BIOGRAPHICAL DICTIONARY of THEATRE ORGANISTS Hillfasig

scale lowered a half-step to the major triad. chords do not have to be played in root posi The following are some of the most frequent tion (with the name of the chord as the lowest ly used four-note chords: note). Once you have found the correct notes for any chord, practice it in all positions (in 7 1 3 5 7b versions) in both hands, e.g. 07 = G B D F 6 1 3 5 6 in Root Position, B D F G in First Inversion, Major 7 (maj. 7) 1 3 5 7 D F G B in Second Inversion, and F G B D in Minor 7 (m7) 1 3b 7b 5 Third Inversion. Minor 6 (m6) 1 3b 5 6 As a very general note: Most organists pre Diminished 7 (dim. 7) 1 3b 5b 7bb fer to play all of their accompaniment chords (7bb 6) = between the two Fs on either side of Middle C. The above ten formulas represent the ten Chords normally sound best in this range. basic types of chords. There are many others Also keeping them close together enables the necessary for advanced study. But consider, player to connect one chord smoothly into the by memorizing these ten rules you will be able next. As you practice your chords in all inver to form 120 chords! Of course, the most easily sions, remember to use finger substitution to With recalled chords will be those you use most achieve an unbroken, legato sound. often in your repertoire. We will continue with some of the more ad- HILLfASIG It is also important to note that these vanced chords in the next issue. □ at the Consoleof the ROBERT-MORTON THEATREORGAN and BIOGRAPHICAL JOHNINNES DICTIONARY at the OF BALDWINCONCERT THEATRE ORGANISTS GRANDPIANO by Dr. John W. Landon Recordedin the Van Der MolenStudio this great gospelkeyboard HOLLINGTON, AL of seven. At 14 he won the degree A.L.C.M. team presentsthe following Born December 8, 1904, in Normanton, a (Associate of the London College of Music). sacredtunes: town on the borders of Derbyshire and Not He was too small to use the cap and gown that tinghamshire (near Sherwood Forest). His fa went with it. Majesty ther, James Thomas Bollington, was a deputy In 1915 Bollington became assistant organ Moly, Moly coal miner and surveyor who also ran a gro ist at a Methodist Church and five years later GloriousThings Of TheeAre Spoken cery store and photographic studio. he began playing for silent films at ''The Pal Sund Of My Soul Bollington began studying piano at the age ace,'' a local cinema. When the picture was bad patrons pelted him with garbage, so the WhenI SeeMy Savior Al Bollington at the Odeon Carlton Theatre, Toronto, manager moved the piano behind a curtain on All My Trials 1948. the stage. DeepWithin My Heart In 1922 Bollington took a job playing on Softly And Tenderly board the "Lancastria," a "one-funnel" Like A River Olorious ocean liner on its way to New York. When he returned to Liverpool he changed ships, play TakeThe Name Of Jesus With You ing on the "Carmonia," a "two-funnel" ship TheSavior Is Waiting bound for a three-month cruise. America TheBeautiful Bollington returned to England in 1925. His parents had moved to Blackpool in his ab Thesetwo fine artists who have sence and his father helped Al find a job as or playedbefore literally millionsin chestral organist at the Palace Cinema, Black pool. Two years later he married May Crook the Billy Grahamcrusades now all, the girl who worked in the box office. bring you their musicfor your In 1928 Bollington became assistant organ personalenjoyment. To purchase ist at the Wurlitzer in the Kilburn Grange Cin your cassette,send $9.25 in check ema, London. He later became assistant si or moneyorder to: multaneously at the Regal Marble Arch, play ing the organ on Quentin Maclean's day off. After two years of holding down these two positions Bollington was appointed solo or Wbeat:on Fox ganist at the newly opened Astoria Streat PRooaccions ham, London. Up to this time he had used his full first name, Alfred. At the Astoria he was 0 NORTH 468 WILLOW ROAD told that his name was too long for the mar WHt:A TON, ILLINOIS 6018 7 quee so he shortened it to Al. THEATRE ORGAN 17 Bollington was thrilled when, in 1935, he In 1955 Bollington moved to Hollywood, tion of the vast piano library is available in was appointed organist of the Plaza Piccadil California, where he recorded for Decca Rec Braille editions, a quite unusual method was ly Circus. This was one of London's most ords, played background music at Universal devised to enable Brereton to learn the exten prestigious motion picture theatres and was Studios and did some television appearances. sive repertoire that is now at his command. often attended by royalty and London's up In 1959 he appeared on the Lawrence Welk Whenever a new composition enters his reper per crust. However, Bollington soon became Show, which resulted in his being approached toire, Mrs. Brereton (herself not a trained mu frustrated because the theatre management by the Conn Organ Company to tour for sician) reads off the printed page in every de imposed certain restrictions upon his usual them. This he did, appearing in the United tail until it is thoroughly absorbed. "First I style of presentation. On the positive side of States and Canada and recording on the Conn read off the title. If there's a dedication, I read the ledger, Al and May had begun to rear a organ for Decca. Thereafter he toured for the that too. Next come the key signatures and family. First a daughter, Patricia, was born Wurlitzer Company, retiring in 1972. Since tempo markings. Then the pedal marks, and, and then a son, Peter. that time Bollington has concentrated on of course, all the notes." In 1936 the London Paramount Theatre composing and arranging, having had more Brereton made his West Coast debut while (Tottemham Court Road) opened with Regi than 90 songs published by New York pub still in his teens and a few months later put in nald Foort at the console. Foort left shortly lishers. He designed a Theatre Organ Stylings his first orchestral appearance with the San thereafter to become B.B.C. organist and Course which has gone to various parts of the Francisco Symphony Orchestra under the di Bollington took the position which was to ele world. Bollington became a United States rection of Rudolph Ganz. When he left Cali vate him to fame. Whereas at the Plaza, man citizen a number of years ago and today lives fornia for the East, he entered the Juilliard agement was restrictive, the opposite was true in retirement in Woodland Hills, California. Graduate School where he received three suc at the Paramount. Bollington soon landed a cessive fellowships. recording contract with His Master's Voice to In his early twenties, Brereton gave two make what were to become perhaps his best BRAINARD, RALPH S. New York recitals in that city's renowned Theatre organist in the New York City known recordings; organ solos and organ and Town Hall. The New York critics, unques area. Played the Strand Theatre in New York orchestra duets with Anton and the Para tionably the toughest audience in the nation, mount Orchestra. Bollington recorded more City in 1922 and 1923. were unanimous in their enthusiasm. "A re than 100 discs over a three-year period. markable display of skill and musicality,'' In 1938 he joined the Civil Air Guard and BRANDT,IDA commented the New York Times, while Har became a pilot. In 1940 he joined the Royal Theatre organist on the staff of Loew's riett Johnson of the Post found him to pos Woodside Theatre in New York City in 1927. Air Force as a Pilot Officer and eventually sess "such strength he is like a first-rate ath ferried Wellington bombers to North Africa lete at the piano, but combined with the sensi BRASS, PAUL (Raul de Toledo Galvao) and dropped paratroopers on "D" Day and tivity of the poet." Known professionally as Paul Brass, Gal at Arnheim. By the close of World War II he The following year Brereton was back in had become a highly trusted VIP pilot flying vao came either from Brazil or Argentina. He California. Here he repeated his triumph with King George VI and Queen Elizabeth from was a theatre organist in the New York City the San Francisco Symphony, this time under area in the late '20s and early '30s. He played the Isle of Man to London. Other famous the aegis of Pierre Monteux. Of Brereton's the Momart Theatre in Brooklyn, New York, passengers whom he piloted included Princess talents the diminutive maestro stated: "He is in 1928 and was on the staff of the RKO Cen Juliana and her children, Field Marshall a very fine pianist with a beautiful conception ter Theatre, New York City, in the 1930s. Re Montgomery, Anthony Eden and Harold of the works he plays. His art combines verve, membered as being somewhat eccentric, he MacMillan. brilliancy and a delicate poesy.'' High praise told friends he liked to eat his lunch in a near After returning to civilian life in 1945 Boll from a great man. His recitals in the Bay Area by cemetery because it was "so quiet there." ington returned to his old post at the London evoked memories of such masters as Horo His lunch always consisted of turkey legs.

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