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Jan 09 Pp. 23-27.Indd 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 New York City 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.
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