Day One - Sunday, June 21
The convention day began at 1 p.m., the morning being filled with arrivals and registrations. First venue: The Paramount Theater, with its remarkable 20-rank WurliTzer, which speaks clearly and forcefully into the room from big, open chambers on either side. The Pedal is incredibly strong and quick. There is a tremendous variety of solo sounds, all of which we heard. The program began with the two consoles rising majestically from under the stage, with Joel Kremer and Robert Castle at the main console and "slave" console, respectively, giving us a great medley of popular show tunes. It being Sunday, we made a feeble attempt to sing "The church's one foundation," accompanied by Robert Castle in something other than the "cathedral tradition," and without us having words in front of us. Robert then pushed a switch on the left side of the "slave," that sent it slowly back to the basement. Joel Kremer continued with several solo pieces, ending with "The Stars and Stripes Forever." Professor of History at the University of Colorado, Thomas Noel, then gave us, with slides, some history of Denver's development, which was partly spurred by a secondary gold rush, about a decade after the great one to California. James Mosby Bratton, complete with slides, spoke to the topic "Hook Your Hastings to a Steere," a history of Denver and area churches and organs. All too often, seeing the slide of a wonderful, old church building, we learned that it had been torn down or the organ replaced by an electronic substitute.
After a break, we returned to our seats for "White Desert," a full-length, wonderfully-made 1925 silent film about the building of the railroad through the mountains west of Denver. This was both a "cliff-hanger" and a "tear jerker," the effect heightened greatly by Robert Castle's seamless and suitable accompaniment on the great organ. Everyone was a bit drained and teary-eyed when the lights came up.
After dinner on our own, we were bussed to St. John's in the Wilderness Episcopal Cathedral for a glorious, if to some, a bit radical, Evensong. I was personally moved by the whole service, and in at least one place, to my great surprise. Donald Pearson is the Cathedral's musician, and his very capable associate is John Repulski. The organ is the justly celebrated 1938 Kimball, recently restored. Donald Pearson began with the ravishing Frank Bridge Adagio, followed by the Invitatory, from a set of Responses by Pearson, all of which we heard during the course of the service. Phos Hilaron was a plainsong-like setting by Richard Proulx, with several refrains for us all to sing. Psalm 138 was sung to an attractive verse-with-fauxbourdons sort of music by Glen McGrath. The Magnificat and Nunc Dimittis were the South American Rhythm-inspired settings by Bryan Kelly. We sang the Apostles' Creed on one note, accompanied by a lush chordal organ accompaniment by Jeffrey Rickard. In Donald Pearson's setting of the Versicles and Responses, the versicle was in each case accompanied richly, using mostly harp-like sounds, on an electronic keyboard played by John Repulski. I have an innate resistance to the presence of loudspeakers in church music-making, but I have to say, I found this very effective, and even beautiful. The music is well-written, the performance was solid, and there was clear amplification of the sound, with no distortion. Here followed three fine anthems, confidently sung by the very large Cathedral Choir: "O sing to the Lord with hymns newly made," by Donald Pearson; "How lovely are the messengers," Mendelssohn; and "How lovely are your dwellings," by John Leavitt. We finished with a rousing singing of Lauda Anima, "Praise, my soul, the King of Heaven," as only an OHS congregation can provide.
After a short stretch, we were treated to "A Concert of Mighty Organ Duets," played by Donald Pearson and John Repulski: Mozart, Fantasia K.608, four hands enriching the harmonies; Danse Macabre (Saint-Saëns), four hands; the C Major Soler Concerto, Andante and Minuet, with John Repulski going to a small Casavant continuo/chamber organ; The Ride of the Valkyries, with a wonderful thick texture, made possible by four hands. After singing "O filii et filiae" from the 1982 Hymnbook, we heard John Rutter's variations on it for two organists; Ragtime by Charles Callahan; and finally, French Toccata on the name Helmut, by Ralf Bölting (b. 1953). The performers were buoyed by the great ovation at the end, including many shouts of Bravo.
And so ended a great OHS first day!
Monday, June 22
Day two begins in Lyons, CO, and in line with convention policy, we are gradually experiencing higher and higher altitudes. Yesterday, it was enough just to adjust to mile high Denver. Today, we are at 8,500 feet. Tomorrow is a day in Denver, and on Wednesday, we will spend some of the day at over 10,000 feet. On this clear, beautiful day, we are surrounded by snow capped mountains, and are told we will be throwing snowballs by day's end! Enough travelogue.
The first musical event of the day took place at The Old Stone Church of Lyons with Will Headlee, Professor of Organ Emeritus, Syracuse University. The organ: Hook & Hastings two-manual, 9 stops, Opus 1948, built in 1902, an organ of great charm and beauty. Will Headlee is a regular at OHS conventions, and his cheerful playing, programming, and comments are always a delight. He also makes a point of telling helpful bits about his registrations, which really explored the organ very effectively. The program: Mendelssohn, Allegro con brio (Sonata 4); J.S. Bach, Wer nur den lieben Gott (Schübler); Rheinberger, Vision; Hobart Whitman (1904-1952), Elegy (1947); Charles Quef (1873-1931), Noël Parisien (1904); hymn, a rousing performance of "When morning gilds the skies" (Laudes Domini, Barnby).
First United Methodist Church, Boulder--Bruce Stevens, another welcome regular at these conventions. The organ: Frank Roosevelt, No. 382, built in 1888, a gutsy 3-manual instrument of about 35 stops. The program, a stolid collection of music, none of which I had heard before, full of interest, and beautifully played: Fleury, Variations on a Burgundian Noel "When, in the frosty season"; Soler, Sonatas in E minor and G Major; Fr. Davide da Bergamo (1750-1830), Sonatina for Offertory or Post Communion; Bonnet, Second Legend, op. 7, no. 10; Jongen, Cantabile, op. 37, no. 1; Rheinberger, Sonata No. 5 in F-sharp Major, op. 111; hymn, "I vow to thee, my country" (Thaxted, Gustav Holst).
Next came the great climb up to Central City, at 8,500 feet, first stop St. James United Methodist Church, to hear Jane Edge. As you will see below, she manages to find totally unusual programs--I thought I knew nothing on her list, but did discover that I recognized Narcissus, which I think I must have played on the piano as a child. The whole recital was great fun, played with spirit, and with registrations that showed careful thought, therefore showing off this charming instrument beautifully. The organ: J. W. Steere and Son, Opus 456, 1899, 16 stops. The program: hymn, "Praise, my soul, the King of Heaven" (Lauda Anima); F. Opel (??), Opening Voluntary (arr. from Farmer's Mass); Ole Bull (1810-1880), Solitude on the Mountain (arr. for organ by Claude F. Saunier); W. Hewitt (??), French Air With Variations (The Air turned out to be Twinkle twinkle, little star); Stravinsky, Berceuse from The Firebird (arr. for organ by J. T. Quarles); Horatio Parker, Impromptu, op. 17, no. 2; Ethelbert Nevin, arr. for organ by Reginald Goss-Custard, 1. The Rosary, 2. Narcissus; Easthope Martin (d. 1928), Evensong; Liszt, Adagio; Whiting, "Onward, Christian Soldiers" (something I would love to do as a postlude at home--possibly on my very last Sunday!).
A walk down the hill brought us to St. Paul's Episcopal Church, a fine-looking stone building, with a rather chaotic interior. The Anglican Spirit greeted us right inside the door, where we were offered iced cappuccino and lots of cookies, and a big collection basket seeded with dollar bills already. We were well and truly crammed into this church, with people standing all around. The charming James Mosby Bratton, retired U. of Denver professor whom we had heard talk at the Paramount the day before, presented a recital on a Mason & Risch Vocalion (a "first class reed organ"), No. 1033 (1893). He had some help with pumping, apparently much more strenuous at 8,500 feet, given the thin air. We began by singing a song, "Colorado Home," to the tune of "Home on the range." The rest of the program: Bach, Prelude in d minor (BWV 539); Willing, General Custer's Funeral March, op. 43; Louis Adolphe Coerne (1870-1922), Bagatelle, op. 24, no. 1; Gustav Baumhauser, Pike's Peak March (c. 1875); Lefébure-Wély, Fugue in d minor, op. 122, no. 6.
After this program, we were at liberty to explore the town and find some dinner on our own. Colorado has permitted three dying old mining towns to open casinos, and Central City is full of them. As is true in casinos elsewhere, meals are available at very low prices, and we ate in the dining room above one such, with Prime Rib for about $3. The food was good and plentiful, too.
Winding down the mountain on the bus, we reached the Roman Catholic Cathedral of the Immaculate Conception in Denver, where Fred Hohman delivered himself of lots of bombast, interspersed with some more delicate fare. The room is quite vertical, and despite carpeting everywhere, there is plenty of resonance bouncing off the hard surface walls and ceiling, and plenty of organ sound to do the bouncing! The organ was basically a Kimball, but is now, at least in large part, a new 3-manual instrument of about 35 stops by Ivan P. Morel & Associates, a well-regarded area builder. Fred, who is well-known for his skill as a transcriber, played a program entirely of works originally for the organ, as follows: Vierne, Symphony No. 2 in E, op. 20, Allegro, Scherzo; Naïades (Pièces de Fantaisie, Fourth Suite, op. 55); Franck, Choral No. 2 in B minor; Widor, Finale from the Sixth Symphony; Dupré, The World Awaiting the Savior (Symphonie-Passion); Langlais, Cantilène (Suite Breve); Mulet, Tu es Petra (Byzantine Sketches); Duruflé, Sicilienne and Toccata (Suite, op. 5).
Tuesday, June 23
Day three began at the Scottish Rite Masonic Temple, where three stars were in evidence: Richard Purvis, Kenneth Matthews, and the mighty Kimball, all working together for good. Kenneth was a student of Purvis, and also presided over another great Kimball, at a Christian Science Church in San Francisco for some time--so he came to his task with experience. This 1924, 3-manual Kimball, very much a theatre style instrument, is located all over the ceiling, but despite what look like relatively small places for tonal egress, it has immense impact. It appears to be about 18 stops, greatly unified and extended. Kenneth Matthews knew exactly what to do to demonstrate all the organ's virtues, using as a vehicle Christmas music of Purvis. We could not have asked for a better demonstration of the organ's resources, including the Bass Drum, Chinese Gong, Harp, and Chimes. The program, all Purvis: Prelude Solennel (Veni Immanuel); Offertory (Resonet in Laudibus); Communion (Gaevaert); Carillon (Puer Nobis Nascitur); Greensleeves (from Four Carol Preludes); Pastorale (Forest Green, from 7 Chorale Preludes on Tunes Found in American Hymnals); hymn: "O come, all ye faithful," with our sopranos having some success with the Willcocks descant from memory; Carol Rhapsody.
We walked across the street to the First Baptist Church of Denver, to hear a large organ built originally in 1945 by Aeolian-Skinner for the ubiquitous Senator Emerson Richards, of New Jersey. By 1949, he was tired of it, bought a replacement, and Opus 1047 was sold to the Denver Baptists. If it sounded in New Jersey as it now sounds in Denver, I have no problem understanding the Senator's wish to replace it. In Denver, it is buried in chambers, and speaks out only with difficulty. I could not help wondering if our ears ever thought that was a wonderful sound! To be fair, there may be beauty in small combinations and solo stops, but we never did get to hear any of them. Raymond Garner chose a program that basically featured full organ primarily, not this organ's happiest mode. The program: Wagner, Fanfares from Parsifal, arr. Virgil Fox; Widor, Allegro from the Sixth Symphony; hymn, "Behold a Sower."
Jonathan Ambrosino took the lectern, and delivered himself of a splendid lecture entitled "The Transition from the Symphonic to the English Ensemble 1925-1940: Denver's Response to a National Trend." I do hope the text of this will become available--I have no doubt it will.
We had a pleasant lunch at the Temple Events Center Uptown, a former Jewish Temple. We could see but not hear the 1911 Estey with two similar cases. Imagine two large auditoria side-by-side, completely open to each other at the point of joining. In each of these auditoria is a platform, and a choir loft above with an organ case. There is only one console, at the case to the right. One assumes that the left side auditorium was for the great overflow of the High Holy Days, and that this was a clever, if expensive, way to provide equal organ coverage in both places.
Our next stop, the fine former Second Church of Christ, Scientist, now The Spiritual Assembly of the Baha'is of Denver. Baha'i worship makes no use of the organ, and the congregation had plans to try to sell it, but the local OHS gang stepped in, and made a case, successfully it would seem, that the organ should be preserved in situ. The Baha'i community has now embraced the instrument, and is planning a concert series in which it can be heard. That this large (3-manual, 34 stops) and wonderful Hook & Hastings, Opus 2370 of 1916, is worthy of preservation was more than amply demonstrated in a fine recital by Charles Rus, from San Francisco. He registered with wonderful care and imagination, enabling us to hear just about every possible combination of sounds. The program: Howells, Master Tallis' Testament; Schumann, No. 1 in C and No. 4 in D-flat of the Four Sketches for Pedal Piano; hymn, "Creation Spirit, by whose breath" (Herr Jesu Christ, dich zu uns wend'), with us singing the four stanzas of the hymn, one each after each of four variations on this tune by Georg Böhm. We sang in unison the rhythmic version found in the ELCA Hymnal. How lovely it would have been for us, glorious harmonists as we are, to have sung in four parts; Craig Phillips (b. 1961), Fantasy: Torah Song (Yisrael Voraita).
In yet another event demonstrating well the beauty of an old instrument, Dana Robinson of Davenport, Iowa played the following program in the South Gate Masonic Lodge Hall: Widor, Praeludium Circulaire from Symphony No. 2; Boëly, Andante con moto; Mozart, An Andante for a Cylinder in a Little Organ (K 616), Lasst uns mit geschlungnen Handen (Let us now with joined hands), appropriately from "A Little Freemason Cantata"; Liszt, Ave Maria von Arcadelt; hymn, "The spacious firmament on high," on which I thought we did quite well; and then, in a further inspired choice, Handel, Variations in E (The Harmonious Blacksmith). The organ--a tiny (7-stop) Farrand & Votey, Opus 776, c. 1897--made lots of music this day!
Next stop, the Iliff Theological Seminary Chapel to hear a rich and satisfying 1910 Wirsching organ of 16 stops. Richard Robertson, Denver, played the following program, which showed off the great power and variety of this instrument: Hurd, Suite in Three Movements (commissioned for this convention); Reger, Benedictus; Warlock, from Capriol Suite: 1. Pavane and Basse, 2. Danse; Mendelssohn, Prelude & Fugue in F Minor, op. 35.
After dinner at our hotel, back to St. John's Cathedral to hear the perfect match of music, instrument, and musician. I do believe that Thomas Murray is one of the most thorough of all performers in working out registration, and will limitlessly complicate his time at the console, if it means getting just the right effect. He also listens, as do very few, to what the instrument and building are telling him about tempo, texture, and touch. In addition to which, there is no more sensitive swell pedal foot in the organ world. We, and a large audience of non-OHS types as well, were the beneficiaries of all that work, in the following lovely program: Bach, Sinfonia from Cantata No. 29; Saint-Saëns, Prelude & Fugue in B Major; Elgar, Severn Suite, op. 87 (1932), transcribed by Thomas Murray. After a short intermission, Barbara Owen presented to the Junior Warden of the Cathedral, the OHS Plaque awarded to churches that have "instruments worthy of preservation," and have kept them well--certainly a well-deserved honor in this place. Fleury, Variations on a Burgundian Noël (heard earlier in the week); hymn, "Come down, O love divine" (Down Ampney); Rheinberger, Sonata No. 13, op. 161 (the opening theme of which is almost identical to the opening phrase of Down Ampney); encore: The last of Saint-Saëns Seven Improvisations, op. 150.
Wednesday, June 24
We reached maximum altitude, peaking at 11,300 feet at one point. Leadville, where we began our day, is, we were told, just 12 feet less than two miles above sea level, and I for one, really felt this, as did many others. It became most noticeable during the hymn singing. There clearly was not as much air to go around as one is used to. One of the local people told me that it can take six months to fully adjust. Around us, and slightly above us, was quite a bit of snow.
Lois Regestein, another regular at OHS conventions, played at St. George's Episcopal Church, on a gentle but lovely little George Ryder (1882) organ of 11-stops. Besides the fact that her program showed off the little organ very well, she made thoughtful and interesting connections with the organ and the town. Her program: Mendelssohn, Prelude in G, op. 37, no. 2; Woodman (b. 1957), Variations (selected) from Greensleeves; Mendelssohn, Fugue in G, op. 37, no. 2; (I did not get to ask Lois why she chose to break the Mendelssohn up in the manner of the Bach St. Anne in the Clavier Übung, part III. Did Mendelssohn somehow conceive of a split performance like that?) Having discovered the quality of the Oboe on this organ when she arrived in Leadville for the first time, Lois added at this point a little trumpet tune sort of piece of Telemann; Thomas Ryder (1836-1877), Moderato (Thomas Ryder was the brother of George Ryder, the organbuilder, and often dedicated his brother's instruments.); Douglas Moore, The Willow Song (from The Ballad of Baby Doe); (This was sung by Patti Smith, a wonderful soprano living in Leadville, but with a career well beyond her community. We had an interesting discussion about practicing daily in Leadville, with its very thin air, and then appearing in places closer to sea level. Apparently, in terms of breathing, this puts her at a decided advantage. Anyway, this was an ingenious bit of programming, as Baby Doe herself lived in Leadville!--well done, Lois!) Vaughan Williams, Prelude on Rhosymedre; hymn: "My song is love unknown" (Rhosymedre).
I first met and heard Grant Edwards last year at OHS in Portland, and thought his a very special musical personality, full of control, confidence, and good cheer, with clearly very careful preparation in every detail. Today's concert continued in that mold. It having been announced that the organ for today's performance might well be at least the second highest pipe organ in America, if not the first, Grant explained that he was convinced he was given this assignment because of his complaints last year in Portland about the bench not being high enough! We are now in First Presbyterian Church, Leadville, and the organ is a 13-stop instrument by William Schuelke, Opus 67 (1889). The program: Böhm, Partita on "Ach wie fluchtig, ach wie nichtig"; hymn: "What does the Lord require" to the lovely Erik Routley tune, Sharpthorne; Kodaly, Six Epigrams (charming pieces which Grant graciously substituted for the Vaughan Williams Rhosymedre, when he realized that Lois Regestein was going to play it); Widor, Pastorale from Symphony No. 2; Diemer, Farewell, Good Friends (Shalom Chaverim - 1996).
Next stop, Georgetown, and its very small Grace Episcopal Church. The group was broken into three parts, and Marilyn Stulken, another old hand at OHS conventions, had to play her program three times, while the rest wandered this interesting old town. I went to the group 3 recital, at the beginning of which, the church was given an OHS Plaque honoring its organ of "historical interest, and worthy of preservation." Quite a number of members of the congregation showed up for this--I think they are justly quite proud of the single manual, seven-stop instrument. It is a rare, intact survivor by Denver organbuilder Charles Anderson, built in 1876, and may well be the oldest organ in the state, although somewhat altered tonally. Marilyn gave a good demonstration of the organ, beginning with the Bach Partita on "O Gott, du frommer Gott." This was followed by two interludes from "Melodia Sacra," c. 1850, by George Frederick Bristow, after which we attempted to sing an old hymn written out with the melody in the tenor, "Jesus, the Conqueror reigns," to a tune called Germania. We were not a success. This was followed by two more of the Bristow interludes, after which we sang another hymn, "Awake, and sing the song," to Festal Song. We did much better this time around. The program finished with a Festival Postlude in D by W. Eugene Thayer.
At this point, music was done for the day. We were treated to a delightful narrow gauge steam train ride on the Georgetown Loop Railroad. The old steam engine was a marvel, making all the wonderful noises steam engines make, and with a very complex chord for a whistle! The scenery was spectacular. We then partook of a barbecue in the city park, with entertainment by the Queen City Jazz Band, playing in the old band stand. Back at the hotel, it was time to visit the last night of the exhibits and sales desks, and to spend, spend, spend on all the wonderful books, music, and CDs.
Those who know the OHS Catalogue will not be surprised that the many tables were littered with probably more organ and church music CDs than might have ever been seen under one roof. Joseph Vitacco was there representing his company, JAV Recordings, Ray Biswanger had a display and materials representing the Friends of the Wanamaker Organ, a truly worthy endeavor. Several members of the Richard Bond organbuilding team (Portland, Oregon) were on hand with large pictures of this excellent builder's work, and with a brand new, fine, and very attractive, three-stop continuo organ.
Thursday, June 25
We were scheduled for an earlier departure this morning--8:15 instead of the usual 8:30--but the bus company, creatures of habit, showed up at the usual time. No one would have minded, were it not for the fact that the Pharmacy Association was having its convention beginning today, and in the large lobby where we await the busses, there was laid out a most impressive breakfast spread. Most of us, unbreakfasted, tried removing our OHS badges and looking like pharmacists, but the tables were well guarded. No luck!
We bounced along I-225 South to Colorado Springs, and the Air Force Academy, to hear two organs in the Roman Catholic and Protestant Chapels respectively. Here, the work of designing the instruments and the job of building them were separate contracts, that in a state institution had to be put to tender separately. Walter Holtkamp Sr. won the design contracts, and Möller the building contracts. Holtkamp, I believe, voiced and finished the organs. Joseph Galema has been at the Academy since 1982, as Music Director of the Cadet Chapels since 1989. He is organist at the Protestant Chapel, and is responsible for ten choirs! He began his peripatetic recital in the Roman Catholic Chapel on the three-manual, 28-stop organ, as follows: Bach, Six Schübler Chorales; Gade, Festligt Präludium over Choralen "Lover den Herre." This Chapel is the basement of the chapel building, relatively low ceilinged, without resonance of any kind, but nonetheless clear and intimate. The Schüblers were probably the perfect vehicle for a demonstration, and much about the sound of this instrument strikes me as honest and good, after all these years. The Gade piece was a bit of a meander, I thought, not signifying very much, but I know others did indeed like it. A trumpeter was on hand just to play the choral and a bit more at the end.
We then walked upstairs to the Protestant Chapel with a three-manual, 62-stop instrument: hymn, "All creatures of our God and King" (Lasst uns erfreuen); Mathias, Jubilate, op. 67, no. 2; Gardner, Sonata da Chiesa sopra una tema di Claudio Monteverdi. I thought, given the great, soaring space (well worth seeing, inside and out) and a larger instrument (striking to look upon), we would hear something spacious and grand. I found the organ not really supportive in the hymn, nor projecting very well in the Mathias. Here is perhaps an example of a situation in which an encased instrument could really prove itself. In ensemble with two wonderful trumpet players in the Gardner, the organ was at its best--and what a truly amazing and wonderful piece this is, I say, as a long time Gardner fan. The main theme (there may have been others I did not recognize) was the majestic opening of the Coronation of Poppea, which, once heard (and seen), can never be forgotten. What Gardner does with it in four glorious movements is nothing less than magical. I am really grateful to Dr. Galema for bringing this to us.
We bussed to the dining hall at The Colorado College, also in Colorado Springs, for a sumptuous lunch, with many different food stations on offer, with all sorts of edibles, hot and cold, all one could eat, courtesy of Marriott Catering. I think I went to college too soon.
We walked across campus to Shove Memorial Chapel, wherein Frank Shelton, organist at Grace and St. Stephen's Parish, and College Organist, gave us a brilliant program full of interest, after Jonathan Ambrosino presented a "significant organ" plaque to a college official who had been instrumental in keeping the instrument and interest in it alive. The program: Simpson, Fantasy and Fugue on "My Lord, what a morning" (1994); Payne, Prelude, op. 19, no. 2; hymn, "O God, our help in ages past" (St. Anne) (The Colorado College Hymn!); Weaver, Passacaglia on a Theme by Dunstable (1978). The organ: Welte-Tripp Organ Corporation, Sound Beach, Connecticut, Opus 314, 1931, three manuals, 42 stops. There is a fascinating article in the convention book about this organ, and two names of great interest are involved in the history of the instrument: Richard Whitelegg and Charles Courboin. The convention book is available from OHS, and is full of information about a place that is very important in the development of the pipe organ in this country. And not at all by-the-way, this organ sounds really wonderful! I do believe that in some ways, it outdoes some Aeolian-Skinners of that time (1931). I found myself wondering if the Great chorus through mixture was truly of that period. It was silvery and brilliant.
We walked the few blocks to Grace and St. Stephen's Parish, Episcopal. In my little mental database of "Best Recitals Ever" was one played by Thomas Brown at the OHS Mini-Convention at Round Lake, New York last summer. Now I have to start a Tom Brown file, and put today's recital in beside the other one. It was an Anglophile's Orgy, played as last year entirely from memory, with everything perfectly in place--beautifully registered and wonderfully musical. There were lots of smiles around, and a spontaneous standing ovation at the end. The program: Bairstow, Prelude in C; Whitlock, Reflections (Three Quiet Pieces for Organ); Mendelssohn, Sonata in F minor; Karg-Elert, Chorale Prelude on "O Gott, du frommer Gott"; Vierne, Naïades; Grayston Ives (b. 1948), Entrata; hymn, "Sing we of the Blessed Mother" (Rustington - C. H. H. Parry). Methinks me heard the spirit of Henry Willis (Father) rustling around at the first notes of the play-through of this hymn. There are six manual 16' stops on the organ--I think perhaps they were all on! The organ: Welte (NY) opus 261, 1928, three manuals, 49 stops--a splendid organ, of great historic significance, and Frank Shelton, who had played at Shove Chapel, organist of Grace Church, accepted an OHS plaque.
Our next journey was to Manitou Springs, by way of an astonishing natural wonder, a place called The Garden of the Gods--gigantic outcroppings of a beautiful red rock, amongst many evergreens. It was like a very oversized sculpture park--around every corner, as we climbed, was yet another sight to take the breath away. Our goal was the Community Congregational Church, a lovely stone building, charming outside and in, and on the national register of historic buildings. There are two transept balconies, and I was busy dreaming up programs of Gabrieli and company. Surrounded as we were by great, high mountains, the inscription on the organ case announced: "Thy Righteousness is Like the High Mountains." The organ is our second by Charles Anderson of Denver: two-manual, 13 stops, built in approximately 1879. It seemed a bit transparent, after the two Weltes we had just been hearing. MaryAnn Crugher Balduf has been a regular at OHS conventions for some time. On the first day of the convention, she slipped getting off the bus (where is her lawyer when needed?) and was in some pain. But as always, gamely, she gave us the following interesting program, with helpful comments about her registrations: Pachelbel, Toccata in F; Benjamin Rogers (1614-1698), Prelude (Voluntary); Selby, A Fuge or Voluntary; Held (b. 1914), Flourish; Cadman, Legend, op. 30, no. 1; West, Passacaglia; Howells, Miniatures for Organ, nos. 12, 17, 18, 21; hymn, "O beautiful, for spacious skies" (Materna); Langlais, Prelude Modal; Sjogren, Fantasia, op. 15, no. 1.
Next, we rode to Pueblo, and to the Pacific Union Depot, a disused train station, now a restaurant, where we had a quite wonderful dinner. This was as close to a convention banquet as we get, so it was a time for a little OHS business and some heartfelt thanks to the members of the Denver committee, who had truly done a wonderful job with program and with organization. After dinner, we walked to the Memorial Auditorium, which contains Austin organ No. 860, of 1920, an instrument of 56 full stops, plus various bells and whistles, all of which got a workout during the evening. There are pipes all over the place, on the side and in the ceiling, plus an echo organ in back, all of which made possible a strong presence despite a very dead acoustic. The audience was not entirely our convention, we being joined by many others, possibly tourists, possibly town folk, or both. Paul Fleckenstein, I discovered tonight, is the perfect "town hall organist," possessed of great showmanship, total technical assurance, and a prodigious memory, and my goodness, he certainly knows how to get around that kind of instrument--finding an endless array of combinations. It was a terrific show, all from memory, beginning with the Choral, Minuet Gothique, Prière à Notre Dame, and Toccata from the Boëllmann Suite Gothique. This was followed by the seven parts of the ballet music from Gounod's Faust, in a terrific transcription, uncredited, so possibly Paul's own. Sharing in this concert was the Pueblo Chorale, a large and enthusiastic amateur choir, conducted by Charles Merritt. There were some lovely moments, but quite often, the inbuilt vocal limitations, particularly of the tenor variety, gave cause for alarm. I thought the choice of music a bit odd (Vierne Messe Solennelle), perhaps being something of a stretch for the non-musicians in the audience, not accustomed to a Latin Mass or the style of Louis Vierne. However, having thought that, I was probably wrong. The audience seemed genuinely interested, the choir was obviously very much into the music, and there was a great ovation at the end. Paul Fleckenstein's coloration and support at the organ were superb. After the Chorale left the stage, we all rose and sang, not half badly, the Star Spangled Banner, after which Paul played the Budley Duck variations really well. We hit the busses pretty quickly, and managed to get back to the Denver Doubletree just a bit after midnight.
Friday, June 26
What a beginning to the day! In a not terribly prosperous neighborhood, we walk into a church of great beauty, built by German immigrants--Annunciation Roman Catholic Church. The windows are thought to all be from Munich. As a fan of the Father Dowling Mysteries on TV, I was delighted to learn that this is the very church used in these wonderful programs! The irrepressible James Mosby Bratton gave us a fabulous musical start to our second last day. We had previously heard him on the Vocalion. Today, we took a great step up in the reed organ hierarchy, and heard his own 1887 instrument by Victor Mustel, of Paris. The sound, brilliant, somewhat steely, and perfectly adequate for the large-ish building we were in, is quite different from American harmonia some of us have known. It was placed down front, against the south wall. It would be somewhat underpowered for leading hearty hymn singing, but wonderful for lots of repertoire. Jim began with a really powerful and passionate performance of the Allegro assai from the Guilmant 4th Sonata. After being rewarded with thunderous applause, he gathered some friends around him--a 'cellist and a harpist--and they gave us a beautiful performance of the ravishing Nocturne in E flat, op. 21 for 'cello, harmonium and harp, by Marcel Fournier (1879-1951). Then, harmonium alone in Introduction and Fugue in D Minor, op. 62 by Franz Lachner (1803-1890), and last, with a pianist, Finale, op. 8, no. 6 (for harmonium, four hands) by Saint-Saëns, great fun, with a pianist who was able to balance well with the somewhat gentler harmonium. From the balcony, Robert Barney took over at the organ, leading us in singing Lobe' den Herren, aided by a trumpet player in a long introduction, in interludes, and in some verses of the hymn. The rest of the program: Karg-Elert, Lobe' den Herren, op. 65 (rather a perfect piece for demonstrating the virtues of the organ, beautifully and clearly played); Mozart, Andante, K. 616; Zeuner, Fugue No. 14 (just about as pallid as its name!); Schmidt, Prelude and Fugue in D. The organ is a 1910 Kilgen of 20 stops, much of which is really lovely and full, with only the full ensemble seeming a bit unblending.
I think I lack the Purvis gene. I have never appreciated the style and idiom of a lot of his music, although I did like some of the Christmas pieces that Kenneth Matthews played earlier in the week. I have mused about this a bit, particularly in regard to George Bozeman's program at the Chapel of Our Most Merciful Saviour, Episcopal. I have, in my wisdom, decided that you had to have been there, Grace Cathedral, San Francisco, that is--to have known the man, and heard the pieces in the context of a service, on that organ, and in that acoustic. He had to have been a remarkable person, as the people I know, and it is not a few, who had contact with him as students, choristers, or just listeners and friends, are immensely loyal to his music and his memory. Or maybe it is genetic after all. Some of the pieces in today's program required chimes, and George brought along his trusty synthesizer, which I heard and hated in Round Lake last summer, and did not grow to love any more today. (To think that I even helped him carry it upstairs at the beginning of the convention!) Having got all that out of my system, let me say that George played wonderfully well, as always, and I did really find lots to like in some of the pieces. The program: hymn, "Once to every man and nation" (Ton-Y-Botel or Ebenezer); Chorale Preludes on Tunes found in American Hymnals: Fantasy on Ton-y-Botel (dedicated to Ruth Barrett Arno), Pastorale on Forest Green (to George Henninger), Canzona on Liebster Jesu (to Frederic Freeman), Grand Choeur on Austria (to Porter Heaps), Contemplation on Tallis' Canon (to Alma Morse), Poeme Mystique on Manna Mercy (to Sally Harris), Toccata Festiva on In Babilone (to Clarence Snyder). The organ is by Farrand and Votey, Opus 88, 1890, of two manuals and 17-stops. Not possessed of great power, there are individual stops and combinations of beauty, and its decorated case pipes are wonderful to look at.
We next visited the Lotus in the Flame Temple, Denver Zen Center, a building which was formerly the Fourth Church of Christ Scientist. The members of the center were in a retreat when we arrived, one involving silence, so while we were able to talk, once in the church auditorium, and obviously make music, we were asked to enter the building in complete silence. Given our usually voluble nature, our success at this was all the more remarkable. The organ is a 1925 Austin, Opus 1233, of four manual divisions (Swell, Great, Choir, Echo and Pedal) over only 20 stops. Everything on the choir is from the Great, except a celesting rank. There is only one Pedal stop not borrowed. The highest pitched stop on the organ is one 2' on the Swell, and that is an extension, and is only a Flautino. Not an instrument of great brilliance or power! Thomas Brown, who played so wonderfully earlier in the week, gave us four completely brilliant improvisations on familiar hymn tunes: A sonata-allegro form on Salve festa dies; a Rondo (Scherzo) on Puer Nobis; Free form on Eventide; and Fugue and Finale on Salzburg.
Thomas Murray then stepped to the podium, to deliver a truly fascinating lecture entitled "Recording the Organ: The First Ten Years (1926-1936)." We heard 27 short examples recorded by all the great names in organ playing at the first part of this century, on a large number of significant pipe organs, recorded onto tape from Tom's extensive collection of 78s, accompanied with lots of interesting commentary and also some slides. With each example, we saw on the screen (a really nice touch) a slide of the actual record label--sometimes two labels, one for the original European or English release, and one for U.S. release. When possible, other slides were shown, perhaps the artist, or the building or organ. The organ was a "phonographic black sheep," because of its range, and powerful bass, but became less so with the advent of electric microphones in the mid-20s. The problem was getting such low frequencies on the grooves. Another problem for all music was the shortness of time available before a record had to be turned over--41/2 to 5 minutes on a 12-inch record, less on a 10-inch one. This was a fascinating history not only of developments in recording techniques in the 20s and 30s, but also of the organs and players of the time, and the music they chose to play.
Next, to Messiah Baptist Church, to hear Mary Gifford play the following program: hymn, "When the roll is called up yonder" (Roll Call) (We really shouted it out!); Roy Spaulding Stoughton (1884-1953), The Courts of Jamshyd, from Persian Suite; Edward d'Evry (1869-1950), Nocturnette; Gawthrop, Passacaglia, from Sketch Book 1 for Organ. The organ is a gutsy little thing, despite having only one 4' stop, the Orchestral Flute on the Swell. The scaling and voicing are such that there is real power and brightness, despite the way it looks on paper. Mary Gifford commented about the Open Diapason that "parts the Red Sea!" The organ is two manuals, with just eight stops, Kimball (1914). Rick Morel, who services and has built a number of organs in the area, got the roll player working for this organ, and we heard two rather fun organ rolls, provided by Jonathan Ambrosino.
Next, to All Saints Roman Catholic Church, a large, modern structure with a quite small Hook and Hastings, Opus 1702, 1896 way back in a very deep balcony. Lovely as it might be close up, sitting downstairs, it is insufficient for the singing of hymns--you simply cannot hear it. Nor did it have much oomph in the recital. Joseph Adam, organist of St. James Cathedral, Seattle, played the following program: Berlioz, Marche Hongroise (Damnation of Faust); Saint-Saëns, Improvisation in A Major; Vierne, Scherzo from Symphony No. 1; Herzogenberg, Orgel Fantasy on Nun danket, alle, Gott; hymn, "Now thank we all our God."
After a short break back at the hotel, on to Trinity United Methodist Church, where we were fed dinner, and then heard the splendid Peter Sykes. The organ is by Frank Roosevelt, No. 380, 1888, a wonderful and very large instrument of 65 stops, housed in a case that is a huge fantasy in beautiful wood, designed by George Ashdown Audsley! The Pastor of the church accepted an OHS Plaque from Mary Gifford, who announced that this was the church she attended as a child--so the presentation was particularly important to her. The program: Franck, Choral no. 1 in E Major; Whitlock, Three Extemporizations, Carol (Homage to Frederick Delius), Divertimento, Fidelis; Janacek, the organ solo from the Glagolitic Mass; Reger, Benedictus; Reubke, Sonata on the 94th Psalm; hymn, "God of Height and Depth and Sweep," to the fine tune "Shoemaker," composed by Peter Sykes. A recital by Peter Sykes is always a great event, and this was no exception. I think the most thrilling piece on the program for me was the Reubke Sonata--truly brilliant!
On our last day, we are on the busses, and heading up into the high mountains for a tour of Rocky Mountain National Park, having just heard the last two recitals of the convention, both played by David Macfarlane, of New York. The first was a somewhat bitter-sweet occasion, as the fine old building (the former Asbury Methodist Church) has been bought by a developer. Mike Rowe, convention chairman, says a great effort is being made to find a new home for this one of not-too-many remaining organs by Denver builder, Charles Anderson. This may not be an easy task, as the instrument is not small, and is divided in two cases on either side of a window. It's not fabulous, but is solid and good, if not overly colorful. It might also be one of those cases in which the owner would be just happy to find someone to take it out, without asking for money. David's program: hymn, "Father, we praise thee" (Christe Sanctorum); Saint-Saëns, Prelude & Fugue in G, op. 109, no. 3; Sweelinck, Variations: Balletto del Granduca; Vierne, Communion (Messe Basse) op. 30; Woodman, Noel Anglais; Mendelssohn, Allegretto and Finale from Sonata 4.
This program served to demonstrate all the possibilities of the instrument, built by Anderson in 1882, with two manuals and 16 stops. We next drove a short way to what is now a Roman Catholic home for the elderly, called The Gardens at St. Elizabeth's, with the lovely Chapel of Christ the King, built in 1903. The style is Christopher Wren, and the windows are by Clayton & Bell of London. The organ is one of the oldest extant Austins, Opus 92 from 1902/3. David's program was cleverly entitled and organized as "A Little Organ Mass," and was as follows: Introit, Frescobaldi, Toccata IX (2nd Book of Toccatas); Kyrie, de Grigny, Fugue à 5; Gloria, Bach, Allein Gott (BWV 663); Offertoire, Reger, Ave Maria (op. 80, no. 5); Elevation, Gaspard Corrette, Dialogue des Flutes (Missa Octavi Toni); Communion, Milhaud, Pastorale; Sortie, Langlais, Point d'Orgue; hymn, "From all who dwell below the skies" (Duke Street).
I think to do a program like this wants an organ of color, articulation, and variety, and also, perhaps, in a room which will give it space to expand. On a rather pallid instrument of 10 stops, with the highest pitch being four-foot flutes on both divisions, I don't think a program of such scope really works, being more "eye candy" than "ear candy." However, there were things to like, and many thanks to David for doing two recitals on two different organs back to back.
I wish I could "review" Rocky Mountain National Park for you, but mere words will not do. Go see it. Nor are mere words adequate to describe how wonderful was this convention. Like all OHS events, it was organized and run essentially flawlessly, by an army of totally devoted local volunteers, assisted and advised by the headquarters staff in Richmond. Great thought went into deciding what instruments, artists, and music would be heard, and how best to combine these elements. Great care and consideration was given to the comfort and convenience of several hundred attendees. I hope those of you who have made it to the end of this review will want to give serious thought to attending next year's convention, different in two ways from those in the past. Next summer, the convention will run from a Thursday through the following Wednesday. This requires only one Sunday off from playing in church, and includes an overnight Saturday, important to lower air fares. The second difference in this year's convention is the fact that it is outside of the U. S., in the magnificent cosmopolitan city of Montréal, with visits to many organs, old and newer in the region, and also to Ste. Hyacinthe, which may, in terms of numbers of builders, be the organ-building capital of the world! The dates: Thursday, August 19 through Wednesday, August 25th. The phone number in Richmond for joining OHS: 804/353-9226. I hope to see you there!
