July 06 pp. 24-26 6/7/06 11:57 AM Page 24

Globe Trotter: A conversation with Joyce Johnson Robinson

ot too many of today’s organists organ without having played the piano, Nhave a listing in The New Grove but there is much to be gained from Dictionary of Music and Musicians. playing more than one keyboard instru- One who does is Thomas Trotter, who ment. Bach himself advocated the clavi- has made his mark with a dazzling, chord for developing a sensitive touch. effortless technique and compelling A sensitive touch and a good ear are interpretations. In 2001 the Royal Phil- crucial on the piano, and that can surely harmonic Society presented their only benefit organ playing too. A good Instrumentalist Award to Trotter, citing piano technique is also very helpful him as “one of the foremost exponents when it comes to playing the Romantic of the organist’s art” who “makes the and contemporary organ repertoire. organ one of the most warmly romantic of instruments. His technical and musi- JR: Describe organist training in cal accomplishments have played a sig- . What does the college cur- nificant role in raising the profile of the riculum comprise? organ, an instrument at the heart of TT: There are two main options for British music-making.” Trotter was the organ study in Great Britain. One is the first (and so far, only) organist to win music college (for example, the Royal this award. College or Royal Academy of Music in Trotter has a busy schedule, under- or the Royal Northern in Man- pinned by his position as City Organist chester) and the other is university, with in , England; he is now both kinds of institutions offering cours- also Artistic Adviser and Resident es at degree level. The courses have a Organist of the Klais organ at Sympho- more practical bias at the music col- ny Hall there, where he gave the open- leges, but often the performing oppor- ing recital in October 2001. He also tunities can be greater at the universi- serves as organist at St. Margaret’s ties where music students are in the Church, Westminster Abbey, along minority. The “apprentice” system exists with teaching, and performing concerts in both music colleges and universities in Europe and the U.S. Trotter pre- (at least those with links to cathedrals), sents upwards of 50 concerts a year but it is most strongly associated with (about half of those, in Birmingham). the Oxbridge colleges, where an organ He has performed with many orches- scholar will act as assistant to the direc- tras, including the , , Lon- tor of music (or be the director if there don, and Royal Philharmonics, and the isn’t one!). This is an extremely effective San Francisco Symphony. His appear- and comprehensive training, particular- ances at major festivals include ly useful for those wishing to pursue a , Vienna, and ; he church music career. has performed on major instruments, including at Woolsey Hall at Yale JR: Which track did you follow? Did (where he recently served as visiting you have aspirations for a cathedral artist-in-residence), St. Ouen in Rouen, post or were you more interested in France, St. Bavo in Haarlem, Nether- concertizing? lands, Weingarten Abbey in , TT: I was always more interested in and the Klais organ at the new concertizing, so I first studied at the Esplanade Concert Hall in Singapore. , London with Trotter’s performances, both live and , who is best remem- recorded, have received critical acclaim. bered today as the designer of the Royal A review of his most recent CD, Sounds Festival Hall organ. Phenomenal, praises the “mastery of I never planned to pursue the musical pace and flow” and “beautifully Oxbridge “apprentice” path and had lit- sensitive playing in the lovely Schu- Thomas Trotter in front of the Klais instrument, Symphony Hall, Birmingham, U.K. tle interest in church music, but the mann canons.”1 Trotter played the ded- (photo credit: Adrian Burrows) idea was put into my head by the then icatory recital on the Klais organ at director, Sir , who Overture Hall in Madison, Wisconsin; a We spoke with Thomas Trotter by TT: Yes, for a year before I went up pointed out that an Oxbridge organ reviewer commented on his “impecca- phone in March. to Cambridge, while I was still at the scholarship would be a good spring- ble articulation” and “deft foot work.”2 Royal College of Music. Until then I board for any performing career. So a The playing in Trotter’s recording of JR: It’s lovely to talk to you, and had no experience of church music, so it year later I applied for and won the (his own) arrangement of Mozart’s two thank you so much for agreeing to was a great preparation for life as a organ scholarship to King’s College Fantasies in f minor (K. 594, K. 608) do this. Are you in Birmingham Cambridge . Cambridge, where I read for a degree in was praised for its “technical brilliance right now, or are you in London? music and acted as assistant organist to and conservative, yet satisfying schemes TT: I’m actually in Windsor where I JR: How did you become interested the director of music Philip Ledger. At of registration.”3 live. in the organ? this time I studied with Dame Gillian The most recent addition to his TT: I had always wanted to play the Weir, who was a marvelous teacher and discography, which numbers over 20 JR: Are you near the castle? piano and started having lessons at the a great inspiration to me. After leaving recordings, is Sounds Phenomenal, TT: Yes, quite near, about five min- age of five. My piano teacher at my Cambridge I moved to London, where I recorded on the 4-manual Klais instru- utes’ walk. secondary school was also the organist embarked on a freelance career which ment in Birmingham’s Symphony Hall. there, and when I was 11 he intro- included playing harpsichord and organ He is represented in the U.S. by Karen JR: You were an organ scholar duced me to the organ. From then on continuo, accompanying on the piano, McFarlane Artists. there, yes? At St. George’s Chapel? I became much more enthusiastic some church work, and most important- about the organ than the piano, but I ly giving solo recitals. I had just won the continued to study the piano seriously St. Albans International Organ Compe- until I left the Royal College of Music. tition, which resulted in a number of So it was via the piano that I came to recital invitations. I also continued my the organ. studies with Marie-Claire Alain, travel- ing over to Paris once a month for JR: Did you continue your piano lessons. Her scholarly approach made studies because you felt that you me look at the music from a different needed that as a foundation, or was perspective, and I played French Classi- it continued interest in the piano? cal and Romantic instruments for the TT: Both! I wanted to play the piano first time. My big professional break repertoire, and anyway when I was came when I was appointed Birming- eleven I was barely tall enough to reach ham City Organist in 1983. the pedals. I realized that I wasn’t going to be able to play the organ properly for JR: Let’s talk a little about Birming- another few years, so in the meantime it ham. You are the City Organist was prudent to continue at the piano. It there, and also the Resident Organ- AHIGHER L EVEL of E XCELLENCE was also much easier to find a piano to ist at Symphony Hall. Are those two practice on than an organ—we had one actual different roles? at home for a start! TT: No, since my residency at Sym- Great musicians need extraordinary instruments phony Hall is an extension of what I JR: There is a new organ method was already doing at the Town Hall. As to deliver magnificent performances. approach, in which one doesn’t city organist I present a regular series need to start with piano; students go of concerts at the Town Hall, and, P.O. Box 156 • Orrville, Ohio 44667 • P 800.416.7426 • F 330.683.2274 • www.schantzorgan.com directly to playing the organ. since the arrival of the new Klais in TT: I’m sure it’s possible to play the 2001, at Symphony Hall also. In theory,

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JR: Your commitments include ment in Farmsum, which is a little Birmingham, serving as organist at town in North Holland. We were there St. Margaret’s Westminster, teach- in the depth of winter where the aver- ing, and concertizing, often in other age temperature was one degree centi- countries. Do you have flexibility grade—and that was inside the church! built into your commitments so that The organ is by Lohmann and dates you are able to travel? from the 1830s, but stylistically it’s very TT: Absolutely, yes, because travel- much within the 18th-century tradi- ing around playing concerts is my main tion. It has these wonderful sweet- source of income. The Birmingham sounding flutes that you often hear on position provides me with a very solid a fairground organ—you know, a cal- base, and I receive other playing invita- liope, or whatever you call it in Ameri- tions as a result of being there. At St. ca. I love that sound—that pure sound; Margaret’s Westminster I am responsi- it was perfect for Mozart. I’ve also ble only for the organ playing, so my recorded music by Jehan Alain on a commitments are not great, and with very large 4-manual instrument by Van the help of deputies I have complete den Heuvel in Katwijk, further down flexibility. For the last three years I’ve the coast of Holland. been teaching several of the organ scholars at Cambridge, which involves JR: Most of your recordings were two or three visits per term, so not a made on organs either outside the huge commitment there either. My pri- U.K., or if they’re in the U.K.—let’s orities are the recital series in Birming- say “Father” Willis doesn’t stand ham and my recitals elsewhere, and out in your discography! Is that just everything else comes after that. by chance? The formal Thomas Trotter (photo credit: TT: When I was in my twenties I JR: What level are your students? Adrian Burrows) just loved anything that was French. Are they concertizing already? Then I started getting into the Ger- TT: Yes. They all play in public to a good—these difficulties don’t exist man Romantics and early music. And professional standard, and the King’s when you are playing solo. You can then about eight years ago I realized scholars especially are used to working always tell more about an organist in a that I had neglected English music, under pressure whether it be in chapel, solo context! which audiences, particularly in concert hall or recording studio. Near- Europe, expect English organists to ly all of them will be professional musi- JR: Yes—it’s nice just to have your play. So recently I’ve tried to redress cians when they leave university. own canoe to paddle! the balance, and instruments permit- Sometimes they learn things rather too TT: Exactly! In the last few weeks ting I always include British music in quickly than they ought to because I’ve been working on a new concerto my programs. The Elgar Sonata is of they’re very good sight readers, which for wind band and organ by , course wonderful, there are great is an essential quality for an organ who was the former city organist in pieces by Parry, Stanford, Bridge, A very young Thomas Trotter scholar. But they’re very clever, and Haarlem in the . The con- Howells, Bairstow, and some exciting smart, and talented, so I feel lucky to cert will be at the , new music by Judith Bingham, James you could have a different organist be teaching them. which has a Cavaillé-Coll organ recent- MacMillan, Michael Nyman, and oth- playing at each venue, but the musical ly restored by Flentrop. He sent me a ers. But my recent recordings have scene in Birmingham is not big enough JR: Do you have enough time to computer-generated recording of the been on the Symphony Hall Klais, for to support two resident organists. practice? How do you fit that in? piece, which is quite comical in places, which traditional British repertoire is There have only been five city organ- TT: Well, the older I get, the less really. But it’s helped to give me an not an obvious choice. But it’s my ists since 1842, and they have mostly practice I seem to do, which is a dan- overview of the piece and how the intention to record English music in served for between 30 and 50 years. gerous thing to say. But I think I use the organ fits in with the orchestra. the future, and “Father” Willis might I’m in my twenty-third year now and time more efficiently. My organ at home come into the picture at that point. I’m planning to be around for a good has a very revealing touch, and two JR: You’ve recorded in the Nether- Authentic “Father” Willis organs can few more years! hours practice on that is equivalent to lands. be quite intractable though—they sort four hours on a lesser instrument. I TT: Yes, that’s right! I did a Mozart of clatter a bit, and the devices for JR: It seems that there are many rarely practice for more than three disc on a beautiful 2-manual instru- changing the stops can be primitive to more town hall organist positions in hours a day, but rarely less than two the U.K. than we have in the U.S. either. Sometimes practice means TT: Well, the whole tradition was preparing the registration for a concert First Presbyterian Church born in this country, so it’s not surpris- at a venue, sometimes it’s learning a ing that there are more positions here. new piece or revising an old one, some- A L B E M A R L E , N O R T H C A R O L I N A The English are by nature very conserv- times it’s just keeping your technique ative, and they jealously guard their tra- up to scratch—a bit like an athlete We are pleased to announce the design and construction of a new ditions. Another reason might be the keeping fit! system of public funding. All of these mechanical action pipe organ for First Presbyterian Church of Albemarle, town hall positions are funded by local JR: You seem to play mostly larger North Carolina. With councils, whereas in America the arts instruments—huge instruments! 26 stops over two rely much more on sponsorship by TT: That’s true, certainly in America wealthy individuals. The thing about and Britain. And obviously, if you’re manuals and pedal, the public funding is that it’s available in playing on a large organ, then you’ve got organ will be played good times as well as bad, whereas pri- to cut your cloth accordingly and play from a detached two- vate sponsorship can be more precari- the big pieces—which I enjoy. But I ous. There have been regular organ also play a lot of smaller instruments, manual console with recitals at since especially in the Netherlands and Ger- terraced stopjambs. 1842, and the commitment from the many, where there are many beautiful Currently under City Council is as strong as ever. historic organs. construction in our JR: How’s the attendance these JR: Smaller instruments can be lim- workshops, the days? Has it changed at all? iting for a lot of repertoire. instrument will be TT: We’re in an interim period at the TT: Yes, but it’s not a problem if the moment, because in 1996 the Town instruments are well designed. This completed during the Hall closed for a huge renovation pro- June I will play a concert in the Handel first quarter of 2007. ject, and for the last nine years the con- Haus in Halle on a one-manual organ certs have been presented at the near- with rudimentary pedals, built in 1770. GREAT: SWELL: PEDAL: by St. Philip’s Cathedral. Before the At first I was rather daunted at the Bourdon ...... 16’ Stopped Diapason ...... 8’ Subbass ...... 16’ hall closed, the regular attendance was prospect, but after some thought it Open Diapason ...... 8’ Viola di Gamba ...... 8’ Bourdon (GT) ...... 16’ 400 or 500 people, whereas at St. wasn’t so difficult to put together a Chimney Flute ...... 8’ Voix Celeste ...... 8’ Principal ...... 8’ Philip’s the attendance is half that program. I’ll play a Bach partita, some Salicional ...... 8’ Harmonic Flute ...... 4’ Flute ...... 8’ number. At Symphony Hall, the atten- Elizabethan music, some of the smaller Principal ...... 4’ Piccolo ...... 2’ Choral Bass ...... 4’ dance is usually around 400, but some Mozart pieces, and a pared-down Open Flute ...... 4’ Mixture ...... III-IV Trombone ...... 16’ of the events—the Christmas carol arrangement of one of the Handel Fifteenth ...... 2’ Trumpet ...... 8’ Trumpet ...... 8’ concerts for example—can attract up to organ concertos. Mixture ...... IV Oboe ...... 8’ 2000 people. Usual unison couplers, plus Cornet ...... III Tremulants for Great Swell to Great Suboctave. JR: I associate you with the larger— Trumpet ...... 8’ JR: Do a lot of young people come I’ll say “swashbuckling”—kind of and Swell divisions. to the concerts? pieces, with orchestra. TT: Nearly all of the concerts take TT: I’m certainly better known for place at lunchtime, and so our audience playing that repertoire, but I’ve always Orgues Létourneau Limitée consists mainly of retired people. We’d wanted to explore other areas of the like to attract more young people, but repertoire. And it’s true I do quite a lot generally the younger people are preoc- of concerto work, which started with In the USA: 1220 L Street N.W. In Canada: 16355, avenue Savoie cupied with earning a living, and the in Birmingham. I enjoy it, Suite 100 – No. 200 St-Hyacinthe, Québec J2T 3N1 really young people are at school! A cou- but not more than playing solo. There Washington, DC 20005-4018 Telephone: (450) 774-2698 ple of years ago at Symphony Hall we are so many technical difficulties associ- Toll Free: (800) 625-PIPE Fax: (450) 774-3008 had a very successful event aimed at ated with playing concertos—making Fax: (202) 737-1818 e-mail: [email protected] children, but this was a one-off event, sure the balance is right, coping with e-mail: [email protected] www.letourneauorgans.com and the regular support comes mostly acoustical delays, watching the conduc- from the older generation. tor and making sure the ensemble is

JULY, 2006 25 July 06 pp. 24-26 6/7/06 11:58 AM Page 26

have had the organ been completed in 1991. I’ve opened several other new Klais instruments—the one in Madison, the one at the Esplanade Hall in Singa- pore; in Moscow, at the House of Music, where Klais collaborated with Glätter-Gotz. JR: Did you take very much heat for working with Klais in Birmingham rather than championing a British builder? Was that an issue? TT: Well, we already had that issue at ’s Bridgewater Hall in 1997 where the organ was built by the Danish builder Marcussen. I was the consultant and very much in the firing line for that. But as a consultant you have to go with what you think is the best scheme regardless of nationality, and of course the larger English builders do regularly export their instruments abroad. JR: Are there special considerations when designing a town hall organ other than the obvious things—that Thomas Trotter (photo credit: Adrian Bur- this is a large hall, and the organ rows) Thomas Trotter next to Philipp Klais (center) during the inauguration of the Klais might have to work with an orches- organ at the Esplanade, Singapore, December 2002 (photo credit: Te Min Ong) tra as well as performing as a solo color of the instrument, and I so enjoy instrument? playing it. I love discovering pieces like say the least—they certainly present Certainly the best electric actions I’ve TT: Well, that is precisely the most that, that are modern and different, but their own problems! ever come across are found in Britain. important factor determining its design. at the same time are accessible. A town hall or concert hall organ needs That’s the other thing I’ve taken to JR: For a long time England was JR: You’ve played on numerous very loud stops to match the power of an doing in recent times—always playing a seen as provincial or parochial in Klais instruments. Were you orchestra and many 8′ stops, which will piece by a living composer. its organ building. This seems to be responsible for bringing Klais to assist with blend. It also needs to have changing. Are mechanical action Birmingham? Was that mostly your many pedal stops, including 32′ regis- JR: You’ve made some arrange- and a more classical orientation decision as the organ consultant? ters, because those pitches are lower ments of pieces—Leroy Ander- the norm? TT: The Symphony Hall organ pro- than what any orchestral instrument can son’s Sleigh Ride, the Mozart Fan- TT: The organ reform movement, ject first came up in 1989 as the hall was provide. Concert hall organs need a tasies, for instance. Did you enjoy which has been so important in shaping under construction. Because of lack of degree of eclecticism in order to cope doing those, and do you plan to do organ design in the last 80 or so years, hit funds it was decided to commission the with many styles of music played by any more? these shores rather later and with less organ in two stages, the first of which organists from widely different tradi- TT: It was fun, but writing out force than in the rest of Europe. But was to design and install the case façade. tions. But of course there are far more arrangements is very time-consuming. today the work of British organbuilders Klais won the contract on the strength similarities than there are differences The Mozart pieces were not such a is highly respected at home and abroad, of their innovative design, and the case between a town hall and a church organ. problem because I had already per- with many new organs now being built was installed in time for the opening of formed the music many times, and my for export. For the majority of builders I the Hall in 1991. The rest of the money JR: Playing transcriptions seems to arrangements don’t differ that much would say that mechanical action is the was raised some five years later, which be an interest of yours. What do you from the original four-stave versions preferred choice, but bearing in mind enabled Klais to complete the organ in think about them being back out that are currently available. Recently I the architecture of British churches and 2001. In the intervening years the origi- there after being out of vogue for so did my own arrangement of three move- the necessity of placing organs near nal concept changed, and I think we long? ments from Stravinsky’s Petroushka, choirs, this option can be impractical. have a better organ now than we would TT: Well, it’s great that we are which was challenging and certainly allowed to enjoy ourselves again! I first challenging to play. But it did help me became interested in transcriptions at to while away many hours in dreary King’s, where I always enjoyed the chal- hotel rooms. lenge of recreating the sound of the The OHS Cata log orchestra in pieces like the Fauré JR: Do you have any projects Requiem or the Vaughan Williams Five planned for the immediate future, Mystical Songs. But my real chance, my particularly recordings? Anything NEW! excuse for playing solo transcriptions, new coming up? came in 1983 when I was appointed TT: I did a recording of English Pipe Organs of Chicago Birmingham City Organist, as I knew choral classics with the City of Birm- by Stephen J. Schnurr, Jr. & Dennis E. Northway that this tradition had always been asso- ingham Symphony Chorus in January OLOR PHO TOS OF MORE THAN 100 ORGANS, and even more color pho tos of ciated with such positions. The first one for EMI, which will be released in the church in teri ors, or gan cases and fa cades, con soles, and other de tails ap - I learned was Wagner’s Meistersinger near future. I’m certainly planning to Cpear in this beau ti ful book. The au thors pro vide stoplists, his to ries, and overture, which I played at my first con- do more recording at Symphony Hall de scrip tions of the or gans in eight sec tions: or gans made in Chicagoland at the cert, and from then on I was hooked. I and the Town Hall when it comes back turns of the 20th & 21st centu ries; or gans in build ings that survived the Great usually include perhaps one or two tran- on stream in 2007—the time of the Fire of 1871; nine or gans in nearby places; 25 organs built during the “De cades scriptions in most of the programs I reopening is October 2007. So there’ll of Opu lence” 1911-1932; 23 or gans built in the Ameri can Classic and Neo-Ba - roque move ments; five “trans planted” or gans of the 19th and 20th centu ries; three “Simply Unique” or- play, and sponsors often ask for them. definitely be more recordings from gans; and eleven newer or gans built 1991-2005. Four indi ces are al phabet i cal, builder, geographic, and I’m not so keen on playing whole pro- there, but hopefully from other places OHS His toric Ci ta tions. 286 pages, hardbound. Book 78033 $50 grams of them, and I’ve noticed that as well. I’ve not been a prolific record- there are a few organists who are doing ing artist compared to some of my col- DVD that now. The legitimate repertoire leagues, but I make up for it with the NEW! A Tour of Or gans on ! should always take pride of place, and number of concerts I do—maybe Streets and Sounds of San Francisco there is some wonderful real organ 50–60 every year. Recording—I’m

OR GANS IN SAN FRANCISCO are played by Rodney Gehrke, David Hatt, and music that should not be ignored at the never satisfied with the results! You Rob ert Huw Mor gan at Temple Sherith Israel (1904 Murray M. Har ris expense of transcriptions. know, no matter how carefully I pre- O3m), The Ca thedral of St. Mary (4-manual Ruffati), and Stanford Me- pare, I always want to do it differently morial Church (dual-tempera ment Fisk organ), respec tively, as the camera JR: Well, I don’t think you could three months later! shows us the spec tacu lar in teri ors and ex teri ors of the build ings. Con tained ever be accused of tilting the bal- in the pack age with the DVD is also a conven tional CD with longer pro grams ance too far. But I’ve enjoyed the JR: What are some of your future from the three organ ists. Or der DVD San Francisco $29.95 transcriptions I’ve heard you play, plans and goals? and it’s nice to just lighten the mood TT: I don’t really have any long-term NEW! 2-CDs for Price of One Ae olian-Skinner, 105 Ranks! a little bit. plans other than wanting to improve as TT: Exactly! And it’s fun to hear music a player and continuing to broaden my William Teague in a different medium than the one for horizons. Discovering and learning new Shreve port Ca the dral which it was originally conceived. And music gives me the greatest satisfaction, DUPRÉ: Stations of the Cross, Complete GINASTERA: Toccata, Villancico y Fuga you read reports of Edwin Lemare’s and if I still enjoy playing 15 years from BINGHAM: Roulade MESSIAEN: Se rene Al le lu ias from L’Ascension playing, and apparently he used to bring now I will be happy! JOHN COOK: Scherzo, Dance & Reflection WILLAN: Intro., Passa ca glia & Fugue out details that you wouldn’t have heard Wil liam Teague , or gan ist/choir mas ter emer i tus of St. Mark's Ca the - in the orchestral version. Sometimes JR: Well, Thomas, thank you so dral, Shreve port, Lou isi ana, plays the 105-rank 1955 Ae olian-Skin ner. music can take on a different kind of much for your time. Very rarely recorded, this organ enjoys the sumptu ous acoustics of a life—you can hear things that you can’t TT: Not at all. A pleasure. grand build ing. The 2-CD set repre sents a ret ro spec tive of William Teague’s out standing art istry as 2-CDs for the Price of One hear in the original. a major con certiz ing organist of the mid-20th century. Ra ven Joyce Johnson Robinson is associate editor OAR-800 $14.98 JR: I’ve really enjoyed your record- of THE DIAPASON. ings, especially things like the Naji www.ohscatalog.org Hakim homage to Stravinsky and Notes Shipping $4.00 for entire order in U. S. your recording of Rubrics. 1. Ian Coleman, Choir & Organ, July–Aug Ship ping out side U. S.: $4.00 + post - TT: Rubrics is such an effective 2005, Vol. 13, no. 4, p. 75. age charged to your Visa or Mas terCard; piece—it has the perfect number of 2. Matthew Power, American Record Guide, spec ify airmail or sur face. Mar–Apr 2005, Vol. 68, no. 2, pp. 22–23. movements, none of them lasting too 3. Hugh McLean, Choir & Organ, Nov–Dec long, each of them exploiting a different 1995, Vol. 4, no. 6.

26 THE DIAPASON