Back in 1915, for the Panama-California Exposition, John D. Spreckels dedicated an organ pavilion in Balboa Park to “the peoples of all the world.” The post of Civic Organist of San Diego was first held by British-born Dr. Humphrey John Stewart (one of the founders of the American Guild of Organists), who served from 1917-1932. Stewart’s latest successor is Dr. Carol Williams, also British-born--and the first woman to be appointed to the post. Trained both in the UK and the USA--at London’s Royal Academy of Music, Yale University, and the Manhattan School of Music--Carol’s career today is anchored by her Civic Organist activities, but not limited by them. She has concertized throughout Europe, North America, and Asia, and continues her musical travels when possible. She has recorded a video and twelve CDs (details are available from her website, www.melcot.com). Carol Williams is represented in the USA by Phillip Truckenbrod Concert Artists, and in the UK by PVA Management.
Carol traveled to Illinois in March, and we had the opportunity to meet with her as she was preparing for a concert at Chicago’s St. Vincent de Paul Church, home of a 1901 Lyon-Healy organ that is undergoing restoration.
JR: Carol, I’m curious about your theatre organ background--you said you grew up playing theatre organ. Did you start with piano lessons?
CW: Yes, that’s right. I started piano at age 5; I read music before I could read. There were electronic organs in the family, Hammonds, Lowreys--my aunt had a Hammond--and it just naturally progressed from having a Hammond, then to hearing a theatre organ. I started theatre organ playing when I was about 13 or 14, and all the way through I continued a very strict piano training. I didn’t start classical organ until I was 17. But it was a natural progression.
JR: By the time you started classical organ, were you playing in theatres?
CW: I was doing concerts, yes, playing some theatre organs. But there were very few theatre organs left in their original surroundings; some had been moved into concert halls in England. I guess I started playing late since I didn’t sing in a boys choir, because I was a girl! The natural progression for the cathedral organist was you sang in the choir and then you naturally moved over--this didn’t happen to me, I just moved over. I heard Carlo Curley at the Alexandra Palace, and that was a turning point, because I thought, “this is really exciting!”
JR: Was it what he played, or how he played it, or the instrument?
CW: Everything! The Father Willis there was not working and there were electronic organs on stage and there were, I think, three or four organists. He was chauffered in, in a white Cadillac, I remember that. And Virgil Fox was there--he didn’t play; he stood out--that’s the closest I got to him. I was seventeen; I just clicked--”that’s my instrument!” I really do see myself as a concert organist. I enjoy playing light music, and it all feeds me, in the sense of keeping me alive. But I don’t see myself as a theatre organist. I enjoy playing it, and you have to be able to play light music in the park; you can’t just play a straight Buxtehude-Bach program--it would just go down like a lead balloon.
JR: I’ve been fascinated by your programming choices and liking them, because I’ve seen how audiences react to a varied program.
CW: A lot of people find it hard to go into a church--I mean, they don’t see it as a concert venue. That’s why the park is great, because there are no “sacred” connotations, so you can play whatever you like. You can’t always do that in a church--you’ve got to show some respect. But you’ve got to get them in there, you’ve got to get them to stay, and you’ve got to get them to go again. So, you must play what they want to hear.
JR: Did you actually have theatre organ training? It’s definitely a different style of playing and registration. And did you learn how to create theatre arrangements, with the little fill-ins after a bit of melody?
CW: A lot of theatre organ arrangements are done from piano score and piano conductor score. I had two theatre organ teachers. Vic Hammett, who was a really fine artist, had so many innovative ideas, and my second teacher was Eric Spruce, who was organist at the Empire Leicester Square in London--a very famous venue. They both knew what was entailed for playing theatre organ programs. That was alongside my classical organ training, so they were both feeding each other. It’s musicianship--you listen to orchestral scores, and then sometimes you might take a Rodgers & Hammerstein musical and you carve out your own ideas. You just let the music flow through you. But the training really helps. You work a lot from piano scores and novelty numbers--Zez Confrey . . .
JR: Kitten on the Keys!
CW: Beautiful stuff! James P. Johnson, Scott Joplin, they’re all quite delightful. They work well on a classical program, too. I love playing them!
JR: You play it very well. Some people just can’t make it work and you do.
CW: I like jazz. I think it should be like a soufflé, very light--and the pedal should be more 8-footish than 16 foot, so it really is more light, like a double bass plucking away. It shouldn’t be heavy. If you play Lefébure-Wély, this approach really helps, because that music is very flamboyant--it shouldn’t be stiff and stodgy.
JR: There are people who look down their nose at Lefébure-Wély.
CW: But he was an eminent musician. He was organist at Saint-Sulpice and he was one of Cavaillé-Coll’s key players. There is a funeral march by him, his opus 122, it’s some lovely music--not all oom-pah, oom-pah.
JR: You had so much training in England, then you came to the United States and you earned a DMA here. Why did you feel the need for training in America after such a good solid grounding in the UK?
CW: Well, I came to the States in ‘94, and I did a series of concerts. I really liked it out here. I went back and I happened across a CD of Thomas Murray--The Transcriber’s Art--and I just fell in love with that. You can never learn enough. I remember one teacher saying to me, “you should always remain a student,” always willing to learn. It just seemed right to come out here and do an artist’s diploma with Tom Murray, so I did. And I felt I really should do that DMA--you know, it’s worth having. I admire McNeil Robinson greatly; he’s a tremendous teacher. I enjoyed the scholarly aspect behind it; I did my thesis on 19th-century concert organs in England. The DMA at Manhattan School of Music is fairly performance based, which is me. I didn’t want to spend my time with textbooks and not play the organ. I wanted to play. So it worked out well. And for remaining in this country, I think a DMA really probably does help.
JR: Do you hope to teach some day, or just keep playing?
CW: I think keep playing. It’s hard for me to take on a series of students because I’m traveling a fair amount and it’s not fair. At this stage I just want to play.
JR: But you did have one church job when you were in New York.
CW: Yes, I was an assistant organist at Garden City Cathedral, and that was good fun; I enjoyed the work. But doing that job, I realized that’s not what I want to do, because I didn’t want to immerse myself in conducting a choir, playing anthems--it just wasn’t me. But it fed me musically. While doing study at Yale, I was organist at Yale University Chapel; that was a good position. But from doing something, you learn something: that you don’t want to do it (if you follow me!).
JR: You seem to have a lot of fun with the Spreckels Pavilion concerts, including dressing up for them. You’ve got your Mexican dress for Cinco de Mayo, and if it’s a sunny day you have sunglasses--have you had to make any wardrobe investments just for that job?
CW: Yes. A lot of warm stuff! (chuckles)
JR: Really? San Diego is warm!
CW: The building faces north, and it is so cold there this time of year. Actually they’ve just had a heat wave there this week. Yesterday it was in the 90s; this time of year, from October-November-December-January-February, and especially now, February-March, it’s the worst season. So the audience is in the sunshine, but you’re in the cold. And the organ is outside, the console is on the platform, and it kicks up a wind. It is the coldest place I have ever played! I remember Robert Plimpton saying to me, “You’re going to be cold.” I know English cathedrals--how could anything be as cold as an English cathedral? Well, he was absolutely right! I have a lot of silk things, underwear and stuff, layers--I wear a hat and warm coat. What I did start doing is going to the gym a lot, so I work out and that has helped me enormously--just keeping fit. Getting fit, I should say!
JR: What type of exercise do you do?
CW: Pilates and just general workouts--Pilates is really good for an organist, because of the neck--sitting at the organ, especially practicing under a lot of pressure, your neck is vulnerable. I’ve had serious neck problems, actually, and Pilates just strengthens your whole core. It makes you strong, and is well worth it.
JR: How about your shoes? I’ve also noticed that you don’t wear the standard organ shoes like a lot of us do. You’ve found shoes you can manage in?
CW: Yes. I think it’s personal. These are ballet shoes--and the sole is suede, so I can feel the pedals. And I have the heel made up so it’s not too flat. People have criticized them, but they work for me. Everybody’s feet are different. I have a very high arch, so I can’t wear a lot of flat shoes. But these work perfectly for me; other shoes don’t. I find them too solid. I wouldn’t feel supple--I want to feel like a dancer when I play--to feel that your feet are as nimble as your hands. If they’re solid, then it just doesn’t work. But I get a lot of shoes--different colors, too.
JR: Since you’ve had formal training in the UK and here, is the approach to playing any different? Would you say that there are different “schools” between the two countries?
CW: Yes. We have bigger acoustics in England. A lot of the cathedrals have tremendous resonance. A lot of the buildings over here do not have big resonance. One can play faster in dry acoustics; you go back home to England, or France, and you can’t do the same thing. You play at St. Sulpice, you’ve got to really listen to that organ or it’s like having an argument with somebody and the organ would win. You’ve really got to listen to the instrument.
Each country, each acoustic, the voicing of each organ will bring out a different interpretation; you’ve got to be flexible.
JR: You clearly thrive on travel. Do you have an approach when you come to a new place and you have to learn the organ fast, because you’ve only got so many hours before that concert starts?
CW: It initially starts with them sending you a specification, getting that through the management. That gives you some idea of what you’re dealing with. But it’s only something on paper. It’s nice to have two days if it’s possible--it should be possible, yet in England, many places, at cathedrals, they’d just give you a couple of hours. And it’s not fair; you barely get through a program, registering; it’s no way for musicians to work. You need that time to register, you need that time to savor the sounds, keep playing it through, always changing sounds--you know, change your balances. It takes a long time! I don’t like to work with my back against the wall because I don’t think I give my best. I’d like to have two days if I could with an instrument.
JR: And the specification is just the starting point; you don’t know what the organ really sounds like or how responsive it is.
CW: Some of the big organs in this country with a big acoustic may have an action that is very light, and this can be a problem. Playing somewhere like St. Sulpice, the action is heavy but this can be very helpful with a large acoustic as this then allows the music to really make sense in the building.
JR: Are you saying that a heavier action works like a brake?
CW: It helps you. It makes you then appreciate what you’re dealing with: a big, big animal, a big friend. You’ve got to listen to it breathe; and you can’t do that at breakneck speed. Like the organ here: it’s got a big acoustic, the action is nice, but it’s light. You’ve got to switch off and put your ears in the building and listen to it as you play.
JR: About your Spreckels position--when you heard about it, what was it that made you think, “you know, I’d like to apply for that”?
CW: (chuckling) I saw it in The Diapason.
JR: Really!
CW: I did, yes. I remember reading it in The Diapason and I thought, “now that is an interesting position and that’s a position I know I could do,” because it was performance all the time. I always had in the back of my mind if there’s ever any job I wanted, it would be to be a civic organist--Lemare and people like that; his autobiography is fascinating, and the programs he played. I knew that would be me. So I applied. They had many applications--I understand about 100 applications--they narrowed it down to five, and the five were invited to give a Sunday afternoon concert. And I did; I did my best show, I thought. I loved the atmosphere because the audiences there are the general public, because it’s right in the middle of the park, it’s not far from the zoo, and there’s a museum of art, there’s all the big museums there. It’s a beautiful environment--there are about a thousand people there every Sunday afternoon. And I played a concert and I just clicked with the venue, I thought. Because you’re not limited as to what you can play, you can play what you want, within reason, on a big 73-rank Austin organ. And the organ itself is very versatile; it’s basically a good concert organ--plays the main repertoire incredibly well, and transcriptions. But it’s also got a tibia rank, so it plays theatre organ music well, and if you use the orchestral reeds and the couplers and the strings, you can get a good Wurlitzer sound from it. So it’s very versatile and it suits me, because I like to play all types of music. The organ and I, we’re a good marriage, I think.
JR: Do you remember what you played on your audition concert that sealed the deal for you?
CW: Well, I didn’t know for a while afterwards--not knowing is worse than anything! I played from Marchand right through to the Beatles, I remember. I just went the whole spectrum: Widor; Reger; as I said, the Beatles; Bach; a varied program.
The people there, they want to hear all types of music. The concerts are free; the organ was given by John D. Spreckels. And part of the deed was that the concerts have to be free. And I think it’s the hardest audience to play to, because you get a lot of people who wander by, sit down, and the only way you can keep them there is if you play things that they want to hear, and in a way that they find exciting. If somebody’s paid 30 or 40 dollars for a concert, they’re going to sit right to the end. But if it’s free, they’ll go to another museum. So it’s hard. You’ve really got to connect with them--tell them about the organ, tell them about the music. You mustn’t be stuffy, play things that maybe two people might want to hear. With maybe 1000 people, you’ve got to try and connect with those thousand people. For the Monday night festival concerts we average 2500 people, and then on opening and closing nights we get about 4000. I shared a concert with Joshua Rifkin--I did the first half, he did the second half. He did beautiful ragtime; oh, it was fabulous! And then we did some duets at the end. We had 4000 people! It really was magic.
JR: Did you do Joplin duets with Rifkin?
CW: Yes. Maple Leaf Rag.
JR: You’ve recorded that already on your own.
CW: Yes--I love ragtime!
JR: Duets with Rifkin! He started the whole ragtime revival.
CW: Yes, he did. We owe the revival to him. He has exquisite playing, and it suits the tasteful construction of the music; they work well together. And he’s a great man, too; he’s a lot of fun.
JR: You’ve already talked about one occupational hazard at Spreckels, and that’s the cold. What about in summer? Does it get impossibly hot?
CW: It does get hot. We sometimes have the hot weather from the desert, and that’s what really fueled the fire in October. And it’s a dry, hot wind; it’s unbearable. As soon as you raise that big door on the organ, you suffer; so does everybody. It seems to suck out something from the atmosphere and the tuning unfortunately goes; there’s nothing you can do about that. But the Monday night festival concerts, because they’re at night, don’t have that problem so much. Sometimes you get an atmosphere problem, with moisture in the air, during late August and it can be very damp at night. That’s a problem; the keys get wet and the bench is wet; these are things you have to deal with.
Last year I shared a concert with Hector Olivera. He brought the Roland Atelier. We did the Guilmant First Symphony--he did the orchestra, and I did the solo organ. It was fabulous, absolutely fabulous. As we got to the second page of the Guilmant, I saw the biggest bug on the pedals! And I looked down and thought, “oh, no!” I didn’t have much to do that page, and I jumped off the bench. Lyle Blackinton, the organ curator, removed the bug; Hector looked at me, dazed, like “we haven’t finished, we’ve only just started,” and I jumped back on. The bug was crawling away--it was huge! I was terrified. We have these bug problems and I tell women not to use hair spray or anything like that. There are certain things that you cannot do!
JR: Does the Spreckels program have an endowment that funds the concerts?
CW: My position is two separate positions, actually. I’m the civic organist for the city, and then separately I’m the artistic director for the Spreckels Organ Society. And they put on the summer festival. They work on funding and donations and that’s a lot of work. From that we can put on concerts and pay artists to come and play. But it’s a lot of work because we can’t charge for programs, so it has to be done with donation. Next year is the 90th year with the instrument--she started life December 31st, 1914, so next season, the official 90th birthday, will be a very special year. For the opening concert we’re going to have the three civic organists--Jared Jacobsen, Robert Plimpton, and myself--they’ll call us the Three Tenors of the organ world!
This year’s an international festival; we have organists coming from Poland, Australia, France, Germany, and they’re going to be playing some music from their own countries. So that’s the flavor for this year. Next year will be very much linked with the celebration of the organ. So programs must have a connection with the instrument and the city. I have to say, it is a lot of work planning a festival.
This year, closing night, we are doing a Lloyd Webber Spectacular--including artists in costumes. I’m playing the accompaniments to Phantom of the Opera, Jesus Christ Superstar, etc. After a very serious festival and after a lot of serious organ music, I think it’s good that you have something that’s completely different, and this will bring in a different audience. Otherwise, you keep attracting the same audience, the same organ enthusiasts. So I’m always looking for something different each year that’s going to have a different appeal. I am also going to play some of Lloyd Webber’s father’s music--his father, W.S. Lloyd Webber, was an eminent musician.
JR: The Spreckels website shows pictures that look especially delightful, from programs where you were accompanying young people playing other instruments. That looked like so much fun!
CW: It was good. The concert was with children--”Music with children 2003”--and it’s getting young people involved, and not just organists. I’ve got a singer who’s actually going to be with me opening night--eleven years old and he has a voice that’s just amazing. His name is Daniel Myers.
JR: Is it a boychoir voice?
CW: He’s a boy soprano, but his voice hasn’t broken yet. It’s got power behind it. The director of the San Diego Children’s Choir, Dr. Garry Froese, recommended this youngster--said he wanted to sing Granada. I thought, singing Granada? But I couldn’t believe it when I heard him. Goodness me, the power behind it! So he’s going to be with me opening night.
We do something for children that’s important. That’s for the people of San Diego, that the instrument is used for really good things. I don’t mind if kids play violin, or sing, or whatever--they get a chance to play for a thousand people. And they love it!
JR: When you’re in San Diego, you’re playing at the pavilion. Do you do your practicing there, or how do you manage? Do you have an instrument of some sort at home?
CW: I have a Rodgers at home. But I actually like going into the park early in the mornings to do practice, because it’s so quiet. I like working with the organ when there’s nobody around, telephones not around. I turn my cell phone off--I know I shouldn’t do that, but I just like to be left alone sometimes. Just get into the music. And there’s a piano in the pavilion, and the building’s very quiet. It’s very peaceful, so I can really get into my work. I make sure that I do so much practicing, then I will put on the computer and sort out the e-mails. I’m really disciplined about that. You can get so stuck into paperwork and e-mails and that; practice comes first for me! If people get in the way of my practicing, I can be very difficult. I mean, I’ve got to practice--that’s what I’m supposed to do! If you get in the way of that, then you’re not going to be performing so well. So that’s definitely first on the list every day.
JR: How much do you practice?
CW: At least three hours a day. I’m happy when I can do five, or when I’m traveling and working with new instruments, it can be up to eight hours a day. It’s a different type of work, getting used to a new organ.
JR: Let me ask you one last question. Where do you go from here?
CW: I love being busy, I love traveling, I love playing. The San Diego position I very much enjoy because you’re getting through to new people all the time. People come there specifically to hear that organ; people come from all over the world to hear it. It’s really refreshing to hear that. Just doing more and more recording; I love French organ music, I want to do some more recording of French organ music. Just keep busy--I’ve hardly started!
JR: Thank you so much.
