The late Dr. Samuel John Swartz founded The Redlands Organ
Festival in 1987. Held on the campus of the University of Redlands in southern
California, the festival features many of the world's leading organists in
concerts, lectures and masterclasses. Formerly, clinicians had to rely heavily
on the aging 1927 Casavant organ (opus 1230). The Memorial Chapel, on the
university campus, houses the organ. Due to the renovation of the chapel the
festival was silenced in 2000. The organ returned to the Casavant Frères
factory in St-Hyacinthe, Québec, Canada for rebuilding. On April 3, the
reinstallation of this grand symphonic organ was complete, and hailed, once
again, as a great success.
The week-long celebration of this landmark instrument ran
from May 11-14, 2003. The artists for this year included Pierre Pincemaille,
Craig Williams, James Welch and Russell Hancock, Christopher Pardini, and
Jacquelin Rochette. M. Pincemaille is titular organist of the
Cathedral-Basilica of St-Denis in France. Mr. Williams is organist and director
of music of the Cadet Chapel at The United States Military Academy, West Point,
New York. Dr. Welch is university organist at Santa Clara University. Russell
Hancock is director of the Shorenstein Forum for Asia-Pacific Studies at Stanford.
Mr. Pardini is the senior organist at the Crystal Cathedral, Garden Grove,
California. Jacquelin Rochette is artistic director at Casavant Frères.
Jacquelin Rochette gave the keynote address covering the
history of Casavant, its ties to the great Cavaillé-Coll tradition, and
the influences that shaped the original design of the University of Redlands
instrument--and comments on the renewal of interest in the symphonic organ. He
emphasized preserving high quality performances and diversity in programming.
Pierre Pincemaille presented the inaugural concert with
virtuosic flair. His program included the Prelude and Fugue in E-flat Major
style='font-style:normal'>, BWV 552 by J. S. Bach, Choral in a minor
style='font-style:normal'> by César Franck, the Scherzo from Symphony
No. 2 by Louis Vierne, Choral
varié sur Veni Creator, op. 4, of
Maurice Duruflé, and Le banquet céleste
style='font-style:normal'>by Olivier Messiaen. He also performed two
improvisations on submitted themes: the first, a chorale suite in the style of
J.S. Bach; and the second an improvisation in free style.
Craig Williams presented a solid performance of nicely
varied repertoire. This program included Carillon, op. 27, no. 4, by Marcel Dupré, Trio Sonata in C
Major, BWV 529, by J. S. Bach, a
transcription of the theme from "Largo" of Symphony No. 9
style='font-style:normal'> by Antonin Dvorák, and the Concert
Variations on "The Star-Spangled Banner," op. 23, by Dudley Buck. The second half included Trumpet
Tune in B-flat Major by Roy Brunner, Sonata
in F minor, op. 65, no. 1, by Felix
Mendelssohn, and three movements from Dix Pièces
style='font-style:normal'> by Eugène Gigout. Lynwood Farnham's Toccata
on "O Filii et Filiae" was the
encore.
The Welch-Hancock Duo was delightful, and featured
seldom-heard organ and piano music: Prelude, Fugue and Variation
style='font-style:normal'> by Franck, the Festival Overture
style='font-style:normal'>, op. 50, by Edwin Grasse, Prelude and
Jubilee by Dale Wood and three movements of
the 6 Duos pour Piano et Harmonium
by Widor. They also played the Final alla Schumann
style='font-style:normal'> by Guilmant, the evocative "Muir Woods"
from Three Northern California Landscapes by Sondra Clark, Intermezzo and Scherzo from Joseph Clokey's Symphonic
Piece, three movements from 6
Duos pour Harmonium et Piano, op. 8, by
Saint-Saëns, and finally, Fantaisie for Organ and Piano
style='font-style:normal'> by Clifford Demarest.
Christopher Pardini played with confidence and gave a
skillful performance. This diverse program included Festival Toccata
style='font-style:normal'> by Percy Fletcher, Clair de Lune
style='font-style:normal'> by Claude Debussy, Fantaisie in E-flat
Major by Saint-Saëns, Soliloquy
style='font-style:normal'> by David Conte, Rubrics
style='font-style:normal'> by Dan Locklair, Cathédrales
style='font-style:normal'> by Vierne, and Sonata I in d minor
style='font-style:normal'>, op. 42, by Guilmant. He closed with an encore, Sonata
on the First Tone by José Lidon.
The festival featured an eclectic sampler of workshops,
lectures and demonstrations. Jacquelin Rochette spoke describing the specific
changes accomplished on the Opus 1230 project. He discussed Casavant's
philosophy regarding organ restoration, and gave an exhibition of the various
stops in each of the divisions of the organ. He played the Variations de
concert by Bonnet, Pascha Nostrum
style='font-style:normal'> and Terra Tremuit
style='font-style:normal'> by Reboulot, and the Adagio and Final from Symphony
No. 3 by Vierne.
Christopher Pardini presented a service repertoire workshop
that highlighted music that is accessible to most organists and appealing to a
wide range of tastes and styles. Organist James Welch and pianist Russell Hancock
gave a lecture-demonstration entitled "Unlikely Bedfellows: The Organ and
the Piano." This focused on the small but fascinating body of classical
literature written for piano and organ duo. A significant portion of the
lecture was devoted to the 19th-century literature for harmonium and piano,
including a history of the harmonium in 19th-century France.
Craig Williams led a workshop entitled "The Instrument
from the Organist's Perspective." He established practical and effective
ways to approach the diverse range of instruments that we face and how to
choose appropriate repertoire for any organ. Next, he displayed registration
techniques using the university's 17-rank Schlicker and then demonstrated how
to apply registration skills learned to repertoire of different countries and
musical periods. His final workshop on hymn playing had special focus on the
poetry of the hymn texts fitting the tune. Discussion centered on various ways
of interpreting a variety of hymn types.
M. Pincemaille taught a performance masterclass. During this
lively teaching session four organ students from California universities
participated. M. Pincemaille's unique style and flair brought out the best in
each of the performers. His passion for music was evident in his exuberant
teaching. At the student recital, three of the performers returned to show what
they had learned during the masterclass. The students represented Christopher
Cook of San Diego; Ladd Thomas and Cherry Rhodes, USC; Esther Jones, Cal State
Fullerton and Irmengard Jennings, University of Redlands.
We wish to extend a special thank you to all the individuals
and organizations that are too numerous to mention that helped to make this
program possible.
For information about the festival, scholarship opportunities,
or study at the University of Redlands, call or write: 909/793-2121, ext. 3264;
edited by W. G. Chapman
