AMERICAN GUILD OF ORGANISTS CENTENNIAL AGO CONVENTIONS 1941-1958

Stephen L. Pinel

Seth Bingham E. Power Biggs Robert Noehren

Howdy Pardners! humorous, some are poignant, and the last South. By then, our conventions were serv­ This here is a little ol' invitation from the one is pitiful: ing the needs of a large and diversifiedmem­ Lone Star State. We are fixin' to have a bership all over the country. Roundup next June 23 to 27 for all you organ Washington, D.C., 1941: Ladies attending During the 1940s and '50s, the two most folk at "Ranch Houston," so get out your events scheduled at the Washington Cathe­ important conventions were held in Boston boots, saddle up, and get on the Salt Grass dral will be expected to enter the church in 1950 and NewYorkCity in 1956. The reg­ Trail to "Ranch Shamrock Hilton." We are with your head covered.2 gain' to give you a real Texas welcome and At the Lido swimming pool of the Ward­ istration at those two events exceeded all sure-nuff,one which you won't forget.Yo' all man Park Hotel is a bathing beauty contest the other national conventions of the peri­ be fixing to attend th1s here Organ Rodeo... for men.3 od put together. It was in those cities that the greatest and most long-lasting innova­ So long for now, Pardner, St. Louis, 1948: Headquarters will be at the tions occurred. G. Alex. Kevan, Publicit� Hotel Jefferson.Rates are as follows: $3.50. 4 (Houston, 1958) NEW YORK CITY, 1956 Boston, 1950: Events have been worked The 23rd national convention took place By the time AGO members arrived in out to require a minimum of travel. Bumper between June 25 and June 29, and celebrated Houston in June of 1958, the many-faceted, signs will be given car owners at registrahon the 60th anniversary of the Guild. Because of multilayered, mega-national convention of to assist AGO hitchhikers.5 the war, there was no national convention in the American Guild of Organists was well es­ 1946 to mark the golden anniversary, al­ San Francisco, 1952: It was not surprising tablished. All the characteristics of modern though some local commemorations were conventions were in place: there were large that clever quips were heard about the fact that the AGO convention was following the held.1°Cognizant of the opportunity this af­ crowds, layers of simultaneous events, long Amalgamated Meat Cutters and Butcher forded, the New York committee organized days and short nights, the organ competition, Workmen of North America. One group at the biggest and most spectacular convention and recitals were presented by the leading Sunday dinner was playing a game attempt­ in the history of the Guild. Indeed, the 60th names in the profession. ing to decide which patrons of the restaurant anniversary was larger than life, and by all It was in the two decades preceding Hous­ were organists and which were butchers.6 reports a "barn burner" of an event. ton that the conventions made the transfor­ Registration broke all records with more Minneapolis, 1954: mation-both philosophically and pragmat­ Registration-$15. 7 than 1,600 in attendance. It was the largest ically-from the more localized General gathering of organists ever, and every effort New York, 1956: Last concert of the day: Conventions of the 1920s and '30s, to the ful­ was made to engage the finest performers. 2:00A.M., Milkman's Matinee Recital, George ly mature, fabulous AGO nationals we now Wright at the Mighty Wurlitzer. 8 Convention headquarters were located in no take for granted. But like any century-old es­ less a place than the famous Waldorf-Astoria tablishment, their evolution was a gradual Houston, 1958: Hotels. Shamrock Hilton Hotel, an institution in itself.The committee, process as each committee learned some­ Hotel, $7 to $9. Algiers Hotel (colored), co-chaired by Virgil Fox and Robert Baker, thing from the previous convention's suc­ $4.50. Texas Southern University (colored), reads like a "Who's Who" of the American cesses and failures. Sometimes a committee $2.50.9 organ world. abruptly broke with tradition, such as in A distinction held by the 1956 convention Houston, where the sacred-and expected­ Before World War II, all the conventions was that it was the first AGO national con­ banquet was supplanted with a Texas-style were held in the northeastern quarter of the vention to receive a glut of press coverage. rodeo, barbecue, and square dance! country. The Guild did go to Memphis and Throughout the postwar period, The Diapa­ But lest you think that nothing has Indianapolis in 1929 and 1931, respectively, son had functioned as the official organ of changed in the meantime, ponder the fol­ but it was not until 1952 that the first con­ the Guild, and routine news appeared lowing vignettes, taken directly from the re­ vention was held on the West Coast, and there.11 T. Scott Buhrman, the editor of the views and the program booklets. Some are 1958 when the Guild made it to the Deep old American Organist, was never happy

46 THE AMERICAN ORGANIST about that, so he made it his policy not to gether at St. Thomas for sung Morning and "certainly no inspiration to any student cover AGO events. After Buhrman's retire­ Prayer. All agreed that the service was su­ preparing for his examination." ment, Ray Berry, the new editor, brought a perb, maintaining an air of reverence and Later that afternoon,members split offinto competent team of reporters to the 19 56 con­ devotion without ostentation. Self, who di­ special interest groups. Harold Gleason and vention, and for the first time, 16 pages of rected, recalled that it took the choir most of Catharine Crozier chaired a forum on teach­ candid criticism about the convention ap­ the year to prepare the music.22 David ing with Robert Noehren, Leslie Spelman, peared in THE AMERICAN ORGANIST. Likewise, Fuller, the organist of Dartmouth College, Claire Coci, Vernon de Tar, and Mildred An­ Laurence Swinyard, the editor of The Organ, opened the service with the Choral in B Mi­ drews. Otto Luening, Leo Sowerby, Seth also published a review. Combined with ac­ nor by Franck, and concluded with the Final Bingham, Robert Crandell, and Paul Creston counts from newspapers and memoirs, we of the Symphonie Romane by Widor. In be­ conducted a session on composition, and can get a pretty good idea of who did what­ tween was a varied program of choral William Mitchell lectured on "Examinations and how well. pieces, selected fromthe polyphonic period and Music-Making." The official opening took place on June 25 and the standard repertoire of Anglican Before dinner, Alexander Schreiner gave a with Pierre Cochereau, the organist of Notre church music. The choir, in particular, was recital at St. James that included the Pas­ Dame in Paris, presiding at the newly rebuilt very well received. sacaglia and Fugue of Bach, the Symphonia Aeolian-Skinner organ in St. Thomas Tuesday afternoon brought two veterans of Mystica of Camille Van Hulse, and the Sym­ Church on Fifth Avenue. William Self, then the profession together for a joint concert at phony III of Vierne. Fisher reported that it the organist at St. Thomas, vividly recalled Riverside Church: Donald McDonald, a pro­ was "absolutely wonderful," and Swinyard the event: fessor at Westminster Choir College, and described it as "meticulous, so that the mu­ George Faxon, the organist of Trinity sic took shape, each phrase had beauty of St. Thomas Church was packed for the Church, Boston. Berry described McDon­ form." Fisher questioned the prudence of recital. ...The nave and both balconies were ald's Bach as "clean, crisp, and sparkling" programming three large works on a hot sum­ filled,people had been admitted to the chan­ and commended his tremendous sense of mer afternoon in New York. cel while others stood in the aisles and some proportion in the fiendishly difficult Intro­ The central event of the convention was were even sitting on the floor. One felt the duction, Passacaglia, and Fugue of Healey the appearance of Claire Coci and George customary excitement that is part of the Willan. Reports of Faxon varied, not regard­ Thalben-Ball with the New York Philhar­ opening of a national convention and knew monic in Lewisohn Stadium. The program, tliat this was an historic conjuncture of ing his playing, but to the program. It was all Magnificat "firsts." It was the first tour of Pierre Co­ by 20th-century American composers. Per­ which included the Bach sung by chereau in the United States, his first recital haps Berry hit the nail on the head when he the NewYork Choral Society, and two organ in NewYork City, the firstrecital of the 19 56 wrote, "Modernism, for its own sake, is not concertos by Handel and Delamarter, was convention, and the first recital on the new necessarily synonymous with music which Thalben-Ball's American debut.25 The event organ. To many, the instrument was already is music." Not one of the pieces Faxon was plagued by the same problem that hin­ sacred, as the last organ of G. Donald Harri­ played is in the standard repertoire today. ders most concert spaces in New York-the son, but there were otherswho had not heard Charlotte Garden, who played at St. John stadium did not have an organ. Thalben­ of his death and would learn of it only later the Divine, was apparently not prepared for Ball's blatant indignation at the electronic in the program.12 the overwhelming acoustics of the space, organ supplied for the occasion was noted and played too fast. Swinyard washed his by all the reviewers. Coci apparently did (Harrison had died of a heart attack just two hands of it, stating, "It is often impossible to better with it, performing the seldom-heard weeks before the convention.]l3 tell that a change has been made in registra­ Concerto in E by Eric Delamarter to great The program was entirely French. It con­ tion until sometime after the event has oc­ acclaim. Second Suite sisted of the by Clerambault, curred, and some of a previous higher dy­ Another problem was the amplification of Symphony IV two movements from the of namic has died. I therefore refuse to the chorus and orchestra. Balance was such Veni Creator Vierne, the of Durufle,a com­ comment on this recital." Berry wrote that a problem that individual choristers could be posed piece-i.e., not improvised-by her efforts, however dear, were "largely de­ heard above the entire orchestra. Parmenter, Symphonic Poeme Cochereau, and the of feated." One new piece, the Fanfare for organ writing in the Times, said, "The concert was Dupre. The program ended with an improvi­ and brass by Alec Wyton, was singled out as more noble in its aims than in its achieve­ sation on submitted themes, one of which "mighty effective." ments."26 Whatever its shortcomings, out­ was G-D-H, Harrison's initials. The evening concert featured Virgil Fox door concerts for thousands of listeners were Reactions were mixed. "The Clerambault and the choir of the Riverside Church under new in 19 56. The committee should be com­ was marred only by a sudden buildup to full the direction of Richard Weagly. The pro­ mended for pulling together what must have organ at the end of the Caprice," wrote Gru­ gram included the premiere of Seth Bing­ been an extraordinary event for the time. enstein,14 and Berry thought "it was just too ham's Credo, and performances of the Suite, On Thursday afternoon, E. Power Biggs much French-music and playing,"15 but Op. 5, of Durufle, and Dona nobis pacem of and a small ensemble of instruments played noted, "never has an AGO convention start­ Vaughan Williams. It was so well received a program of Baroque and Classic music at ed off with such a bang!"16 He was being lit­ that Alistair Cassels-Brown concluded that Hunter College. Hermann Schlicker had set eral here, because at one point Cochereau ap­ Riverside must have "some of the best music up a portable organ in the school's auditori­ parently coupled the State Trumpet into full in New York." However, Gruenstein com­ um, and despite the instrument's small size, organ, giving those Guild members at the plained that the accompaniment, consisting its clear tone left a favorable impression on back of the church quite a jolt. Swinyard en­ of organ, brass, and percussion, was so loud everyone. The timing was perfect. At this joyed Cochereau, but thought his improvisa­ that the choir could barely be heard. point in the convention, people were weary tion was a bit long for its musical contentY For those who wanted still more, there was of sforzando, and Biggs's program, consist­ Seth Bingham singled it out as a highlight of the "Rendezvous" at the hotel, an "Evening ing of Sweelinck, Soler, Handel,and Mozart, the convention.18 on the Town," and then at 2:00 A. M.-believe was like a breath of fresh air. Swinyard pro­ That evening, a choral service at St. it or not-a theater organ concert on the claimed that "high praise was due the six in­ Bartholomew's Church featured a perfor­ Wurlitzer at the Paramount. Jack Fisher re­ strumentalists who played ... they really mance of the Requiem by Durufle,as well as marked: "Square pegs in round holes might made music," and Bingham branded it other 20th-century works. Reports were be the description of most organists faced "artistic perfection." good, although Alistair Cassels-Brown took with the monster generally referred to as the Later that afternoon, a joint recital featur­ exception to the way the choir sang Anglican theater organ,"23 but a substantial crowd of ing Claribel Thompson and Oswald Ragatz chant. "Unsatisfactory," he wrote, "the end AGOers gathered. "The party picked up with was held at St. James. Both players offered of each phrase was much too long." 19 After a promising roar at the entrance of Virgil standard programs of Bach and a series of the concert, a "Rendezvous at the Wal­ Fox," wrote Fisher, and before it was over, 20th-century pieces. Two compositions by dorf'-a fancy name for an open cash bar­ Fox, Searle Wright, Richard Purvis, and even Robert Noehren and the Pantomine by Harry concluded the evening's activities.20 Pierre Cochereau were persuaded to try their Benjamin Jepson came as surprises. Fisher Tuesday morning offered a choice: a tour hand at the Wurlitzer!24 described these programs as "splendid of NewYork church organs, or remain at the On Wednesday morning, some members recitals by fine performers." hotel and hear a demonstration on an elec­ went to the Annual Meeting, while others That evening, Thalben-Ball played again, tronic organ. 21 The tour was opted for by went on the organ tours. The first afternoon but under better circumstances. His pro­ 1, 594 Guild members; six slept in. event was Wilbur Held playing the AGO test gram, at Temple Emanu-El on FifthAvenue, By mid-morning, everyone was back to- pieces. Swinyard said it was disappointing, began with two classical English pieces,

JUNE 1996 47 which Berry dismissed as mere "openers." ...Future convention program planners take ing these organs was given by Alexander Then, after a straightforward reading of the heed! For heaven's sake give the registrants a McCurdy and his wife, Flora Greenwood. Prelude and Fugue in A of Bach, Thalben­ break occasionally." If the New York con­ That afternoon, a program of Colonial Ball launched into the Sonata on the 94th vention was the biggest, loudest, fastest, and American music was presented at King's Psalm of Reubke, bringing the house down. most elaborate, then its opposite occurred in Chapel. This was surely an early attempt to Berry called him an "accomplished artist," Boston six years before. match a specific repertoire to a historically and the evening a "rewarding experience." appropriate performing space. Moreover, The only objection was to the sound of the BOSTON, 1950 the music of Billings, Jacob Kimball, and organ, which was apparently buried deep in What made the 20th national convention Supply Belcher must have come as quite a a chamber. so different from its New York counterpart surprise; not many people were familiar Friday morning began with High Mass at was its conception. The bulk of the work was with this repertoire in 1950. Two of Belch­ the Church of St. Paul the Apostle. Fisher done by four people: Joseph Whiteford, Ruth er's pieces, "Set down that glass" and "No lamented: "I must honestly submit that if this Barrett Phelps, and E. Power and Peggy brandy will we take," were obviously cho­ is the most exemplary effort possible by the BiggsP Biggs served as the program chair­ sen with the organization's membership in Archdiocese of New York, there is much to man.28 With such a small committee, it was mind. be done in the way of liturgical and musical an ideal forum for Biggs to put forward some The remainder of the day was devoted to improvement." of his own beliefs on programming, and programs of contemporary music. Robert El­ Next came a series of three simultaneous without having to compromise. Combined lis, who was scheduled to play, was unable lectures. Of timely interest was "Trends in with the popularity of Boston as a conven­ to attend for personal reasons. At a mo­ European Organ-Building" by D.A. Flentrop. tion site, and the fact that 1950 was the bi­ ment's notice, Marilyn Mason stepped in (Don't forget that he was soon to install an or­ centennial of Bach's death, the Boston con­ and performed from memory the unbeliev­ gan in the Busch-Reisinger Museum in Cam­ vention was one of the more successful in the ably difficult Variations on a Recitative by bridge.) Flentrop asserted that all the aspects history of the Guild. Arnold Schoenberg to everyone's astonish­ of constructing an organ influence the The committee planned the program with ment. Sharing the program was the first sound, and should be considered collective­ some clear objectives in mind. First, small Boston performance of the Mass by Igor ly. He expressed a preference for slider organs were just as good as large ones, and Stravinsky, sung by the Chorus Pro Musica chests, mechanical action, freestandingcase­ many of the concerts were played on small under the direction of Alfred Nash Patter­ work, and placement high and on the central organs. Second, even a small pipe organ was son. That evening, Catharine Crozier played axis of the room. While these fundamentals better than a substitute: electronic organs a program at the Church of the Advent fea­ of good organ design are generally under­ were not used in any officialcapacity. Third, turing "new" works by Hindemith, Sower­ stood today, they were not by many of the and perhaps the most lasting innovation of by, Alain, Dupre and others. "As Miss Crozi­ people who heard that lecture in 1956. Si­ the Boston convention, was the first Young er had been heard on tours across the nation multaneously, Ray Berry lectured on acous­ Organists' Competition, won by Robert and gave her first recital at an AGO conven­ tics, and Seth Bingham spoke on music for Whitley of Oklahoma City. tion some years ago in Cincinnati, her virtu­ small churches. Held between June 19 and June 23, the osity caused no surprise."32 Emily Ann Cooper. the winner of the com­ convention opened on Monday afternoon Wednesday morning offered a choral petition, played at St. Mary the Virgin on Fri­ with Choral Evensong at Trinity Church. The workshop led by Fred Waring. He was fol­ day afternoon. Her program included stan­ choir was directed by Francis Snow, and the lowed by a program of music for two organs, dard works by Bach, Franck, Vierne, and the voluntaries were played by Carl McKinley consisting of selections by Soler, Cherubini, Introduction, Passacaglia and Fugue by and George Faxon. The choir of men and and others, played by Fenner Douglass and Larry Moe on the organs in the ballroom. Healey Willan. Gruenstein noted that "her boys sang Renaissance works of Handl, That afternoon, conventioneers traveled handling of the large organ in a resonant Tallis, and Victoria, and modern works by north to Methuen Music Hall to hear Fritz building was admirable," and that she shows Titcomb, Willan, and Snow, all of which Heitmann, the organist of the Berlin Dom. "great promise." Cassels-Brown labeled her were well received. With 1,100 people registered, Heitmann recital a tour de force. She "plays with the That evening Virgil Fox played on the had to play the program twice so everyone freshness and vitality of youth and with fine Casavant organ in Emmanuel Church. He ap­ could hear him. The all-German concert, lit­ conviction." parently played a program that was almost erally-organ, organist, and repertoire-in­ The final recital of the convention featured entirely different from the one published in cluded the Passacaglia of Bach and the Fan­ Clarence Mader in a program of largely un­ the booklet.29 Beginning with the Messe des tasy and Fugue on B-A-C-H of Reger, known 20th-century works at St. Pauvres of Erik Satie to good effect, he alter­ among other works. Gruenstein reported: Bartholomew's Church. On the program was nated movements with the choir of Em­ "The performance was one that justifies the Fantasia und Fuge, Gunter Raphael; manuel Church under the direction of use of superlatives and the modest-appear­ Orgelkonzert, Friedrich Michaelson; Portrait Grover J. Oberle. This was followed by some ing man who sat at the console was able to Cycle, Clarence Mader; and Symphony No.3, typical Foxiana, "Come, Sweet Death" and rouse his hearers to great enthusiasm for Clifford Vaughan. Even under the best cir­ the "Fugue a Ia Gigue" of Bach. His major of­ himself and for the magnificent organ ... cumstances, this was a heavy-duty program, fering was the Introduction, Passacaglia, .''33 Oddly, while Heitmann barely men­ but at the end of a long and exhausting week, and Fugue of Healey Willan, which was de­ tions the recital in his memoirs, he vividly it was a planning blunder. Gruenstein noted scribed as "overwhelming" in its effect.30 recalls the excessive heat and humidity that that Mader's playing "displayed taste and Tuesday started off with a loaded discus­ week.34 style," but Swinyard was less patient: "So sion on forming a union for organists. That evening was the central event of the much of this modern dissonant composition William H. Barnes was in the chair, and the convention. E. Power Biggs joined forces is merely modern and merely dissonant. Odd panel consisted ofRudoph Elie, a music crit­ with the Boston Pops Orchestra under the di­ scraps and phrases float up, heading ic from The Boston Herald, Harold Gleason, rection of Arthur Fiedler, and the new Aeo­ nowhere, except perhaps to a climax full of and others. The comments were somewhat lian-Skinner organ in Symphony Hall was sound and fury. signifying nothing." Berry unfocused, but the status of the organist, used. The major work was the Sowerby Con­ said the "aridity basic to the Raphael and recitals, low fees, and the perception of the certo. Gruenstein wrote: "The concerto, in Michaelson pieces leaves me equally so in­ organ in the public eye were all touched three movements, gave the orchestra the op­ sofar as comment is concerned." The ban­ upon. Edward Grossman, of St. Louis, con­ portunity to let loose in an almost riotous quet followed and the convention closed af­ cluded the session by stating that labor performance of a distinctly modern work ter Anna Russell had 1,600 organists methods, such as "picketing and other which was thoroughly enjoyed even by those howling all at once. evils," have no place in our profession. Not not yet acclimated to the modern type of With Fox and Baker as the chairmen, the surprisingly, no official action was taken or composition. The wild ovation given Dr. New York convention was exactly what recommended. Sowerby, Mr. Biggs, and Mr. Fiedler made you'd expect from them-everything possi­ One of Biggs's salient contributions to it unmistakably clear that everybody was ble, all at once. Berry complained: "Saturat­ this convention was that he successfully happy."35 ed ears, aching arches, disrupted digestion, persuaded four organ firms-Aeolian-Skin­ Two discussion groups opened Thurs­ and an overwhelming desire to sleep indefi­ ner, Wicks, Estey, and Moller-to set up day's activities. The first was led by Sena­ nitely are a few of the 'occupational hazards' small organs in the hotel ballroom.31 On tor Emerson Richards and covered organ with which one gets thoroughly acquainted. Tuesday, the first of a series of programs us- design, and the second, led by Werner

48 THE AMERICAN ORGANIST Mueller, dealt with acoustics. Later that morning, the organs in the ballroom were again used in a program of contemporary American works for organ and strings.Mary Crowley Vivian, a student of Biggs, played the Sowerby Classic Concerto, William Watkins played the Prelude and Allegroby Walter Piston, and George Markey per­ formed a Passacagliaby Ellis B. Kohs. Once again, Fiedler and his Sinfonietta provided a quite able accompaniment. That afternoon, Arthur Poister gave a solo recital at Symphony Hall. His program in­ cluded four of the 14 Stations of the Crossof Dupre,the Choral in B Minorof Franck, and the Prelude and Fugue in E-flatof Bach.A re­ viewer commented that Poister played with authority and clarity, and the recital was "outstanding."36 Later,Archibald T.Davison gave a lecture on the church choir of the fu­ ture, expressing dismay at the poor quality of much concurrent work in the field. Before dinner,Ernest White played a con­ cert of early music on the organs in the ball­ room. Consisting of works by Bach and Han­ del,he was joined in the program by a string quartet from the Boston Symphony Orches­ tra. "The entire performance was one of rare beauty and style."37 That evening, a major concert of Bach's music was presented at Trinity Church. Ifor Jones (the music director of the Bethlehem Bach Choir), the Chorus Pro Musica, and an orchestra performed Bach's Magnificat. The program alspincluded the academic proces­ sion,an address by the Rev. Theodore Ferris, the rector of Trinity Church, and voluntaries played by Robert Noehren. The crowd was so large that hundreds were turned away. The Diapason called it "impressive," and Heit­ mann singled out the "Wundervolle Solis­ ten!,"38 among whom was Metropolitan Opera soprano Phyllis Curtin. Friday morning offered the Annual Meet­ ing, followed by a discussion of the exami­ nations.Harold Friedel!was in the chair, and the panel consisted of Rowland Dunham, Carl Mc Kinley, and Harris S. Shaw. Later that morning,the fifthand last ballroom con­ cert featured Robert Owen playing chamber music with Louis Speyer on the English horn. That afternoon, Guild members made it to Cambridge to hear the small Aeolian-Skin­ ner in the Germanic Museum made famous by E. Power Biggs's weekly broadcasts.Mary Crowley Vivian played three works of Bach. Next, members of the Guild stopped at Memorial Church to hear competition win­ ner Robert Whitley play works of Buxtehude, Bach, Haydn, Franck, and Messiaen. Boston was arguably the finest convention of the postwar period. Not before or since has such a balance been maintained between large and small organs,newly composed and established repertoire, and never have or­ chestras and instrumental ensembles played such a significant part in a convention pro­ gram. All of this shows the guiding hand of Biggs,and it was largely to his efforts that the Boston convention was such a success.Many of the programming and organizational ideas introduced at the Boston convention were adopted by the committees in San Francisco and Minneapolis.

SAN FRANCISCO, 1952 The 21st national convention was held be­ tween June 30and July 4. Registration, how-

JUNE 1996 49 ever, was only half of its immediate precur­ and Leo Sowerby were conspicuous by their settling. It was the first concrete evidence at sor, reaching 644 on the final day.Economics absence from the program. Registration-at a national convention of that mysterious and had a sobering reality: the committee about 600-was on a par with the San Fran­ concurrent European movement called the planned a leaner convention with fewer top­ cisco convention, but was far below the Orgelbewegung, although it appears by the notch performers, reduced instrumental throng that descended on Boston four years comments that no one understood where it forces, and no international performer. earlier. was all leading, except perhaps Richards Like Boston, two small organs were set up In general, the Minneapolis convention of­ himself.47 in the hotel, but they were less used. In what fered little in the way of novelties.The ma­ Gammons initiated the discussion by trac­ was an important first at this convention, jor choral works were the Passion According ing the history of the organ, and even that some Guild members heard a modern track­ to St. Matthew by Schiitz, and a complete was probably news to most. Michael Harri­ er organ built by Rieger, but it was not part of performance of the Coopersmith edition of son dealt with organ tone "as a matter of aes­ the official program.It had been set up in the Messiah. While one could chastise the com­ thetics." The zinger, however, came when Emporium Department Store, and Robert mittee for not being more audacious, 2,800 Richards argued for a "renaissance in organ Noehren played a program of Schlick, Swee­ people heard Messiah in the Minneapolis design." He stated that the organ evolved linck, Buxtehude, Vierne, and Bach on it. An­ Auditorium, 500 more listened by electronic "with a nation's musical and cultural devel­ other convention novelty was the appear­ amplification, and 1,000 were turned away. opment," and that different styles of organs ance of Bruce Prince- Joseph playing a The most interesting recital of the conven­ were suited to different types of literature.To harpsichord. tion was played by Marilyn Mason. It con­ degrade the organ by using it as an orchestral Organ recitals were presented by Harold sisted of two works of Bach, a series of mod­ imitation is folly, considering the large num­ Mueller, Ernest White, Edward Linzel, ern French compositions, and the premiere ber of orchestras now in existence.Thus, the George William Volkel, Searle Wright, of the Concerto for Organ and Brassby Seth organ should return to its original function, George Markey, C. Griffith Bratt, Claire Coci, Bingham with the composer conducting. which is to play organ music. David Craighead, Virgil Fox, and Robert El­ "From the firsttheme of the beginning move­ Then there were comments from the floor. lis. Craighead, according to Gruenstein, was ment to the last note of the finale there was Arthur B. Jennings and Rowland Dunham "well received," but R.H. Hagan, writing in an emotional strength and power of expres­ complained about the use of "too many reeds the San Francisco Chronicle, asserted that sion in the music that few composers ever and mixtures" at the expense of solo stops. Fox's recital "was a major exhibition of vir­ achieve."43 Gruenstein said, "This was more William Pilcher advocated an "American" tuosity at the expense of good musicianship than an ordinary recital." It was solid, grand, style of organbuilding, combining all the dif­ and taste."39 The unexpected happened on and firm, and Mason performed with "ease ferent schools. John Selig, of the Reuter Or­ Thursday when Robert Noehren played an and accuracy achieved only by [a) real gan Company, pleaded for guidance in build­ entire program of 19th- and early 20th-cen­ artist."44 ing small organs. This needs our attention, tury compositions, including the Prelude An awkward moment occurred when Don­ he stated, or should we "walk away and and Fugue in E-flat by Saint-Saiins. One ald Willing "read a short paper pointing out leave the fieldto electronics?"4B might have guessed that this was out of his the advantages of tracker action. He stated Electronic organs did play quite promi­ league-at least then. that this type of action establishes the most nently in this convention. There was a for­ G. Donald Harrison, then in the prime of sensitive relationship possible between the mal demonstration of a different type of elec­ his career, spoke on contemporary organ de­ player and the instrument." The forum for tric organ each evening. sign. The presentation consisted of-to use this was a lecture by Walter Holtkamp, who, The major recital of the convention fea­ Harrison's own phrase-some "off-the-cuff according to Gruenstein, epitomized the tured E. Power Biggs with orchestra.The pro­ words of advice from a man proud of his gray "avant-gardeof modern organbuilding."The gram opened with the "Cuckoo and the hairs to a young generation of organists."40 panel consisted of Willing, architect Victor Nightingale" Concerto by Handel, and in­ Mixtures, he asserted, must not be used to Gilbertson,and Richard Bolt, an acoustician. cluded three fugues from The Art of Fugue, excess, and an organ needs good placement Of course, Holtkamp spoke on organ place­ four Epistle Sonatasof Mozart, Variations on and live acoustics to be effective. His most ment, soundly condemning chamber and di­ a Noel by Dupre, and a performance of the prudent advice was that church organs vided chancel installations. A skeptical re­ Concerto in G Minorby Poulenc. Regarding should be built for congregations, not for the viewer concluded with this remark: "The the latter, Gruenstein noted that the piece "in whims of an individual organist. Those fact that the 'panel of experts' did not agree the modern idiom made a most favorable im­ words ring as true today as they did 40 years with one another on every point added in­ pression on everyone. The Dupre and ago. terest to the discussion and many in the au­ Poulenc works aroused the throng in the The highpoint of the convention occurred dience who felt that they were not ready to church to a tremendous outburst of approval, Wednesday night, when E. Power Biggs accept some of the ideas advanced also felt compelling Mr. Biggs to return repeatedly to joined members of the San Francisco Sym­ that they had gained a great deal of valuable bow to the admiring crowd. n49 phony Orchestra at the Civic Center. The information."4 6 Other recitals were presented by Arthur program consisted of the Concerto in C by Other concerts were presented by Ronald Jennings, Richard Purvis, Robert Baker, Haydn, conducted by Biggs fromthe console, Arnatt, Arthur Foister, George Markey, Hein­ Charles Peaker, and Edward Linzel, who the Concerto in G Minor by Poulenc, and rich Fleischer, Arden Whitacre, and William played the Suiteof Durufle, only a few years Concertpiece, a new work by Leo Sowerby. Teague, and all the programs were relatively after it was composed. Sowerby conducted the final two works. The conservative. If the Minneapolis convention Diapason called Biggs a fully "mature and is remembered for one thing, it will be that WASIITNGTON, D.C., 1941 finished musician" and Sowerby's conduct­ the convention chairperson was a woman, The 18th national convention, held in ing "impressive." The Concertpiece made a Mrs. A. J.Fellows. Washington, D.C., June 23- 27, was really the good impression;it was "ingratiating ...and tail end of the long succession of general con­ the enthusiasm of those who heard it was ST. LOUIS, 1948 ventions that began in 19 14. On the opening great."41 "After they had finished, both men The 19th national convention, held in St. day, Germany declared war on Russia, so this were called back to the stage many times by Louis, July 5-9, was the first major gathering cast a pall over the proceedings. the long ovation from those present."42 The of the membership following the war. With The preconvention festivities began with a convention ended with the expected ban­ about 500 registrants, it was smaller than lat­ series of events at the Library of Congress, in­ quet on Friday evening. er conventions, and its program was even cluding a concert and an exhibition of rare less innovative. manuscripts. The concert, presented in MINNEAPOLIS-ST. PAUL, 1954 There was one exception: a two-hour dis­ Coolidge Auditorium, was significant be­ By 19 54, there was no turning back on the cussion titled "Symposium on Organ De­ cause it was an early performance of E. Baroque revival. For the 22nd national con­ sign." Chaired by William H. Barnes, the Power Biggs at a national convention. 5° Iron­ vention, held between July 12 and July 16, panel was composed of Michael Harrison ically, his name does not appear in the pro­ Bach, his contemporaries, and his precursors (son of G. Donald Harrison), Emerson gram booklet, which causes me to wonder if accounted for 60% of the programming. Richards, and Edward Gammons. For a gen­ it was underwritten by Mrs. Coolidge. Biggs While a few new personalities surfaced at eration of organists who were taught and be­ met her in 1940, and she was very generous this convention, it was at the expense of the lieved that their Ernest M.Skinner organ was in sponsoring many of his projects. 51 The tried and true veterans of the profession. E. the aesthetic ideal for all the music they program spotlighted some unusual numbers Power Biggs, Catharine Crozier, Virgil Fox, played, this session must have been a bit un- for the time, among them several Church

50 T HE AMERJCANORGANIST Sonatas by Mozart. Ray Brown, writing in the Washington Post, dismissed them with, "Few of the auditors had ever heard before and may never hear again, three one-move­ ment sonatas by Mozart for two violins,vio­ loncello, and organ. None of these works is of particular significance either in themes or workmanship ... ."52 In deference to Mr. Brown, and with abundant thanks to Biggs, the Church Sonatas of Mozart are now stan­ dard repertoire. Neither was Brown espe­ cially charitable to Biggs: "His performance was more technical than colorful. ..."53 The opening recital of the convention was played by Joseph Bonnet. His program con­ sisted of the "St. Anne" Prelude and Fugue of Bach, two American pieces, a couple of French compositions, and several of his own compositions. By this time Bonnet was get­ ting on in years,and perhaps for this reason, Gruenstein commented, "He is still a giant whose 'ancient valor,' as Caesar put it, has not departed, though he has not to the same degree the fire and force that he displayed a quarter of a century ago."54 An immense success at this convention was the appearance of Catharine Crozier on the new organ built by Ernest M. Skinner & Son at Washington Cathedral. Crozier, the only woman on the program,played the huge Symphony in G Majorby Sowerby, the Pas­ torale by Roger-Ducasse, and Karg-Elert's Ach, blieb' mit deiner Gnade.She was so fan­ tastic that Gruenstein said her program will "stand out as a high point in the history of conventions of organists."ss The event that got the attention of the lo­ cal newspapers was a "Male Beauty Contest" held Thursday morning at the Lido Swim­ ming Pool. An anonymous writer in the Post noted: "All will not be solemnity at the gath­ ering which will be officially called to order at 9 o'clock this morning.... "5 6 Other events included recitals by E. William Brackett, Leslie Spelman, and Wal­ ter Blodgett, who played the "Maggot" by Thomas Arne on an organ in Old St. John's with "distinct Baroque leanings."57 Virgil Fox accompanied a performance of Robin Milford's oratorio, the Pilgrim's Progress, and Gruenstein described his playing as a "tower of strength."58 The war in Europe was not-and could not-be forgotten by anyone attending this convention. At the closing banquet, M. Gas­ ton Henry-Haye, the ambassador from France,told of an incident involving himself in the previous World War. As an officer at the battle of Verdun, he entered a damaged church with a captain who in civil life was an organist. Going to the organ, which had miraculously escaped damage, the captain started to play. The Germans heard the organ gates are bleary-eyed and footsore after the nouncing the installation of a similar unit in and stopped firing. "In this sad period in the second day," wrote Berry.60 And there was Christ Church, Cambridge, Massachusetts. world's history," said M. Haye, "let us pray one other delightful and very welcome sur­ The contraption, actually quite advanced for that some organist will arise who will be able prise for the delegates in Houston-air-con­ its day, consisted of a tape recorder with a to cause the combatants to cease firing."59 ditioned churches! loop of tape. It recorded the sounds captured The Guild did not have another national The convention, held June 23-27, kicked by a microphone near the organ, and then im­ convention for seven years. offwith a three-part recital by Robert Baker mediately played them back with a delay. in Christ Church Cathedral. Part I included This was channeled through a series of speak­ HOUSTON, 1958 Baroque works; Part II,contemporary Amer­ ers mounted near the ceiling of the church. Its If anything, the 24th national convention ican works;and Part IIIwas a hodgepodge of purpose was to provide an illusion of better was a decided reaction against what tran­ unrelated works chosen to illustrate the "col­ acoustics than really existed. The advertise­ spired in New York two years before. Instead ors of the organ." Although Baker played ment trumpets the unit's success, and con­ of an excessively hectic schedule, the pace splendidly, he was somewhat upstaged by tains a number of endorsements, one of 51 was relaxed and leisurely, and Wednesday the unveiling of an electronic reverberation which was by Edward Gammons. morning was entirely free. "A convention unit by the Aeolian-Skinner Company. Like the Cambridge church, the Houston can be full, varied and interesting without Back in October of 19 57, the firm ran a two­ cathedral had terrible acoustics. Officials being driven at such a mad pace that dele- page advertisement in The Diapason, an- from Aeolian-Skinner decided to introduce

JuNE 1996 51 the acoustical "band-aid" at the opening Sowerby was practically the composer in TAO 39:8 (August 1956). p. 267. recital, but reactions were certainly mixed . residence; many of his grandest and most 18. Seth Bingham, "Convention Highlights," "Delegates unlucky enough to have undesir­ splendid works were either written for or D 47:9 (August 1956), p. 18. 19. Alistair Cassels-Brown, "TAO salutes AGO," able seat locations for Dr. Baker's recital were performed at these gatherings . TAO 39:8 (August 1956). p. 250. unhappy at the distortion they heard "6 . 2 In The preferred instrument was an Aeolian­ 20. Convention Booklet, 1956, p. 9. contrast, Jack Fisher stated that the unit was Skinner; that company's most distinguished 21. ibid., p. 11. "completely convincing," although he ad­ work represented the majority of instru­ 22. Self, p. 168. mitted that it had a "canned" effect.63 An­ ments heard . Other beauti ful organs built by 23. Jack Fisher, "TAO Salutes AGO," TAO 39:8 other report noted that it caused heated ar­ Casavant, Austin, Wicks, and Moller were (August 1956), p. 256. guments throughout the convention . also played . Those firms that brought organs 24. ibid. 25. Jonathan Rennert, George Thalben-Ball (Lon­ On Wednesday evening, Catharine Crozier to the conventions for display and programs don: David & Charles, [1979]), p. 125. played a program of Bach, Sowerby, and the in the hotels-particularly Aeolian-Skinner, 26. Ross Parmenter, "Music: An 'Organ Night,'" Reubke Sonata on the 94th Psalmat the First Moller, Schlicker, Wicks, Rieger, and The New York Times, June 28, 1956, p. 33. Presbyterian Church. Hilty called it the "mu­ Reuter-did so at enormous expense,and de­ 27. Convention Booklet, 1950, p. 3. sical climax of the convention," adding that serve special commendation . 28. Barbara Owen, E. Power Biggs, Concert Organ­ "Miss Crozier's flawless technique coupled Many of the trends that shaped the organ ist. Bloomington and indianapolis: indiana Univer­ with the abandon necessary for a work of this world of today first became evident at these sity Press, [1987]), pp. 92-94. 29. Siegfried Gruenstein, "Boston Draws 1,141 to sort brought convention members to their conventions . On an organizational level, AGO Convention,'' D 41:8 (July 1950), p. 1. feet ." The Diapasonagreed .64 they served as a forum to discuss problems 30. ibid. Other recitals were presented by Charles that con frontedthe membership . On an artis­ 31. Owen, p. 92. Peaker, Heinrich Fleisher, E. Power Biggs, tic level, the greatest accomplishments of a 32. D 41:8 (July 1950), p. 2. Leslie Spelman, and Virgil Fox . Virgil Fox generation of performers were displayed . On 33. ibid. played his own transcription of the Sinfonia a personal level, the conventions provided 34. Richard Voge, Fritz Heitmann: Das Leben eines Concertanteof Joseph Jongen with great suc­ an opportunity to meet and renew acquain­ deutschen Organisten (Berlin: Verlag Merseburg­ er). pp. 84-85. cess . He is a "prodigious showman who tances . On a professional and educational 35. D 41:8 (July 1950), p. 20. needs an adoring and flabbergasted audience level, they were a source for new ways of 36. ibid. for his most effective exhibition ." Fisher thinking and provided encouragement to 37. ibid. called it "dazzling entertainment ." improve one's skills . Finally,as we conclude 38. Voge, p. 85. The most memorable aspect of the Hous­ this indulgence, we stand in awe of the 39. As cited in Siegfried Gruenstein, "Varied ton convention was the southern hospitality, achievements of the period,and we laud the Events Mark Convention of AGO," D 43:8 (August and the committee made the most of it . In­ immeasurable contribution the Guild has 1952), p. B. stead of a frumpy banquet followed by made to the betterment of church music and 40. D 43:9 (August 1952). p. 2. 41. ibid. overlong speeches and endless acknowledg­ the organ . 42. ibid. ments, the committee organized a Texas­ Now, as we approach our Centennial and 43. Siegfried Gruenstein, "Convention of AGO is style barbecue and rodeo at Rockin' R. prepare to greet a new millennium, we can Notable Success,'' D46:9 (August 1954). p. 2. Ranch . Guild members were decked out in paraphrase our Houston compatriot: 44. ibid. Western garb, and after luscious food was 45. D 45:9 (August 1954). p. 15. served on picnic tables covered with red­ "So long, pardners! This is my last article 46. Ibid. checkered tablecloths, all went over to the until we see you in New York . We know you 47. See David Fuller, "Commander-in-Chief of the corral for a "Rodeo by the Texas Posse ." A will have a swell time there . We are not brag­ American Revolution in Organbuilding: Emerson Richards,'' Charles Brenton Fisk: Organ Builder fabulous evening ended with an exhibition ging. We don't do that in New York ." of square dancing . (Easthampton, Mass.: Westfield Center for Early Keyboard Studies, 1986}. pp. 55-84, for more in­ NOTES formation on Richards's involvement in the organ THE ROUNDUP 1. "24th National Convention, American Guild of revival. Having come full circle, we can tie this to­ Organists, Houston," The Diapason [hereinafter D] 48. Siegfried Gruenstein, "St. Louis Convention gether with a few remarks . The two most 59:2 (Jan. 1958), p. 3. Draws 500 Organists,'' D 39:9 (August 1948). p. 14. substantial artistic personalities of the peri­ 2. Convention Booklet (1941), p. 5. 49. ibid. 3. ibid., 17. od were E. Power Biggs and Virgil Fox,who, 50. Siegfried Gruenstein, "Washington is Host to 4. Convention Booklet (1948), p. 5. Organists of U.S.", D 32:8 (July 1941). p. 1. ironically, represented drastically different 5. Convention Booklet (1950}. p. 5. 51. Owen, p. 64. approaches . Their contributions as both 6. Siegfried Gruenstein, "Varied Events Mark Con­ 52. Ray C.B. Brown, "Gordon Quartet Entertains at players and organizers were enormous . Not vention of AGO," D 43:9 (August 1952), p. 9. Coolidge Auditorium,'' Washington Post, June 24, far behind was Catharine Crozier, whose ex­ 7. Convention Booklet (1954), p. 6. 1941. traordinary artistry dazzled thousands of B. Convention Booklet (1956), p. 17. 53. ibid. conventioneers over two decades . Also de­ 9. Registration materials, Houston Convention. 54. D 32:8 (July 1941), p. 2. serving mention were notable contributions 10. Samuel Atkinson Baldwin, The Story of the 55. Ibid. American Guild ofOrganists (New York: H.W. Gray by Marilyn Mason, Leslie Spelman, Richard 56. "Organists to Hold Male Beauty Contest,'' Co. Inc. [1946]), pp. 78-79; and Barbara Owen, Washington Post, June 24, 1941. Purvis, and Robert Noehren . "American Guild of Organists Centennial: The 57. D 32:8 (July 1941), p. 4. The literature of these conventions was Guild Grows," The American Organist [hereinafter 58. D 32:8 (July 1941), p. 2. predominantly by Bach and 20th-century TA0] 30:3 (March 1996), p. 46. 59. D 32:8 (July 1941). p. 4. composers. While Germanic music of the 11. "Diapasons Founder Closes Long Career-S.E. 60. "Houston is Perfect Host to Convention," pre-Bach period was just beginning to make Gruenstein Succumbs," D 49:2 (Jan. 1958), pp. 1-2. D 49:9 (August 1958), p. 1. an appearance, French Classic, Italian, 12. William Self, For Mine Eyes Have Seen 61. "Reverberation," D 48:11 (Oct. 1957), Spanish, and English Baroque music was (Worcester, Mass: The Worcester Chapter of the pp. 20-21. American Guild of Organists [n.d.]). p. 171. 62. D 49:9 (August 1958). p. 12. still in the future . Absent, too, except for a 13. "G. Donald Harrison Dies of a Heart Attack," 63. Jack Fisher, "Demonstration of the Electronic handful of works by Liszt, Reubke, and D 47:8 (July 1956). p. 1; and Charles Callahan, Reverberation Unit,'' TAO 41:8 (August 1958). Franck, was the majority of literature writ­ American Classic Organ ([Richmond, Va.: Organ pp. 290-91. ten between the late Classic period and the Historical Society, 1990]), pp. 425-26. 64. D 44:9 (August 1958). p. 13. end of the 19th century . Only one 14. Siegfried E. Gruenstein, "AGO Convention Has 65. D 49:9 (August 1958). p. 21. Mendelssohn Sonata appeared in 20 years of Record Attendance," D 47:9 (August 1956), p. 2. convention programming. Convention reviews in The Diapason are unsigned; this author has presumed these are the work of the Absolutely astonishing is the enormous Stephen L. Pinel is archivist of the Organ Histori­ editor, S.E. Gruenstein. cal Society and music director of St. Cecelia's Ro­ amount of new music heard at these conven­ 15. Ray Berry, "TAO Salutes AGO," TAO 39:8 (Au­ man Catholic Church in iselin, N.J. He has been a tions . Many now-standard works of Vierne, gust 1956), p. 250. member of the AGO since 1973, and frequently Durufle,Dupre, and Hindemith were heard 16. ibid. contributes articles on organ history to this and oth­ in early performances at these conventions . 17. Laurence Swinyard, "My Convention Diary," er journals.

52 T HE AMERICAN ORGANIST