What a Time It Was: A Fond Remembrance Ronald Cameron Bishop

t the time that I joined the Möller ANew York City maintenance staff in 1955, the Rev. Dr. Hugh Giles concert series at Central Presbyterian Church (Park Avenue at 64th Street) was a ma- jor factor in the city’s music scene. Its centerpiece was the superb four-manual instrument (M. P. Möller opus 8000), which had been given to the church as memorial to Reginald Lindsey Sweet by his widow. Dr. Giles had worked with Möller’s tonal designer Ernest White to achieve this remarkable installation. My immediate superiors, Arthur Brady and Larry Horn, had headed the installation crew when the instrument was delivered and often spoke of what was involved during the placement process. The main body of Central’s organ in- stallation is placed in a large chamber to the right of the chancel and at gallery level. It speaks through a Möller-created Jean Langlais grille to the chancel and quite exquisite casework that faces the south gallery. a most delicate and beautiful perfor- The Antiphonal divisions are located in mance of this work followed. Although the tower to the northwest. The acoustic many consoles featured the automatic of the sanctuary is ideal for organ, choral Sforzando cancel at that point in time, work, and even the spoken word. many Möllers did not. When Mr. Brady Mr. Brady and I were assigned to the and I returned to set the console back in concert schedule at Central, which con- service position, I was provided with a sisted of tuning, moving the console to bottle of red nail polish and told to coat chancel center (done in the early morn- the Sforzando toe piston with it. ing the second scheduled day and quite a project), and later on standby for the Jean Langlais performance, and then returning the If I recall correctly, Jean Langlais next console to service position the following visited with opus 8000. This was my fi rst morning. I had the very special pleasure introduction to this wonderful artist and of covering these events, as only one ser- his amazing musical works. A few years vice person was required. A small pew later, his then student (later wife) Marie section in the west gallery was selected Louise stayed with Emmie and me twice for my use so that I could get to both the at our home in Maplewood, New Jersey, antiphonal and main organ chambers during her concert tours of the United with ease in the event of cipher prob- States. Along with our two sons we en- lems (which did not happen during my joyed these visits with this lovely lady. tenure, but I surely did have a wonderful Ron and Emmie Bishop check out the Radio City Music Hall Grand Organ for the Her recital at the Cathedral Basilica of musical experience). annual Christmas production (stage left console) the Sacred Heart in Newark was a truly grand event. writer is certain that this great man soon After their marriage, Prof. Langlais realized why I had entered the organ was engaged to play a recital for Lester maintenance fi eld (Mother did pay—or Berenbroick during his ministry of music my godmother did pay for six years of in the Presbyterian Church at Madison, piano, but it never did “take”). New Jersey. At Lester’s request, I assisted The fi rst composition on his program my foreman in the organ’s tuning. Lan- was Peeters’ own Aria. My apprecia- glais was involved in a press conference tion of this work remains to this day. In at the rear of the sanctuary. Hearing us preparation for our wedding in 1960, I in the chancel, he fi nished his comments asked my Emma Elizabeth to play it for and came to the console. He wanted to her pleasure, and we both felt it should be sure to convey his thanks to Emmie be the fi rst composition to be played and me for taking such good care of his in the service prelude. Needless to say, Marie during her past visits to this coun- Flor Peeters’ recital was played to a full try. We ended up chatting for about a house that autumn evening and was half hour. As he left, I was tuning the top very well received. octave of the 8′ Clarinet, just arriving at top C. The good professor shouted from André Marchal the aisle “do not bother with that *@&+ The next guest on Dr. Giles’ schedule note—I do not use it in MY music.” was the blind organist André Marchal. Brady and I got everything ready, and I Hugh Giles Flor Peeters was amazed after just about a half hour At this point, I believe some thoughts with his associate as a guide, Marchal on Dr. Giles might be appropriate. To Flor Peeters was quite familiar with the four-manual my knowledge, he was the fi rst ordained Our fi rst artist during the 1955 season console and most every stop and cou- Fernando Germani Presbyterian clergyman to be appointed was Flor Peeters. The console moving pler location. He asked us just how the as full-time minister of music. He was session also included our remaining for capture combination system functioned much during his preparation time. also called as the associate pastor of Cen- the organist’s rehearsal period (at least and grasped what this equipment was all During the evening’s program that joy tral Church at that time. Hugh had a re- until 5:00 pm; we started work at 8:00 am about in a matter of minutes, including continued with a wonderful performance markable and engaging personality, and in those days). Obviously the preparation all piston and reversible locations. of Dupré’s Variations sur en Noël. At its in addition to his superb musical talent time went on through the evening hours. This gifted artist played an impeccable conclusion, a well-deserved ovation took was a gifted preacher as well. Mr. Brady had gone out to lunch with program at his evening performance— place, which Germani turned to acknowl- In addition to the concert series a friend, and I settled down in Dr. Giles’ again to a packed church. I remember edge, pushing the general cancel in the (which was second to none in talent and study to consume what I had brought being so impressed with his gift for regis- process, not realizing that the Sforzando presentation), Dr. Giles directed a mu- from home. Almost one half hour passed tration and keyboard ability. A number of did not cancel on this particular combi- sic ministry, which included professional by, and then I heard a voice calling from encores were indeed in order that night, nation action system. singers. He was also responsible for the the sanctuary. It was Flor Peeters. In his as they had been for Flor Peeters. The next selection was one of my very organ’s care and had a wonderful work- cadenced English he said, “Ronald you favorites, Vierne’s Clair de Lune, and ing relationship with the Möller techni- vil play zee organ for me, pleeze.” Now, Fernando Germani you guessed it: Germani prepared his cal staff. All of us on the New York/metro on a good day my skills of improvisation The schedule continued with the very registration not giving any notice to that crew enjoyed working with and for Hugh might just get by—maybe (just ask John wonderful and quite charming Fernando RED indicator light on the nameboard. at Central. Weaver). Here was this eighteen-year- Germani. It was a joy to be in his com- I was trying to send mental signals from The inspired creation of opus 8000 old being asked by a world class artist pany. (Later I had the pleasure of hear- my seat in the gallery, but he placed his was a joint effort between Ernest White to “play zee organ pleeze.” I advised the ing Germani play the complete works of hand on the manuals with a full organ re- and Hugh Giles. It was the Möller show- gentleman of what he might expect, and Bach in a series at St. Thomas Church.) sult. Of course, this most gracious man piece in for a number he indicated that I was to play through Mr. Germani’s rehearsal went on without stopped at once, turning on the bench of years and was a major feature of that his piston settings as he called them out incident. He was at one with this superb and saying to the audience, “Excusa.” decade’s AGO national convention. To from various locations in the church. The Möller creation and enjoyed himself very With the full-organ control reversed, Messrs. White and Giles’ credit, the scal-

JANUARY, 2009 23

Jan 09 pp. 23-27.indd 23 12/10/08 12:38:58 PM John Davis at the West Point console, where he served as chapel organist for many Virgil Fox sent Ron Bishop this photo when they prepared a magazine article years. When he was employed by M. P. Möller at age 19, Ron Bishop fi rst met Dr. together and discussed a future performance at Radio City Music Hall. Fox died Davis. One of Ron’s last projects for the Schantz fi rm was for the First Reformed before the event could take place. Church in Poughkeepsie, where Dr. Davis now serves as organist and choirmaster. instrument. In fact, Arthur Brady in- resulting comedy (for lack of anything ing of this instrument was perfect for to make adjustments himself. Dur- stalled the original Möller organ and did else to call it) vocal plus visual effects. I that beautiful sanctuary on Park Avenue. ing lunch I would sit in the organ loft extensive tonal regulation work for Fred- should note here that this “team” had a The edifi ce was fi rst built as the Park Av- or choir room while he played Franck. erick Mayer in the cadet chapel. favorite word that contained four letters enue Baptist Church, but was deemed What an experience. This gentleman In 1929 Mr. Brady had continued his and began with the letter “F.” It was al- not large enough for the preaching gifts taught me a great deal about the art of association with Mr. Mayer when he ways an experience to go into a church of Harry Emerson Fosdick. The gracious organ building. His associate, Edward was called upon to install a smaller ver- with them and hold one’s breath dur- Riverside Church was constructed to fi ll Linzel, also became a good friend. I still sion of the West Point design (49 ranks) ing any initial discussions with the as- this need, and the original building be- have the recordings made by these two for the Church of the Holy Communion sembled clergy and members on hand. It came Central Presbyterian. men at St. Mary’s. at South Orange, New Jersey. Here was amazing how they “cleaned up their M. P. Möller built another gem, which act” until out of earshot (at least we all Ernest White West Point was given to the parish by the Vanston hoped so). Just a word about Ernest White. Theodore Gyler Speers was the senior family. During my time working with Then there was one George Siska, a During one of my fi rst weeks work- pastor of Central Church and gave his Dr. Giles, he suggested that I visit West very kindly Hungarian gentleman who ing for Möller, I was sent to work with full gracious support to his associate and Point, and I then had the opportunity stated constantly that he was in reality a Mr. White at the Church of St. Mary the ministry of music. Dr. Speers later to meet Jack Davis, the chapel organ- “Woycer” and did not belong on a regu- the Virgin. The company maintained moved on to that glorious chapel above ist and choirmaster. What a wonder- lar pipe organ maintenance crew. Many the beautiful Aeolian-Skinner in the the plain at West Point, New York. The ful visit that was, and in recent years I times I was paired with George (when church, the choir room Möller, and the Möller New York/metro crew had been had the pleasure to work with Dr. Da- Mr. Brady was on a releathering job or Aeolian-Skinner in the organist’s study. involved with the installation of the su- vis in the design and installation of the whatever) as it seemed that our boss I tuned for Ernest (he held keys) and perb console at the Military Academy Schantz organ at the Reformed Church (one John Byer) thought that I was pa- sometimes he went into the instruments along with earlier portions of this grand in Poughkeepsie, New York, where he tient and understanding and would put continues his work in a truly dedicated up with Mr. Siska’s constant complaining and loving manner as has always been about not being assigned to the appro- this fi ne gentleman’s custom. priate tasks befi tting his talents. professional There were indeed very bright lights Jeanne Demessieux in this group, including of course Mr. A major happening in the concert se- Brady, who was a mechanical wonder ries that year (and believe me, all the person and tuner, with a special abil- musiciansicianiician performances were quite special) was the ity for tonal regulation. Ernest Lucas is pastoral appearance of Jeanne Demessieux. Her one of the best people ever to be in the theological performance was to include the Ad Nos pipe organ fi eld, along with his brother along with many other audience favorites. Harold, who left our merry band to I recall that the New York press had done work with Aeolian-Skinner in . a fi ne job of pre-recital coverage. George Eisell had joined our group from Knowing of my interest in the instru- Aeolian-Skinner and was expert in just Master of ment and the artists who played it, Dr. about anything. George had recently Giles had arranged for a private meet- installed the fi ve-manual console with ing for Ms. Demessieux and myself in its some seventeen remote combination his study between her preparation time machines for Virgil Fox at the Riverside Sacred Music and the performance. We had a lovely Church. George told me of his wonder- visit, with Hugh the ever-proper host. ful experience in working with Virgil, as www.luthersem.edu/msm This lady did indeed play the organ did all who had the special opportunity in those high-high-heels (and never of working for and with this great man. I missed a note). She was just a lovely know full well that Dr. Fox was well re- person and this showed in her music. spected by all of us in the industry and “We seek to give musical and theological What a night—encore and after encore that feeling was returned tenfold. followed (I cannot recall how many), For many years M. P. Möller kept of- flesh and bone to those who are called with a mystical silence as the audience fi ces in a suite at the Waldorf-Astoria to serve the church as leaders of the fi led out. hotel, which included a pipe organ that people’s song.” was later moved to a church in Harlem. Möller New York City/metro crew In addition, the Grand Ballroom con- – Dr. Paul Westermeyer, Director While all these wonderful happenings tained a very large twin-consoled four- did so much for the New York City con- manual installation. (One console was cert season, I must not lose sight of the of the English drawknob type and the many projects the M. P. Möller metro other a theatre-style unit—both with service crew was attending to. Aside plug-in connectors.) from the contracted maintenance of As time passed, the Möller offi ce relo- some 600-plus Möller instruments, the cated to Yonkers, New York. The Grand eight of us were quite often called upon Ballroom instrument was placed in stor- to assist the Hagerstown road crew in- age and, after a factory rebuild plus new stallation folks. console, sold to the State University of The metro crew was a group of char- New Jersey for their Montclair campus. acters unto itself, headed by our senior They had built a quite lovely auditorium members. Larry Horn spoke with the with chambers at stage right and left, all right side of his mouth lowered for a ready for the organ’s installation. The very dramatic accent (and related visual new four-manual console was placed in effect). Larry’s partner at the directorial the orchestra pit at stage right. level was one Rudy Lung (that is right, Our entire group was assigned to as- LUNG), who spoke with the left side of sist that factory installation crew for this his mouth lowered (also a most interest- project. This led to a very interesting Armstrong Aspaas Ferguson Rodland Westermeyer ing effect when those two stood side by situation with Larry Horn (mouth list- side on the job site). Larry and Rudy were ing to the right) having so-called equal almost always teamed together, with the “bossing” responsibility with “Wild” Bill

24 THE DIAPASON

Jan 09 pp. 23-27.indd 24 12/10/08 12:39:23 PM John A. Schantz and Ronald Bishop meet in the reception room of the Schantz factory in Orrville, Ohio

Slaughterback (loud mouth—period) of a table in the middle of the room, laid out the Hagerstown group. for all to see and work from at his direc- The university campus is set on a tion. We started hauling parts up ladders hillside in northern New Jersey, with a to the chambers as ordered and soon haunting view of New York City to the found out that nothing, I mean nothing, east. As we began our installation pro- fi t. Larry insisted he was giving the right cess, major construction was in progress directions and ordered baseboards and all over the area. The Möller trucks ar- other materials that he thought in the rived so our gang could unload, with way, removed from the organ loft loca- everything placed in and around the tions. Eighteen-year-old me suggested John Weaver at the original console of the Madison Avenue Presbyterian large scene dock entrance for the stage that HE look at the drawings again and Church, New York City. Ronald Bishop had the honor of serving as Dr. Weaver’s complex. We got everything placed for was TOLD IN NO FEW WORDS TO maintenance technician for more than three decades. Weaver often performed at proper installation sequence, including MIND MY OWN BUSINESS AND Central Presbyterian Church under the late Richard Westenburg’s baton. the large two-stage wooden-cased organ THAT I WAS JUST A HELPER (plus a blower (original to the instrument). few other choice words). This all went on getting a wonderful balance of tone. silica) of the Sacred Heart in Newark, Within the hour it was discovered that until it was time to go to lunch; there was On the other hand, John Schantz was New Jersey, and John’s wonderful work this large wind machine belonged two a wonderful diner down the road and and is a superb organist and knew only there. Little did I know that about a de- fl oors down. I should mention that the we all wanted to get there FAST. By this too well how he could obtain exquisite cade or so later Mr. Schantz would ask building sat on the gentle slope of the time, organ parts were all over the place, musical results from the organs he de- me to represent his fi rm. hillside. This is when the fun started. jammed into the chamber and what not. signed and voiced. “Wild” Bill and Larry decided to appro- Progress was non-existent. Over the years, John A. Schantz has Life after Möller priate a front end loader that was just sit- I made certain I was the last one out been a valued mentor, teaching me many I left M. P. Möller (and sadly Mr. ting there at idle in the parking lot. of the room to head for that diner. I had valued lessons about the instrument we Brady) to attend college in the fall of The gentlemen both decided they hours ago fi gured out that Larry had laid both admire so much. I can recall during 1957. Later that year, I was hired as as- knew how to operate this unit, but be- out the prints wrong, and he was trying a backstage visit at Radio City Music Hall sociate organ technician for Radio City fore all hell broke loose they were “ob- to have us place the Swell organ in the in 1958, both Dr. William Barnes and Dr. Music Hall, upon the recommendation served” by the rightful operator. Then Great/Choir chamber and vice versa. Mr. Charles Courboin telling me of the great of another Möller employee who was money matters for the use of the ma- Bullhead would not think any other way. Schantz organ at the Cathedral (now Ba- working the night shift there. I still hold chine ensued. This involved much loud (Bright me reset the prints as I went out talking (Larry trying to outdo Wild Bill the door.) to NO avail)—thank goodness for the When we all returned from lunch, coffee truck (where the rest of us fl ed) Larry said, “oh, here is the problem”: that was on site. At last the money mat- THEY had laid the drawings wrong and ters were settled, and the sight of our he had fi gured out THEIR mistake. fearless leaders riding in the bucket of Once we had switched everything around the loader was a vision to behold. They (no easy job) all was now right with the got the loader up to the scene dock, and world. What brain power and an ego this we started to shove the blower toward it man had. Please remember I was just a (Möller did not provide dollies in those helper. In the end the organ turned out days). At last the machine fell into the to be a very fi ne little three-manual, and bucket and began its trip to the lower- the client was well pleased. level blower room with Bill and Larry Again in retrospect, maybe this is why yelling at each other—I never did fi gure the boss always sent Mr. Brady and me out about what—for the duration of the to assist Dr. Giles with the concert series trip, brief as it was. needs. (Larry and Rudy had worked the Once the auditorium installation was crew on Opus 8000 and done an excel- completed and the tonal regulation done, lent installation, but Hugh did say to us the university arranged to have Virgil one day that he recalled them as an “in- Fox dedicate the instrument. It was al- teresting” pair to say the very least.) ways a pleasure for us to work with and Returning to the university campus in for Dr. Fox, a true professional and a re- New Jersey, the blower was, at last, put ally nice person. Mr. Brady and I were to in place and we all got to work on the be on call should the organ require any actual chamber(s) installation process. last-minute attention. Well, Dr. Fox got After some back and forth, it was decid- into one of his beautiful full registrations ed that the factory crew would attend to and we soon discovered that nobody had the stage left chamber and we New York/ thought to rebuild the curtain valve in metro boys could take care of the stage the blower static air reservoir. Obviously right location. Please remember after the organ just stopped in its tracks. We all the fun up in New England and the soon got the problem repaired, and one give and take on this New Jersey project beautiful recital played to another full and despite all the carrying on discussed house was the end result. I am certain above, the Möller company always did that Virgil had played the organ more excellent work, and I very much enjoyed than once in its original location and my time and learning experience with he enjoyed very much making “friends” this fi ne fi rm. with it once again. Our combined crew soon completed the transplant of the Waldorf instru- Further adventures ment, and Larry stayed on to assist John Looking back, I think that all this Schiegh, Möller’s head tonal fi nisher, as fun and games stuff began with the they spent several weeks going through New York/metro crew itself when we the organ pipe by pipe. did one of our fi rst solo installations in a very conservative college up in South John Schiegh and John Schantz Lancaster, Massachusetts. It was a small The two tonal fi nishers I worked with three-manual in a chapel/auditorium- were both named John—the afore- type setup, with chambers to the left and mentioned Mr. Schiegh and for thirty- right of the platform area. Larry was in two-plus years beginning in 1973, John charge, with Rudy and his ever-available A. Schantz. Although our friend from comments and “assistance.” Larry had Möller did not know how to play the placed the organ installation drawings on instrument too well, he had a knack for

JANUARY, 2009 25

Jan 09 pp. 23-27.indd 25 12/10/08 12:39:40 PM Ron Bishop and Robert MacDonald share a fun time shortly after Bob’s appointment as director of music at the Cathedral Basilica of the Sacred Heart, Newark, New Jersey, and the start of MacDonald’s ten-year tenure at Radio City Music Hall, New York City.

Head organist Richard Liebert and associate organist Raymond Bohr at the stage right Radio City Music Hall console. The two played the solo parts in Raymond Paige’s many organ and orchestra overtures. Ron Bishop had the pleasure of working with these gentlemen, attending to the care of the great organ with Louis Ferrara, who installed the instrument in 1932.

The late Dr. Leon Thompson, music director of the Abyssinian Baptist Church, New York City, and Ron Bishop share a moment at the noon meal following the service of dedication of the fi ve-manual Schantz installation. Several performances with the New York Philharmonic followed in the years to come.

an Emeritus title at the theater to this installation, and tonal fi nishing of this Claire Coci gave Ron and Emmie this photo one evening during a dinner at her home day. Soon after joining the Music Hall fi ve-manual instrument, which contained (she cooked). Ron tuned for many of her concert dates along with maintaining the staff, I met a beautiful young lady named some pipework from the previous instal- organ in her studio at “the Academy.” Emma Stiffl er, who was then a Rockette. lation there that preceded opus 8000 by We were married in September of 1960 a few years. had served Winston-Salem, North Carolina area. and through God’s blessing share a love the congregation as consultant, and the John A. Schantz joined me in doing the that grows deeper as each day goes by. organ’s opening performance included tonal fi nishing of the Binghamton organ. About eight years after our marriage, I the full New York Philharmonic, Zubin One of the major donors came to me and met up with opus 8000 once again when Mehta conducting, with the late Leon- said it is just perfect and thank you and Richard Westenburg asked me to take ard Raver at the console and Leontyne Mr. Schantz. charge of the instrument as it continued Price a vocal soloist. New York City con- to play an important role in his Musica certgoers did indeed enjoy the wonder- New York City installations Sacra series and the ministry of music ful concert seasons. In thinking about New York City’s two at Central Church. The late William Emmie and I became patrons of Dr. major concert halls, one does wonder Whitehead and the recently retired John Westenburg’s program at Central, which about the lack of organs in both of them. Weaver shared the continuo work with kept us in contact with our four-manual When I fi rst started at the Music Hall, Dick conducting the chorus, and in the Möller friend for several more years. my boss, Louis Ferrara, took me up to course of the season Dr. Weaver played That series was music-making of the Carnegie Hall to see the Kilgen installa- a stunning performance of the Poulenc highest order and later moved to Avery tion there. He would be asked to tune it organ concerto under Richard’s baton to Fisher Hall. In addition, Dick went on to from time to time, and our friend Claire a well-deserved standing ovation. Opus become music director of the Fifth Av- Coci was organist of the Philharmonic, 8000 really did its thing that evening. enue Presbyterian Church. Dan Locklair which resided there back then. I later Around 1978, I again had the honor of serviced the instrument in Claire’s home hearing this work on the Schantz organ at Dan Locklair fi ne Link organ at First Presbyterian until her unfortunate passing. The late Abyssinian Baptist Church, with the late In the summer of 1976, Emmie, our Church, Binghamton. My staff and I and quite wonderful George William Leon Thompson conducting members of sons, and I took a summer home on Hart had a wonderful time working with and Volkel also played the Kilgen for the Bell the New York Philharmonic, of which he Lake (Pennsylvania), in the mountains for Dan, and we have been dear friends Telephone Hour, which was broadcast in was an associate conductor—once again just below Binghamton, New York. Dan ever since. Later on, Dr. Locklair com- its radio days from the hall. George even a standing ovation from a full congrega- Locklair had contracted with Schantz posed an anthem in our honor entitled A played a half-hour recital for the audi- tion, 2,300 in this beautiful setting. I had (with me as project director) to do ex- Christmas Carol. Dan and his lovely wife ence prior to the program going on the assisted John A. Schantz in the design, tensive tonal work and additions to the Paula are doing wonderful things in the air “live.” Although buried, that instru- 26 THE DIAPASON

Jan 09 pp. 23-27.indd 26 12/10/08 12:39:59 PM Emmie and Ron have lunch with and his producer, Ray Arnet, along with three former Rockettes. Liberace and Arnet made use of the Music Hall Grand Organ in their New York productions, selecting Robert MacDonald as organist for their sold-out performances. Radio City Music Hall prior to opening day, December 27, 1932. The two independent consoles that control the Grand Organ are shown. The Music Hall’s conductor, ment could make itself known but was the regular organ intermissions on the Raymond Paige, made extensive use of the organ, having the Bach Festival later removed for whatever reason. opposite console. In later years, Robert Overture arranged for organ and orchestra, among many presentations. At the time Avery Fisher (then Philhar- MacDonald not only played the opening monic) Hall was completed, Louis, Ray for Liberace’s show, but also joined the Symphony concluded their program, installation crew at his family’s church that Bohr (Music Hall organist) and I were orchestra for the second act overture to with the orchestra at stage level bathed summer. He worked with the New York crew invited by the Aeolian-Skinner foreman the music of J. S. Bach. Needless to say, in the appropriate light and the organist through the fall of 1957, when he joined the to visit the organ installation, which had Robert and the organ were well received and console spotlighted in white, there organ maintenance staff at Radio City Mu- sic Hall. At that time he also formed his own just been rough tuned. The stage crew by all concerned. was of course a standing ovation and the pipe organ service fi rm. brought that very beautiful ebony con- A few years before his death, Virgil Fox magic had happened once again. He married Emma Stiffl er, who had been a sole to the stage on its elevator. Ray and called me to discuss a magazine article With the many recent concert hall or- Rockette at the Music Hall, on September 3, Lou went out into the house and asked we were preparing on the Music Hall gans now installed and being planned, I 1960, and they have two sons. In 1973, John me to PLAY. Now we already know of Grand Organ, its various uses and up- know that magic will happen again. In A. Schantz invited Ron to become a district my playing skills (?!), but that organ and keep. After about ten minutes’ discussion a way, Dr. Giles helped it all get started representative for the Schantz Organ Com- its gorgeous sound made even me sound of the article’s material, we spent another again after World War II. The music pany, where he remained for over 32 years. decent. In my opinion, it was just a sin hour going over the planning of an organ ministry at Abyssinian has helped to con- The Music Hall in-house maintenance staff to remove that instrument. At the time program Dr. Fox and I were working on tinue the adventure along with the late was eliminated in the late 1960s. In late 1975, of the Abyssinian Baptist Church instal- for a proposed New York appearance at Richard Westenburg’s ongoing contribu- Raymond F. Bohr, Music Hall head organist, lation and through Dr. Leon Thompson’s Radio City Music Hall. He wanted to do tions. Let us all continue to enjoy, sup- and John Henry Jackson, vice president and ■ senior producer at the theater, invited Ronald kindness, Zubin Mehta asked me to the fi rst portion of his program on the port, and celebrate such ventures. Bishop to return and begin the much-needed come to the hall and see what could be stage right console, then move to his Al- restoration of the Grand Organ. He now done relative to a possible new Schantz len touring organ, which would be placed Ronald Cameron Bishop obtained a job serves in two emeritus positions and assists his installation. During my visit, I was told stage center, making full use of the eleva- with the New York M. P. Möller crew in wife in the operation of her dance studio, in by the stage manager that if the sliding tors and turntable equipment. The light the fall of 1955, after observing the Möller addition with his organ consultation services. steel door (à la the Kennedy Center Ae- show would have been included and at olian-Skinner installation in Washington, one point he would move to the stage left DC) had been installed, the original or- console for another portion of the pro- The Cathedral of Christ the Light gan would still be there. The powers that gram. The fi nale section and any encores be would not, however, spend the money (Perpetual Motion for certain) would be O A K L A N D, C A L I F O R N I A for that installation. The organ chamber played on the touring organ, and we got was still there, walled over, and used for to wondering if the cabling on it would al- We are pleased to announce storage. The “acoustical” person granted low Dr. Fox to move down stage out onto the completion of the first such a limited space for any replacement the stage-level orchestra pit elevator so phase of our organ project organ that the project was just impossible that his pedal work could be spotlighted with the Cathedral of Christ to consider. Believe me, John Schantz to the greatest advantage. It is indeed un- the Light in time for the and I spent a great deal of time discuss- fortunate that this wonderful man never ing the matter to no avail. got to perform this program. I am certain Mass of Dedication held on Despite this lacking, the area churches that he would have sold out the vast the- September 25, 2008. The really provided some great concert ven- ater, and many standing ovations would remainder of the instrument ues, thinking of Dr. Giles and opus 8000 have taken place that evening. will be constructed in our and our wonderful friends at the Abyssini- It is obvious that the instrument we all workshops over the an Baptist Church, who have continued to care about has been featured in concert invite the New York Philharmonic to ap- venues by many talented people. Broad- coming six months and pear with their-fi ve manual instrument. way history alone tells me that Firmin will be installed during Even the Grand Organ at Radio City Swinnen did a pedal solo four times a day the late summer of Music Hall has taken its concert turn un- at the Rivoli Theater with his footwork 2009. The completed der the batons of Carmine Coppola and spotlighted from on high as he played instrument will feature James Levine, with Frederick Swann and The Flight of the Bumble Bee. Anthony Newman as guest organ solo- It was the happenings that I have four manuals, 75 ists. Even back in the presentation days, known and surely my discussion with Dr. independent stops the great Raymond Paige conducted Fox that led me and my son Richard to (excluding borrows), 90 the Music Hall Symphony Orchestra in include plug-in connectors and travel- ranks and 5,335 pipes. the Bach Festival Overture, with Rich- ing cable materials when we rebuilt both The design of the organ’s ard Leibert at the console. The superb Music Hall consoles. They can now re- arrangement for this presentation was main in their normal alcove settings or twin façades was developed in collaboration with made by Rayburn Wright. This format be placed anywhere on the stage, turn- the Cathedral’s architect, Craig Hartman of was further developed with the Richard table, or orchestra pit. Dr. Fox would Skidmore, Owings & Merrill, and will suggest a Rodgers Overture, again with Mr. Leib- have loved the possibilities. When Mr. natural forest with numerous wooden pipes. ert as featured artist. Ray Bohr played all Swann, Mr. Coppola and the American We are honoured to have been selected by the Cathedral of Christ the Light’s Organ Committee to design and build this significant new pipe organ for Oakland’s resonant new Cathedral. For more information, visit our website at the address below or the Cathedral’s website at www.ctlcathedral.org. ATOS ORGUES LÉTOURNEAU LIMITÉE ExperienceAmerican Theatre Organ Society United States Canada 1220 L Street NW 16355 avenue Savoie Preserving a unique art form. Suite 100 – No. 200 Saint-Hyacinthe, Québec Washington, DC J2T 3N1 Concerts, education, silent film, preservation, 20005-4018 Tel: (450) 774-2698 fellowship and more. www.atos.org Tel: (800) 625-PIPE Fax: (450) 774-3008 Jim Merry, Executive Secretary, [email protected] Fax: (202) 737-1818 [email protected] P.O. Box 5327, Fullerton, CA 92838 [email protected] www.letourneauorgans.com

JANUARY, 2009 27

Jan 09 pp. 23-27.indd 27 12/10/08 12:40:17 PM