Benjamin J. Crandall and Dr. Douglas E. Bush, Music
The sixteenth and seventeenth centuries comprised the so-called “golden age” of the organ due to the remarkable instruments built then and because of the extraordinary repertoire which spawned from these organs. Reaching a pinnacle of tonal expertise and craftsmanship in the organs of Arp Schnitger (1648-1719) and his North German contemporaries, these organs inspired a 20th- century “organ reform movement” in which American organ builders began to construct organs modeled after the historic organs. This in turn has affected 20th-century compositional practice and has changed many views and concepts of performance.
This study of the organ reform movement was focused on understanding current American organ building trends and performance practices as influenced by 17th century organ building practices. The research involved communicating with several organ builders and organists from around the country. All the research participants were active in their professions and had significant experience/knowledge about 17th-century organ building and/or performance practices. Questions regarding personal view points were posed to the organ builders and correlating questions were asked to the organists.
Questions to the organ builders included the following: What things do you incorporate into your organs that derive from the North German Baroque organ? What things are different (due to technological advancements or other influences)? Describe your “dream organ;” What are your views on electronic parts in the organ and how do these parts affect the art of organ building?
Responses to the questions varied somewhat B as could be expected as there is no one way to build an organ B but the builders seem to have in common several historical elements they incorporate in their organs. For instance, the builders generally like the case design developed by Arp Schnitger (the silhouette of this case is basically square with a group of longer pipes in the center of the facade creating a central tower). They like this design because it is highly adaptable and aesthetically beautiful in a wide range of building architectures, and it is also relatively simple to design and to build. Another example is that the builders almost always prefer mechanical (tracker) action rather than electro-pneumatic action. Other historical aspects the builders usually include are flat or only slightly concave pedalboards and shorter key lengths (as compared with the American Guild of Organists (AGO) standards). Common deviations from 17th century practices include new types of bearing materials, and installing electronic memories and blowers. Another way in which the organ builders deviate from 17th century North German organ building is that they almost always put swell boxes (boxes which enclose a large group of pipes and have shutters that can be opened and closed to produce crescendos and diminuendos) in their organs. Since late 18th and 19th century, organs almost always included a swell box, and the organ builders agree that swell boxes improve the versatility and capability of the organ.
When asked about their “dream organ,” many builders referred to their own organs as dream organs and then concluded that the acoustics of the room were very important to produce an optimal sound. They say the ultimate room would have stone walls (at least the inner walls), a high ceiling, and narrow(er) side isles (since the sound depends on the side walls to be carried the length of the room). Installing the organ up high in the room B such as in a balcony B can help foster a rich(er) tone. Several of the builders complained that there are very few rooms in America that have these ideal characteristics.
The organ builders generally prefer not to build mere copies of the antique organs. Further, with technology advancements, especially in the area of electricity, the builders install electric blowers (instead of manually pumping air) and sometimes other components such as electronic memory pistons for stop action and electronically assisted key action on large organs (to help lighten key touch). They do, however, like to avoid using electronic components where they are not necessary (such as small organs or due to customer preferences) partly because the electronic components do not last as long as the mechanical action. This problem with electronics requires more frequent repairs and organ maintenance.
Similar questions were asked to the organists: How do organs built in a historic style affect your playing? What aspects of historic organ building are most important to you? Describe your “dream organ;” What is your view on electronic parts in the organ?
The organists said that tracker action affects their playing, especially in smaller instruments, not only because of its unsurpassed responsiveness but also because the natural characteristics of tracker action require the organ console to be close to the pipes (which reduces sound delay further heightening responsiveness). Seventeenth and eighteenth-century fingerings (which promote a non-legato style of playing) work differently on mechanical organs in that the sound is more connected and cantabile than the same fingering approach would sound on an organ with electro-pneumatic action. A deviation from the baroque organs that organists like is the incorporation of swell boxes. The organists mentioned a wide variety of “dream organs,” but they agree that acoustics are of primary importance in creating an ideal tone. Many of the organists do not prefer to have electronic parts in the organ; others said the electronics can be a benefit and don’t necessarily inhibit the use of historic performance practices. For instance, memory pistons are useful when one is playing a piece on a large organ with major changes in stop selection occurring throughout a piece (instead of one or even two persons needed to handle the stop changes).
The results of this research project reveal a major trend in American organ building. The builders have been heavily influenced by 17th-century North German organ building in case design, stop and key action, console dimensions, stop specifications, and tonal design. As a result of the organ reform movement ideals, performance practices have been influenced in terms of fingering, pedal technique and registration ideas.