On March 12, at Hill Auditorium, Dr. Marilyn Mason played an impressive performance of Dupré’s Le Chemin de la Croix, with Malcolm Tulip, Professor of Theatre, reading the Claudel poems.
This article is the second in a series exploring the role of the King of Instruments in American culture. The first article, “The Mortuary Pipe Organ: A Neglected Chapter in the History of Organbuilding in America,” was published in the July 2004 issue of The Diapason.1
Entartete—“degenerate”—was a derogatory term used in Nazi Germany to characterize art works deemed to be “un-German” or “impure.” To find a score by Distler among those deemed modernist and unfit for German ears seems unimaginable to present-day auditors, but such a travesty did occur.
This month I will provide a sort of miscellany or potpourri of brief thoughts, ideas, and anecdotes that will amount to “light summer fare,” but which I hope will be interesting.
I’ve got two things going on here—the preservation of vintage organs and the proportions of church buildings. The organs of the late-19th and early-20th centuries are telling us something about the natural proportions of buildings.