Mark your calendars, and tell Alexa to remind you: Our next meeting is January 12, 10:30 a.m. – 12:30 p.m. at the Paul Fritts Organ Builders Shop in Parkland. Don’t miss this opportunity to see two organs under construction. Our Seattle colleagues are also invited to this event.
Bruce Shull, of Fritts Organs, sends this summary of what to expect:
The workshop of Paul
Fritts & Co. Organ Builders is completing their Opus 42, a 2-manual 37-stop organ for First Lutheran Church in Lorain, Ohio. It is their second-largest two manual organ and will contain 2582 pipes.
The organ replaces John Brombaugh’s Opus 4 completed in 1970, which was destroyed along with the former church building in an arson fire in August of
2014. The congregation has built a new building on a nearby site and first worshipped in their new sanctuary in November of 2017. Installation of the new organ will take place during the spring of 2019.
The case of the organ stands just over 28 feet tall and is made of old-growth Douglas fir with an oil finish. The Great and Pedal divisions are housed in the upper portion of the case with the Swell division inside the lower case above the organist’s head.
Also in the workshop are portions of the next organ, Opus 44 being built for a new chapel under construction on the campus of Hillsdale College in Hillsdale, Michigan.
When Nancy suggested going to hear the Seattle Symphony perform Messiah on our birthday, I was not excited. I have heard Messiah many times–possibly enough for a lifetime, and didn’t particularly relish the thought of adding a symphonic rendition to the many dull performances already in my memory.
However, when conductor Dmitry Sinkovsky appeared on stage and began the overture faster than I’ve ever heard it, it made me sit up and take notice. The performance was clean, crisp, and exciting, with a strong pulse of one beat per measure. The string players followed his lead well, with perfect intonation and phrasing.
Having established his reputation as a conductor, in my mind at least, Sinkovsky then proceeded to sing the counter tenor role beautifully, and played solo violin as well, and exquisitely. In his various performance roles, he still led the orchestra, not with his hands, but with his music.
When the choir began “And He shall Purify,” I was a little apprehensive, but the choir stayed with him–with perfect elocution, pitch, and phrasing, the difficult fast moving polyphonic runs leading up to the burst of homophonic “That they may offer unto the lord…” . Transcending the printed notes, the musicians were able to invoke images of fiery currents blowing up into a wall of flame. The audience clearly felt it. Even I felt it, and I have essentially no spiritual inclination.
In his interpretation of Messiah, Dmitry Sinkovsky was in charge. He was not worried about whether the singers would keep up with him–he knew that they would. He was not worried about producing exactly the same effect as the rehearsal, and I doubt if he cared much about what other conductors would do. He had mastered the music, and was able to make it come alive, to speak to the audience through the performers in a way that captivated even yours truly, who normally can’t sit in one place more than an hour.
Organists and organs are facing some difficult times. Classical performers, in general, are having a hard time attracting audiences. Even fewer people are motivated to attend organ recitals. Church attendance is declining nationwide, and praise bands are replacing organists in many of those churches that are still hanging on. And, I would have to agree, why bother to go to a concert if it doesn’t offer anything more than a recording would, if even that much?
In many ways, organists are facing a tougher battle than other musicians when it comes to attracting and pleasing audiences. The organ is relatively more obscure than the piano or the orchestra. Its long association with the church has been protective in the past, but may be a liability in the future. Organists are often unseen while playing, making it harder to establish a rapport with the audience.
Yet there are lessons we can take from Maestro Sinkovsky. I would summarize them as:
Play with confidence. One of my favorite memories as a resident in pathology was a sign on an office door that read, “Not always right, but always sure.” Make your musical decisions and stick to them.
Play with passion. Even though you may not be visible, your excitement about the music and desire to share it should shine through the rukwerk or whatever else might be between you and the audience. If the organist is bored or nervous, the audience is going to be bored or nervous. If the organist is passionate, the audience will follow.
Do not worry about whether your teacher would approve of your playing. The purpose of your musical education was to teach you how to think, and that is what you should now be doing. The only way you can accomplish goals 1 and 2 is by being musically true to yourself. You cannot play well if you are primarily concerned about what other organists will think.
Do not worry so much about what deceased organists would think either. In the case of The Messiah, the historically accurate performance practice was one of the major factors in its success, and that may often be the case. It would be a mistake, however, to put a pedantic desire for historical accuracy above musicality. Organists in the sixteenth century probably placed musicality above all else, and we should also, and for the same reasons. The audience is paying the bill.
So here’s a New Year’s resolution for organists worldwide: Let’s use some of that practice time to look at the big picture–to develop an understanding of the music and a strategy for conveying that understanding to the audience. Move past the notes. Master the music, and let the audience know that you’re in charge. Play with passion. Speak to the audience through your playing. Give them something they can’t get from a recording, or from watching TV. Let’s make the organ sing in 2019!
Bringing organ music on real organs to the public is a specific and important outreach goal of the Tacoma Chapter of the American Guild of Organists, and by any standards that endeavor was successful on December 14, 2018, when members gathered for the second Organ at the Tacoma Mall event.
The event was co-sponsored by the Lincoln High School Key Club and Chamber Orchestra. When Seattle members Carl Dodrill and David Lepse showed up with a pipe organ in a trailer behind a van, members of the Lincoln High School Key Club were on site to move it into the mall and lift it into place.
Once assembled, Tacoma and Seattle AGO members put on a show for the public, featuring organ alone, and accompanying flute players and string players.
Kahty Eggleston, Tacoma AGO member and former dean in Colorado, and Satya Jaech, member of the Tacoma AGO board, opened the program with joyful Christmas music, while other members greeted the public and explained the organ.
Paul Tegels, Professor of Music at Pacific Lutheran University, brought two flute players, also from PLU, and accompanied them on seasonal music.
David Dahl, retired professor from PLU, probably never thought he would spend an evening playing a pipe organ in a shopping mall, but that is exactly what he did, improvising on familiar carols for half an hour.
The Lincoln High School Chamber Orchestra played two sets of seasonal music, including both Jewish and Christian traditions, accompanied by member Thomas Clark.
Member Karen Bredberg, skilled in both organ and cello, also played two sets, improvising with organist Thomas Clark.
The organ has a couple of pipes that can be removed for demonstration purposes; and, throughout the event, members of the AGO greeted the public, answering questions, demonstrating how a pipe works, all in furtherance of the continuing history of the organ.
The 2018 Christmas party, held at the home of Tacoma AGO member Paul Fritts, featured a large assortment of delicious refreshments and music. Members played selected pieces on organ, harpsichord, and piano. Following the informal recital, the group sang together from Carols for Choirs, accompanied by Sheila Bristow.
Additional photos are provided in the gallery below.
The Chapter is indebted to Paul Fritts for hosting the party in his beautiful home, and to Satya Jaech and Cooper Sherry for organizing it.
The Seattle chapter is planning a pipe organ encounter for Summer 2019. They ask that we pass this information along to any potential young piano players ages 11-18 who have achieved at least intermediate keyboard skills. No prior organ instruction is required. Note that registration is limited to 28 students so early registration is recommended.