December 1999

The post-modern trends of the late 20th century are being fused with the eclecticism that has dominated American organ-building for decades. These elements, combined with a desire to create instruments that serve the whole spectrum of organ literature, have motivated the creation of instruments of great flexibility. Remaining true to the organ's nature as an ensemble instrument, espousing proportion and balance, and emphasizing tonal color, organ-builders are reconciling opposing stylistic elements by blending them with one another. They are melding high-level craftsmanship founded on classical principles with tonal diversity and ingenuity, guided by an over-arching goal of musicality and beauty. These efforts have led to the creation of a new style of organ that I have dubbed the post-modern fusion style.

When I was a teenage freshman at Drake University, I first heard Firmin Swinnen's virtuoso pedal cadenza (discussed in detail later in this article), played so brilliantly and seemingly with such ease by Frank B. Jordan, Dean of the university's College of Fine Arts. Even today, nearly a half-century later, that experience remains one of the most exciting moments of the countless organ recitals I have been privileged to hear.

Highlights of the past 90 years.

Discoveries, Landowsky and the media, Bach on the clavichord

Le Nadelet is an old bell tradition that fills the air with sonorous ringing each December. The tradition is common in the south of France, the Langue d'Oc, and involves sounding bells during the days preceding Christmas.

Vernon de Tar, Michael R. Israel, Robert Rayfield