid-19th century, pipe tury) also created several single-movement Xaver Brixi (3), Karl Stamic (3), and organs could match the denser concert pieces for organ and orchestra. Joseph Anton Auffman (3), plus the texture and higher volume of the Much more substantial are Guilmant’s two Church Sonatas by Mozart (14) and a grandly extravagant “organ symphonies,” charming Pastorale by Gregor Werner. Romantic symphonic ensemble, from 1879 and 1911, the first of them pre- Neither Mozart nor Beethoven wrote and thus the organ began to dating Saint-Saëns’s Op. 78. Guilmant’s organ concertos, but Beethoven did voice appear as a functional facet of the pair are derived from or related to works he his specific appreciation of organists as the also published as organ-only solos (cover- most capable of musicians, because of new orchestral texture. ing his bets), in which guise he called them their improvisatory skills and multi- “sonatas.” limbed virtuosity. And let us laud Mozart the requests of his colleagues to write “a Guilmant’s colleague Charles-Marie for good taste; he called the pipe organ the sort of symphony” to inaugurate the insti- Widor, famous for his ten “symphonies” “king of instruments.” tution’s new concert room, with organ. for unaccompanied organ, also composed a By the mid-19th century, pipe organs His Fantaisie symphonique may be the pro- pair of large-scale symphonic pieces for could match the denser texture and higher genitor of a new genre, for it gave the organ with orchestra, in 1894 and 1908, volume of the Romantic symphonic organ more than a mere walk-on role. and combined movements from two of his ensemble, and thus the organ began to From the very first chord, the pipe organ is solo organ symphonies into an arrange- appear as a functional facet of the new boisterously present throughout the work’s ment for organ plus orchestra. Hearing is orchestral texture. Liszt’s Battle really did thirteen-minute duration, and matches believing: In 1927, Widor’s star pupil, start something. In 1866, the new director the symphonic ensemble both in volume Marcel Dupré, created his own Organ of the Brussels Conservatory, François and vigor. Symphony (as well as a major Organ Joseph Fétis, went “against his most con- After Fétis, the famed recitalist and Concerto); and his protegé Jeanne Demes- firmed feelings” but nevertheless followed teacher Alexandre Guilmant (who toured sieux wrote a fragrant Poème for organ and Liszt’s 1857 precedent. Fétis acceded to in the United States at the turn of the cen- orchestra.
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Numerous other composers in the Best of the Franco-Flemish bunch Rheinberger’s American pupil, Horatio Franco-Flemish pool continued this are Poulenc’s Concerto for Organ, Parker (also an esteemed teacher at Yale, sweep of activity: Louis Coerne, Eugene Strings and Timpani—an irrefutable where Charles Ives was a pupil) wrote but Gigout, Léon Boëllmann, and Charles one organ concerto (1904), more than Koechlin; and later, Flor Peeters, Jean masterpiece—and Joseph Jongen’s comparable to his mentor’s, even adding a Langlais, Pierre Petit, and Charles lavish and beguiling Symphonie double-pedal cadenza. Well before Parker, Chaynes. Best of this bunch, though, are concertante, a “Rachmaninoff Charles Zeuner composed for his own use the marvelous scores of Francis Poulenc what are likely the first two American- and Joseph Jongen. Poulenc’s Concerto concerto” for organ. made organ concertos (1830-31), and for Organ, Strings and Timpani (1938), organist and scholar Ebenezer Prout com- an irrefutable masterpiece, was created In the New World posed a similar offering; these two men with the assistance of organist friend It may seem as though you need to be an seem to have had the bench to themselves Maurice Duruflé. With equal parts organist, or know one, to write imagina- until Parker came along. German Baroque fantasy and French the- tively for the instrument. Famous as a But since Parker, Americans—organists atre, it touches both heart and soul. teacher of general music composition in and non-organists alike—have been quite Jongen’s lavish and beguiling Symphonie Munich, Joseph Rheinberger was himself a friendly to the notion of organ-with-orches- concertante (1926) holds the prize for prodigious organist who, in addition to 20 tra. Aaron Copland astonished everyone breathtaking grandeur and bravura. This sonatas, composed two marvelous concerti (particularly conductor Walter Damrosch) is a “Rachmaninoff concerto” for organ, (1884, 1895) for his instrument—richly with his First Symphony (1924), very much by way of Ravel. Its title combines notions melodic and very satisfying pieces, even a symphonie concertante for organ, created as of symphony and concerto; and many thrilling at times. Even his genial Suite for a debut vehicle for his teacher, Nadia Boul- other works for organ and orchestra, Violin, Cello, Organ and String Orchestra anger. A capable pianist, Copland wrote regardless of what they are called, strive (1887), while mostly subdued in effect, intelligently and creatively for the organ, in for a similar result. includes a fiery finale. a way that stretched the envelope. By com-
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parison, the Pulitzer Prize winner Leo when Rorem finally got around to writing Sowerby, a virtuoso organist and church his Organ Concerto (1985), it was not for musician who wrote two concertos (1938, Holmes but rather on commission. (One 1944), a Concert Piece (1951), and a must buy the groceries, after all.) Emma Medieval Poem (1926) for organ and Lou Diemer, composer of two organ con- orchestra, seems rather doctrinaire. His certos and a prolific creator in many gen- pieces, and those of quite a number of other res, writes both for friends and on com- American composers, including Walter mission. She is a superb player, too. Piston and Normand Lockwood, were Stephen Paulus, now with three successful championed by broadcast and recording organ concertos to his credit (1992, 2002, artist E. Power Biggs. 2004), was inspired to learn about the Samuel Barber, another sometime- instrument by his businessman father, organist, was commissioned to write his who was an avocational organist. bravura Toccata Festiva (1961) for the new The American Guild of Organists com- Aeolian-Skinner organ (since removed) at missioned an appealing pair of concert Philadelphia’s Academy of Music. He, like works for its national convention in Seattle Parker, enjoyed the visual excitement and in 2000. A perfect concert opener, Robert technical challenge of a soloist playing Sirota’s In the fullness of time thoughtfully with two feet (and no hands). Try that, explores the notion of millennial revelation, you violinists. with organ and orchestra in adroit balance; Ned Rorem’s life companion, James the “Seattle” Concerto by Lebanese-born Holmes (an organist), provided some Frenchman Naji Hakim mixes irrepressible “insider knowledge” to the composer, but rhythm and improvisational fluidity into a
NOVEMBER–DECEMBER 2004 äxÊ-9 *" 9°µÝ`ÊÊ£äÉÈÉä{ÊÊx\x{Ê* ÊÊ*>}iÊ£
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Aaron Copland astonished everyone with his First Symphony, created as > > a debut vehicle for his teacher, organist Nadia Boulanger. A capable *>ÊÕÌiÊ6 ÀÌ Õà pianist, Copland wrote intelligently for the organ in a creative way that >ÃÃV>]Ê 7 À`Ê ÕÃVÊ stretched the envelope. EÊ *«Õ>ÀÊ ,i«iÀÌÀi breathlessly cathartic romp, always on the English organist-composers have added brink. Both Sirota and Hakim are organists. colorfully to the repertoire. Check out Yet Joseph Schwantner, an outsider to the Malcolm Williamson, Peter Dickinson, organ world, delivered a jewel in response to William Mathias, Charles Stanford, Percy a commission from the Dallas International Whitlock, Basil Harwood, Quentin Organ Competition. His September Canticle Maclean, or Kenneth Leighton. (2002) is a profound and insightful reflec- The lists go on. (Two Italians, Enrico tion upon the tragedies of 9/11, music of Bossi and Alfredo Casella, deserve a men- powerful emotion and soothing balm. All tion.) And somewhere or other, someone three works are top-drawer, and the presence has recorded most of these pieces. But of the pipe organ brings their orchestral now’s the time to actually hear them live music to a higher emotional level. and, by getting the available repertoire on the boards, encourage living composers to From Lists to Live try their hand at this game, too. Yes, every Paul Hindemith, who claimed to know organ has its own personality, but writing how to play every instrument, wrote for them is not as problematic as it may insightfully for organ in his Kammermusik first appear. And while it may be true that Concerto No. 7 (1928) and also in his pro- more people hear organ music, live each found final work, an Organ Concerto for week, than hear any other acoustic instru- Lincoln Center (1963) which Anton ment, what’s done in church is very differ- Heiller premiered. That same year, Heiller ent from what is and can be done in a con- himself wrote an Organ Concerto, as one cert hall. It is a showplace, is it not? of numerous mid-20th-century Germanic Years ago, as a high-school kid collecting composers with neo-classic leanings— records, I found Frederick Fennell’s Joseph Ahrens, Theodore Brandmüller, Eastman Wind Ensemble album (still avail- Harald Genzmer, Gunther Raphael—for able, now on CD) of William Walton’s ºÃÌà }ÞÊÀ>«`ÊÌiV µÕi°°°Ê whom the pipe organ was a natural outlet. coronation march, Crown Imperial. On that iÝÌÀ>À`>ÀÞÊà « ÃÌV>Ìi`ÃÕ`ÃÊ The myths and realities of the Canadian disc, the Eastman Theater’s old Austin pipe iÊ V>Ê }iiÀ>Ìi°» "-Ê -Ê / - Arctic might not strike you as obvious organ surges in and around the climactic themes for an organ piece, yet Michael final pages: a compelling presence, a neces- Colgrass, a professional percussionist, uses sary binder, a glowing energy. By a happy ºÊi>À«iiÀ]Ê>Ê`ë>ÞÊL>ÃÌ}Ê them to explore some new dimensions of twist of fate, 35 years later I was honored to LÌ Ê>ÊÕVÊÛÀÌÕÃÌÞÊ>`Ê the organ as a “sound source” in his Snow join Dr. Fennell onstage at the Meyerson ÕÃV>Ê«iÌÀÞ°» <<Ê < Walker (1990), written for the Calgary Symphony Center in Dallas as host for a Organ Competition. With uncanny veri- program of “Pomp and Pipes,” with the ºÃÊV>`ÊvÊ ÃÊÃÌÀÕiÌÊ similitude, the organ functions both as Dallas Wind Symphony and the late organ- ÃÊ>ÃÌà }°»Ê - Ê "Ê/, 1 ghostly presence and icy wind. ist Paul Riedo at the Meyerson’s incompara- British composers after Handel have ble Fisk instrument. We rocked ’em, baby. not been sitting on their hands. Perhaps The music grabbed your guts—in a nice because of the ubiquitous presence of pipe way. That’s the “why” and the “how.”S ,-1 "Ê , /-/-]Ê organs in most large English music rooms Now, let’s make it happen. *iÀÃ>Ê >>}iiÌ (every town hall had a pipe organ, well ÀÌ ÃÌ VÊ >` Ê >>}iÀ>Ê ÃÕÌ>Ì before the cities could support orchestras), Michael Barone is host/producer of the there are plenty of opportunities for weekly radio series Pipedreams, which is {nÓ{Ê ÀÌ i>ÃÌÊ ÓÎÀ`Ê Û iÕi]Ê -ÕÌiÊ £Ó organs to sing along during the final pages distributed by American Public Media ÀÌÊ >Õ`iÀ`>i]Ê Ê ÎÎÎän{ÇÎÎ of celebratory hymns and coronation (www.pipedreams.org). He served as an > \Ê " 8J> ° V marches—all banners waving, and the advisor to the Walt Disney Concert Hall bombardes blaring, too. And a host of organ project. / ÀiiÊ /i i« i\Ê £nää{ÓÓ 1- SYMPHONY