By all accounts, as the phone has been ringing off the hook here at the main switchboard, so turn out will have been fantastic for Saturday's Pay to Play on the new Fred J. Cooper Memorial Organ.
Did you play?
Did you listen?
Did you buy time for someone else?
What was it like?
What did you play?
Did you send your notes to the Philadelphia Inquirer?
How did you decide what sounds to make and what stops to pull?
Was this the first time you played an organ?
What other organs have you played?
Generally, what was it like to have your hands on this incredible instrument?
Did you make a big sound?
How long did you play?
I know this sounds like 50 questions, but we're curious to know what you thought!
Hi everyone!
Well, I'll tell You. God has certainly blessed the Kimmel Center and the city of Philadelphia with what is certainly a world class concert hall organ. What made me very proud was when one of the The Mass that require large organ resources.
Also interesting about Organ Symphonies...the composers started in One Key, and progressed to the next key for the next one. Widor started in C (or Do major, for those who learned Solfege) and went to D, E, F, F, G, A, B and then wrote two others in C, The Symphonie #9 (Gothique) and the Symphone # 10 (Romane). If you have noticed, there are two Widor symphonies in F major. Each group of Widor Symphonies makes up an "Opus". The First 4 are Opus 13, and Symphonies 5 through 8 are Opus 42. The last 2, don't have an opus #.
Widor is known as the Father of the Organ Symphony. Now, when one uses the term "Organ Symphony" we don't usualy mean a-la Saint-Saens. We simply mean a large work for the organ, with several movements, that has a musical texture that reminds one of an Orchestral Symphony. Widor wrote 10 organ symphonies. The most popular are the 5th, and 6th. Each symphony has movements that he made extractable and able to stand alone as virtuoso pieces on their own. The most popular movement of Widor is indeed the Toccata form the 5th Organ Symphony. Organists that are capable of playing this piece play it often as the recessional for Weddings, Funeral Postludes, and as the Postlude on Easter Sunday. But, there are a quite few of us that play it as the postlude at the Christmas Eve Services, as done at St Paul's Cathedral in London. This piece has made its mark as the second most beloved piece of organ music, next to the Bach Toccata and Fugue in D Minor. That's probably why so many people thanked me for playing it, and in its entirety. (Ok, no more about me...promise *wink).
The other Widor movements that are popular:
The 1st, 3rd and last movements of the 6th symphony in G Minor. Actually, he also wrote a 3 movement version of the G Minor Symphony for Organ and Orchestra (hint, hint).
The Marche Pontificale from the 1st Organ Smphony
The Finale from the 2nd Organ Symphony
The Marche-Finale from the 4th Organ symphony
The 1st Movement from the 5th Symphony.
Now, next to Widor, is Louis Vierne, who took the Organ Symphony idea and expanded its harmonic language. Widor Symphonies are very straight forward. Their even musical flow, in my opinion, is what makes his symphonies so popular. Vierne Symphonies are filled with beautiful early 20th century harmonies.
Actually, a lady named Paula got to the Cooper organ and provided everyone with a rousing and dramatic performance of the last half of the Finale from Vierne's First Organ Symphony in D (or Re') Major.
Now, Vierne (pronounced VEE--yurn)was right across town from Widor at the Cathedral of Notre Dame as the Organise Titulaire. He only wrote 6 Organ Symphonies, Starting in the Key of D going up through B. His most famous symphony movement is the Finale from the 1st symphony, which Paula Dollarhide provided at Pay to Play. Vierne also gave Organists two sets of 24 pieces. One set is the 24 Pieces in Free Style, from wich the popular Berceuse and Carrillon de Longpont come from. These are written for a harmonium or a pipe organ with Pedal obligato. They actually make up some of the mainstream organ repertoire. The other set of 24 pieces by Vierne is the 24 Pieces of Fantasie. This is where the popular Carrilon of Westminster comes from. That'a a full blown, expansive toccata on the beloved Clock Chime's we all hear, which comes from Big Ben at Parliament Square, London.
WHEW! I know, right! You ask some questions, I see them, and go off into tangent about Romantic French Organ Music!
Well...before I move on to the next question...The organ you have really does play this body of music EXTREMELY WELL! Aristide Cavaille Coll was the great Frenchman that made innovations in Organ Building during the late 1800's in France. (His name is pronounced CAV-AH-YAY--COLE).Widor and Vierne both had Cavaille-Coll Organs in thier churches. Cavaille-Coll gave the organ more stable winding capabilities and more power. This enabled the Organist to dramatically expand his or her abilities. He also invented certain stops that were more warm and "silkier" than their German Baroque ancestors. An Englishman named Charles Barker, invented a machine that would use air to make the organs keys easier to play. It was so called...well..the Barker Lever. Cavaille-coll used it in some of Cavaille-Coll's large organs.
What is nice about the Cooper organ is that Lynn Dobson built the floor-level console in a fashion that Cavaille-Coll would have built it. That's actually a style called French Terrace. The Stops sit on little terraces or multiple levels. This style of console makes great sight lines for the organist, and is often much more comfortable.
And that it was! Im only 5'4, and I found the console to be extremely comfortable! So many consoles are huge and not easy for short players. The layout of the stops is very clean and easy to master. I actually felt very comfortable, and was able to choose my own stops quickly, because of the clean layout of the console. That console is so easy to master that an Organist can easily spen just an hour or so getting used to it, and more time practicing. (There is nothing worse than a console that takes hours to master, leaving little time for one to actually practice their pieces.) And the manuals have such a clean fluid touch!
Because the Widor Toccata does not require a lot of stop changes, I simply sat and pulled on the Great Principals with 16' to Mixtures and chorus reeds, and did the same for the Swell and Positif, coupling them to the great. For the pedal, I pulled out the 32 Open Wood, other 16' and 8' foundations, and the Contre Bombarde 32'16, and the posaune 16 and 8, coupled the swell and positif to the pedal. I then played. At the end I pulled out the big Horizontal Trumpet to crown the piece off. (I know...us loud organists love to do that at the end of French Toccatas). I did not use the Solo or the Strings of the organ, because those probably would not have lent much to the ensemble. There's a reason its called "Solo", because the stops on there are mostly used for solo passages, such as a single note melody, against a chordal accompaniment.
One other thing about a French Romantic Toccata. There's an actual structure to these pieces. The hands play some type of toccata figuration, while the melodic theme is on the pedals.
The voicing of the Cooper Organ is magnificent! Interestingly, whay I have noticed about Dobson's large organs is that he never goes overboard. He gives you stops that you can use, without wasting wood or metal...or money. Some organbuilders want to do things that are just not good. They want to give the organ all kinds of solo and high pressure stops, or string divisions, or before they get the necessities. Also, none of the mixtures are screechy! Most of them are based on foot lengths that are pretty "grave" which makes them warm and complementary to the ensemble. Interestingly, I think that's why Atlanta chose Dobson. I think that other organ builders wanted to give them a bunch of En Chamades, antiphonals, string divisions and other things that are great, but in my opinion, those should be placed at the end AFTER the necessities are in place, and only if money permits. There is one Horizontal Trumpet on the Cooper Organ, which is 125 ranks. That alone is impressive to a trained organist, because that demonstrates that money went into the necessities.
Im tellin ya...it's funny. Some organ builders want to give you 5 solo trumpets, each horzontal, one on the east, another on the west, one in the basement...a 20 rank string division for the "schmulze", 3 zimblesterns...its just not good. And they want to do this all before you get the Foundation of the organ.
I was on the recital series for a local church with a large organ, built in 2001, but there were things that were just dissappointing.
The main organ is in the back, with an antiphonal in the front.
There were two consoles, the secong which was decided unnecessary 3 years after the organ was built. The only soft pedal stop for the organ was in the FRONT of the church. The only very soft manual 8' stop was at the front of the church. Everything else was in the back. They only give the visiting organist 3 hours to practice...3 hours...the day of their recital. So, let's just say one had a hard time trying to make things blend, and became dissappointed because there was $100,000 of extra money spent to put the the only 2 soft stops on the organ in the front, and an extra console that does not get touched anymore. Tonally, it was a beautiful organ, but there were engineering flaws.
So, the Cooper Organ does NOT have those types of flaws. It's money well spent. It's Quality...not Quantity.
To have my hands and feet on this incredible instrument, especially as a young Organist, was amzing. To have played the organ after having been up for 31 hours, was not too bad either. So, my brain was not TOO flatulent!
What was more joyful to me was the fact that so many talented organists, that often get overlooked, had a chance to show the Organ off to the general public in a way that was amazing. Currently, in the field of Organ Performance, there is too much backbiting, and animousity. There is also this prevailing air that the only good organists are found in large churches, representated by major artists firms, or have wone major competitions. But yesterday clearly showed that some of the most talented organists are serving small churches, are not on the rosters of ABC Concert Organist Company and are not interested in winning any type of competitions.
Another thing, is that the Organists all played some of the "Warhorses" that get overlooked because many organ professors don't find the pieces to be worthy. If it's not that, some Organists don't feel that the work is advanced in difficulty, therefore does not "belong" in a concert setting. So, there are so many warhorses of Organ repertoire, that were heard yesterday, and that was a joy in itself. (The K.C. executives have probably figured out...there are lots of good organists that are not "in" with big names, but just as capable of playing the Organ)
One lady played the Percy Fletcher Festival Toccata, which is one of the old favorites that rarely is performed. The gentleman that played the last 3 sections of the Bach "Saint-Anne" (from MEMORY) offered a Bach piece that often unfamiliar to the General Public, but familiar to Organists as a major work of Bach. Which is wonderful, because there were some of Bach's greatest Organ compositions played.
"Footsie"...something that Organists really love to play! Pedalling is the first thing an Organ student learns to master. Most people are facinated with the Pedals because that's how an organist provides the bass notes. Saturday, a few people playing the Cooper Organ took the time to play works that have Pedal solos in them. The Bach Toccata in C Major was played by a young lady from Korea. That is one of the most difficult works of Bach, because the pedal solo lasts for 2 to 3 minutes, complete with rapid ornaments. She played it without a note missing and with great drive! (So many people are used to hearing the Bach Toccata and Fugue in D Minor, that his other masterworks are often overlooked and unfamiliar by the general public.)
It was also touching was to hear not one, but TWO warhorses by Dietrich Buxtehude. Seldom, does Buxtehude get played in a concert setting, except among Organists. So, the general public is usually unfamiliar with Buxtehude. Bach Travelled 300 miles by foot to hear Buxtehude, and learn from him in North Germany. It was Buxtehude that set the standard for Pedaling in North Germany, and Bach that took it back to South Germany. So the lady that played the excerpt form the Vierne Finale (I think her name was Paula), gave a really dramatic offering of the Buxtehude Prelude Fugue and Ciaconne in C Major, which opens with pedal Solo. (I play that piece for Christmas Eve as the Prelude).
Another thing that was enjoyed...
People played hymns or hymn arrangements. You could actually hear people singing the verses to some of the hymns if they knew them, or humming along as the hymn arrangements were played. Often, organists in big circles discredit the playing of hymn-based music in a concert setting, becuse they dont consider hymn arrangements to be "real repertoire".
One thing about the Pay to Play event, is that it drew Organists that are very openminded and that have very nice personalities. I was offended when someone on a listserv for Organists made a comment that the media was making fun of this event. Organists can be some of the meanest people you ever meet and can be extremely condiscending to anyone that does not play certain pieces, hold certain jobs, or have an extensive concert schedule. There's this air, at times, that if you can't play anything more difficult than works for a Senior Recital in Organ Performance, then you are not worthy of being in a concert arena. This attitude is why so many organists that are very talented, yet open minded, avoid these circles. There can be a placement over quantity, not quality, among organists. (Someone that can unmusically get through the entire organ works of Bach is supposedly better than person that can play a handful of Bach works extremely well).
The absolute highlight of the day...
The children. The Organ world is hurting so much today, trying to get younger generations interested in the King of Instruments. (The Organization I am director of is working on this very thing) The programming for with the Children in mind was so well recieved by them and their parents. Some people call the Organ world "the worst world in the world". And Children are smart. they know when people are doing things to help...or harm them. So it was the best thing of all, to see so many children sit and confidently play the organ, or sit with their attention glued during Peter Conte's presentation.
You all have really outdone yourselves in Philadelphia.
I can't wait till next time!
(Ah...insert this. Something inadverdently happened with that post. Shoulda hit preview!)
...Organ Resources.
I played the Toccata from the 5th Organ Symphony by Charles Marie Widor (pronounced (VEE-dor).
He was the Organiste Titulaire at the Church of Saint Sulpice in Paris. The "Principal Organist" presides over the "Grand Orgue" or the Main Organ, which is usually located high above, in the back of a French church. The main organ is used to play the Entree (Prelude) the Sortie (literally means "Go out" for Postlude) and other parts of...the mass that require anorgan of large resources. In the front of the church is the Orgue De Choeur, or Choir Organ, which accompanies the choir.
Oh...lastly...DUH!
Olivier Latry is now one of the Organist Titulaire at Notre Dame Cathedral in Paris. It's interesting how they do it at Notre Dame. The practice there was to 4 Titular Organitsts, each playing 3 months a year. There are 3 now, as one died about 15 or so years ago.
So The Cooper Organ has a connection to Notre Dame Cathedral, since Latry has played it.
I was there to listen. I dont play the organ at all, but I usually listen to it at my church. It was realy awesome to be at the Kimmel Hall Saturday because I heard the organ played and never would have thought it was capable of so much.
One thing that I noticed was that the majority of the Organists playing were really talented ladies. The ladies were also the favorites of the crowds going in and out the hall. An African American lady and an Asian lady were the favorites for a lot of people there. When people think of an Organ, they usually do not picture such a diverse group like there was Saturday. People of different races, men and women, and little kids all played. It was really cool
Mark C. from Temple U.
Some people here in New York have asked me how the Cooper organ compares to other Concert Hall Organs. Well…it really does beat the rest.
Some interesting things
By 2012, all of the top orchestras, and a number of 2nd and 3rd tier orchestras, in the United States will have an organ in the concert halls they call home. The next Organs to be inaugurated are the Schoenstein in Nashville (Nash. Sym), the Dobson for the Atlanta Symphony, the Mander for the Miami PAC, and two modest trackers by Fisk in California, each for the San Luis Obispo Symphony and the Orange County PAC.
The shameful fact: Avery Fisher Hall (Home of the NY Phil) does not have a pipe organ. They have an old electronic. There is talk about an Organ for Avery Fisher. They had an Aeolian-Skinner years ago, which was taken out to make room for office space. It was sold to the Crystal Cathedral in the early 1970's. Maestro Masur was disappointed that they did not get a pipe organ during his tenure. He is even quoted in the NY Times as being most unhappy and disappointed about that. You would think that NYC would have a concert hall organ before Philly. It's apparent that the Organ culture in Philly is stronger than in New York.
The Cooper Organ can beat the Louise M Davies Hall Organ in San Francisco as far as size and tonal design. The Davies Hall is home to the San Francisco Symphony, and houses a 1984, 5 manual Ruffatti Organ of 120 ranks. It was supposed to be 147 ranks, but the 5th manual is "prepared for". That means the division and its stops were given space in the room and on the console, but there was no money at the time to have a complete instrument. So if San Fran all of a sudden starts to rant about theirs is the biggest, you tell them that actually…the Cooper organ is the biggest. Besides, they have not used their organ for a concert in ages. The tonal design of that organ is "Old Ruffatti" being built "top heavy" and not "bottom heavy" as the Cooper Organ is. "Top heavy" organs have too many ranks of Mixtures that are usually based on small footages. That’s what the people of "The Organ Movement" liked, because it apparently was better for Baroque Music.
The Cooper Organ is one of only three concert hall organs in North America with dual action. The other one is the new Rosales Organ at the Disney Hall, home of the LA Phil. Now, the Disney Hall Organ takes the cake for dramatic design, because its shaped like a box of McD's fries. But, the Cooper Organ is right next to it, as people say it looks like it is floating in mid-air. The Letourneau Organ at the Winspear Center in Edmonton, Alberta, CAN is Dual Action as well.
The only other organ that the can attempt to come close to the Cooper Organ when it comes to tonal design is the Fisk organ at the Meyerson Center in Dallas. Their Herman Lay Family Organ (as in Lay's potato chips) is 4 manuals, tracker and 94 stops.
The Cooper Organ is a great design because Organs need to be very high and tall. The Cooper Organ beats the Organ in Beneroya Hall, home of the Seattle Symphony. The Fisk organ there is literally sitting on the floor. That’s very unpleasant because organs need to be up high so the sound will evenly distribute about the room.
There are a few modest organs in concert halls that are not even half the size of the Cooper Organ. There is the Casavant in the Weidner Concert Hall in Green Bay, WI, the Aeolian-Skinner in Uhlein Hall (Milwaukee Symphony) the Casavant in Orchestra Hall (Chicago Symphony) the Klais in the Overture Hall (Madison Sym) the newly rebuilt Aeolian-Skinner in Boston Symphony Hall, the rebuilt Casavant in the Jacoby Hall, (Jacksonville Sym) and the Casavant organ in the Naples Phil Center n FL.
Basically, the Dobson/Cooper Organ is still the best I have heard and played so far.
The Acoustic:
There is nothing wrong with the acoustic in Verizon Hall. During the Saint-Saens it may have been a bit dry, but there are certain things to take into account.
Clothing: when affluent men and women gather in a concert hall, packing it to capacity, there's going to be the factor of drop-dead-gorgeous clothing. Often , the attire for the evening will be lots of thick, absorbent fabrics. This will indeed affect the acoustic, often tremendously. And when the organ is together with an orchestra, there needs to be a bit of something to absorb the sound of winds, brass, and percussion when they are high in number.
Saturday the acoustic was great with good reverb.
I was treated (by my church) to one minute to play that magnificent organ. My only regret is that I couldn't play ALL day! That was the most awesome one minute in my entire life. I wish you would do that periodically. Given the opportunity, I would certainly sign up again, but this time for more minutes. I thank you, thank you, thank you for that most fabulous event!
I was the second person to play that day, and I played a piece by Chopin, in C Minor. Chopin himself would have been proud of me, because that organ made me sound so profesisonal!
It was a real experience.
My favorite was the lady form New York that played the Widor's Toccata. I go to every church in my area on Easter Sunday just to hear that piece. Other people played a little bit of it, but she played the whole thing with all the notes. She was amazing!
The real version of chopsticks was cool too.
Have they narrowed the search down for the Kimmel Center Organist? I don't think they should have just one. I think that the all those talented people that played actual organ pieces this past weekend should be invited back, along with others to show that beast of an organ off.
I would pay good money to see them and any other talented organists play the Fred J cooper Organ. I appreciated how each of the ones that played actual organ compositions talked to the audience, and had good stage presence, and seemed to lack nervousness. The great Virgil Fox was like that, and always talked to his audience after his concerts. All of the Organists saturday that played actual organ pieces were all so friendly and appreciative of the comments thos of us in the audience gave them. That's very rare among Organists.
When's Trudy Pitt's playing?
Jason Koi
Drexel University Student
Trudy Pitts is performing with Nancy Wilson on Friday, September 15th. That show is part of our opening weekend, and Ms. Pitts will be the first jazz artist to perform on the Cooper organ. Single tickets for next season go on sale in the middle of August.
As for the search for a Kimmel Center organist, I don't know very much about it. I do think your suggestion about having more than one is interesting though, especially after reading about Olivier Latry and Notre Dame's practice of having more than one organist.
Yes, at Notre Dame, the Organiste Titulaire position is split among 3 gentlemen. Larty, Leguay, and Lefevre. In 1990, the 4th person died. They split the duties, each playing 4 months a year, and it was one ever 3 months before that man died. I'll check with one of my former teachers to see who it was.
Today, I was in a meeting with someone that serves on the advisory panel of the Organization I direct. They mentioned that they saw information on AOL about he Cooper Organ. They said they were sure that I knew all about it...but I glowingly told them...I actually played it! he commented on how so many people have a very oblivious attitude towards the organ. But, the only people to blame are...organists with bad attitudes, that happen to make up a large body of organists that play today.
The future Conductor in Residence of the Organ Renaissance Philharmonic and I were also talking about material for Organ and Orchestra, and why conductors don't know much about the material for organ and orchestra.
Well, there's a lot to that, folks.
As for an Orchestra not planning anything for the Organ's use next season, don't be so quick to jump at the orchestra's conductor.
There are a number of contributing factors that might be part of a seasons programming.
Firstly, Music in Print...lists 847 pieces for Organ and Orchestra. And that's not even everything. Thats not counting the pieces produced in the last year , or the 150 or plus pieces that are part of the estates of deceased composers, or in archives.
I think that many conductors plan their programming far ahead of time.
Most orchestral conductors don't know much about the VAST body of organ and orchestra repertoire because of what they DID NOT get during the education.
A lot of conductors may not be required by their professors to do extensive research in concerto styled repertoire. If not that, the conductors are not really interested in any repertoire but that for the instrument they play. Often, that is the piano. Many conductors focus purely on orchestral music, with knowledge of few concerto types of pieces.
Now, every major conductor knows the Saint-Saens and the Poulenc Organ Concerto. But, chances are, those are the only pieces in their comfort zones.
When a powerful piece of organ and orchestra piece is programmed, the Organist featured will take the cake...the whole cake...and the gallon of milk to drink it down with...and probably the dinner party with big donors after the performance. People will be abuzz about the organist and their capabilities. But the reason for programming a concerto type of piece is to showcase a soloist. When that soloist is an organist, and a solid one, playing a big piece, they will be the talk of the town.
Music History books on the College level are Part of the blame. The Organ is almost non existant in even the most well written Music History books. There might be a few pages in the chapter on the Baroque about the Organ, and JS Bach as an Organist. However, you survey the rest of the book and there is no mention of the Organ during the later periods of Music History. But to an Organist, it is AFTER 1850 when the Organ was given its glory and might.
The Organ and Orchestra Repertoire written within the last 130 years shows the capabilities of a large Organ best. material from earlier periods (1650 to 1880) don't really show off the power of an organ. Now, because the pieces written withing the last 130 years are more powerful, they often call for a lot of manpower and work. The Saint-Saens Symphony 3 needs at least an orchestra of 80 people, 2 well trained pianists, AND a good solid Organist.
Look at large pieces like the Symphony No. 3 (Symphonia-Poema) by Khachaturian. It is for Organ, Orchestra, and 15 trumpets playing a 7 part fugue. This is coupled with the fact that Khachaturian's fresh and dynamic music is difficult to conduct.
Most of these pieces require a very large orchestration and good teamwork. The conductor has to work closely with the organist to make these pieces come to life. That brings another factor. The conductors may not know a lot about the organ.
Another factor in Organ and Orchestra material is that a lot of the pieces have never been recorded. That means programmers for the groups don't know what they sound like. However, in recent years, people like Franz Hauk in Germany ahve taken the time to record some extremely beautiful pieces of Organ and Orchestra Music that have never been recorded.
because the recordings are almost non existant, there lies a possibility for some really bad pieces to be played. No...seriously...there are some pieces out there for the Organ (solo and with instruments) that are just ugly. A lot of times composers that know nothing about the organ went, played a bunch of dissonant flourishes, a few chords, and thought they had themselves a great piece. HEHE...oh no they didnt. Thats why its been collecting dust since it was last performed. So, in the last 7 years, there have been a lot of recordings to come out of Material for Organ and ensembles, therefore conductors can listen to the pieces to test them. But, they should not rely on that for anything but getting an idea. One piece that sounds boring played by someone who was taught to "hold back" can become an entirely different piece when played by someone that "lets loose".
Some pieces are out of print, and someone has to go to libraries in Europe to get them. As a matter of fact, I've fallen into that situation. If the pieces are not out of print, they are rental only and take a long time to get perusal scores to test pieces for their effectiveness.
There are some great pieces that were written for the premier in some cities, such as the "seattle" concerto for organ and Orchestra by Naji Hakim. But that si one amazing piece. Just because it is nicknamed "Seattle" does not mean it cant be performed anywhere else. The Barber Toccata Festiva (not really one of my favorites)
So, one really has to put a lot of time and heart into this, to make sure that the people wanting to hear the organs hear good pieces, that are going to have them come back for more. Often research shows you things that you never knew. For example, Saint-Saens wrote TWO pieces for Organ and Orchestra. The other piece is the Cypres et Lauriers, or Cypresses and Laurels for Organ and Orchestra. He write it in 1919 after the WW I. It's actually more festive and triumphant with trumpet fanfares and good motion of keys. This is actually a set of two works that stand alone, one as an Organ solo, one as a piece for Organ and Orchestra.
Probably the best conductor ever alive was Stakowski. There are few conductors that are living that claim the Organ as their instrument of choice when they are not conducting. The conductor of the Chicago Lyric Opera, Sir Andrew Davis, is an amazing Organ Virtuoso with a solo organ recording. Interestingly, he is from England, where conductors all play the organ. go figure, Stakowski started in England too. Kurt Masur is a big friend of the Organ. Stakowski actually came to America not to be a conductor...but to be Organist-Choirmaster at the famed St Bartholomew's Church in New York City. There is actually a wonderful new book out called Stakowski As Organist, which chronicles his life as an Organist and a love of Organ music. As a matter of fact, the reason he transcribed so many Bach pieces for the orchestra was because the Philadelphia Orchestra during his tunure did not have an organ, and he wanted to expose the audiences to Organ music. He even wrote a letter of support to Carnagie Hall in New York so that they could get an organ (which has long been gone).
But Stakowski came from an old school...where the Music majors were almost required to know about the organ as an important instrument. And during the time he was in school, conductors were required to take organ lessons. Most conductors today come from schools where there are few, if any Organ students, and the organ professor is an older man of Anglo-Saxon descent and discourages his students from being...fun.
The Organ is the most powerful instrument. You have noticed that no other instrument is capable of such a vast amount of color or sound. Nor do they place such prerequisites on the player for agile technique. It is very obvious that the field of Classical Music right now is buzzing about the Cooper Organ, all around the world.
Just until recent years, most concert halls have not had pipe organs. In 1984, the San Francisco Symhony contracted with Fratelli Ruffatti in Padua, Italy for an Organ in Davies Hall. It still stands, with 5 manuals and over 100 ranks. Theirs would be the largest, but it's not complete, as more than 20 ranks were prepared for. Anyhow...all of these concert halls and orchestras are just now able to examine the body of organ and orchestra material. That's something they never had the ability to do before, unless they rented an electronic organ.
OK...getta load of this...
a Writer for the Dallas news says that the Cooper Organ can't really compare to the Lay Organ in Mayerson Hall at Dallas.
They don't even use that organ at Meyerson anymore! They pulled the plug on the Dallas international Organ Competition, they don't consult Mary Preston (The Resident Organist) on anything, and they have not programmed a work for Organ and Orchestra in ages!
I hope that does not happen in Philly!
A little tale...
A child begs a parent for a special toy at Christmas. That toy costs lots of money. He plays with it for 3 weeks...then tosses it in the toybox, and pulls it out one other time. Nothing but a waste, and a parent that is upset because they spent a lot of money for nothing. And the parent really wanted them to have that toy.
That's what has happened to all of the concert hall Organs. Im sure Philly will be different.
Other Organizations in the Kimmel Center should use the organ as well.
They could start something like Keyboard Conversations for Organ, OR include the Organ in Keyboard Conversations. After all, it is older than any othe rkeyboard instrument.
Fresh Ink could showcase young composers that write for the organ. Indiana University has Composition majors that use the Organ as their major instrument.
The pops could use the Organ too. There are several popular tunes that have organ in their scores. A few pieces by Percy Grainger are actually full blown Organ and Orchestra pop pieces. The Polka and Fugue from Schwanda the Bagpipe has a very striking Organ part towards the end.
good luck tonight with the Poulenc
I would like to correct Toni-Desiree Hines' posts about the size of the Cooper Organ vs. The Fratelli Ruffatti organ in Louise M. Davies Symphony Hall. According to the Ruffatti website (which would be reliable), the symphony's website, and several other online sources (including Osiris), the Ruffatti organ IS indeed 5 manuals and 147 ranks. 11 ranks were prepared for. The organ underwent revoicing following the acoutsical renovations of the hall. Having made my debut concert there, I can attest that the fifth manual does indeed play. The "prepared for" divisions are floating divisions. However, if I am not mistaken, some of those ranks have been installed. Please verify your sources before making uneducated and unverified remarks.
I should ask Antonio Hines to stop providing idiot misinformation regarding music, organs, organists, history, composers, French pronunciation, organbuilding, and anything else he feels he must spew. He is doing a great disservice to those who actually wish to learn and know the facts. Is it not bad enough that organists are forming false foundation, run from a post office box and a cellphone? Or claiming to be organist of a prominent Chicago church when they are not? Or claiming to have degrees that they do not?
There aren't a lot of rules on this site, but we do ask that you play nicely. Do not use this site to air your grievances against someone who happens to comment here.
The Kimmel Center Organ is ok, but there are better pipe organs out there, particularly the 10,731 pipe Curtis Organ at Irvine Auditorium in Philadelphia.
The Kimmel Organ is okay. Not my favorite by any stretch of the imagination. There is just something about Dobson Organs I don't like and I can't quite put my finger on it; yet. I'll take the Davies Ruffatti over the Verizon Dobson any day. Having played the Kimmel Dobson as well as the LA Cathedral organ, again, just something I don't like about his work.
I did a concert on a modest sized 40 some odd rank Dobson in Augusta, GA and yet again, just didn't blow my dress up. I think among American builders who have built instruments of recent vintages, I would surely have Buzard at the top of my list. His installation here in Atlanta at All Saints is definitely a fine organ. Just wish the acoustics were better. Schantz is also doing great work. They have really beefed up their instruments. OH well....So continues the saga of "My organ is better than yours" and all of the other cattiness associated with being an organist. We are our own worst enemies.
Happy Easter!