Lilly Endowment 2010 Teacher Creativity Fellowship Grant Report
Music to My Ears
Esther Kovacs
My grant proposal encompassed learning about pipe organ technology by visiting pipe organ builders, taking keyboard lessons to enhance my skills, and listening to the nuances of different pipe organs being played. I was able to fulfill all three areas of my proposal. I was surprised at my excitement to get started immediately upon learning of the award. The very first Sunday following my notification, I began by visiting a local church to hear the pipe organ there. This led to hearing pipe organs in a dozen Indiana churches along with pipe organs in other states to total 43 different pipe organs between March 7, 2010 and July 25, 2010. Beyond the outstanding instruments and organists, I was able to experience the subtle differences in worship in half a dozen denominations outside my own lifetime of worship in Baptist and Lutheran Churches.
I gained a basic understanding of pipe organ construction by visiting three organ builders and studying reference books and on-line material. The visits shed light on ways each builder views their craft. One builder solely refurbishes existing organs, while the other two build new organs and also do restorative work.
Basic pipe construction is similar with tuning apparatuses being completed in a like manner by all. Surprisingly, to me, the voicing of the pipes begins in the builder’s workshop by a single person using his well-trained ear to hear the pitches so perfectly that he is able to tune and voice each pipe individually. The organs are completely constructed in the workshop and tested. The organ is then disassembled and transported to its new home where it is reassembled, re-voiced to the space and environment, and tuned. One builder walked me through the process of working with church music committees. This work includes educating them to the enhancement of worship emanating from the warmth created by a pipe organ, acoustical considerations in the sanctuary, and decisions for organ voices, organ building, organ shipping, and assembly. My next step is to accompany a technician into a church to observe the installation, repair, or tuning phase of the pipe organ. This likely will happen during the next eight month period as much tuning and repair work is done to church organs in preparation for Christmas and Easter.
I took organ lessons from a local Indianapolis organist. Playing the pipe organ in her large church requires a huge adjustment from playing my small electronic organ at home. The power of the voices and volume are something I had forgotten over the years. She continues to be very patient with me as I improve my abilities logging over 40 hours of practice during the time period. I was able to shadow her while she played various services as well. Yet my keyboard skills have not returned easily or fully. A major step forward for me has been learning to play the organ pedals correctly with specially designed organist shoes.
The American Guild of Organists (AGO) holds a biennial convention and this year’s 50th national convention was held in Washington D.C. July 4-8. Though it was quite costly to join the AGO and pay the convention fees, this allowed me access to eleven pipe organ venues in six days. It was a breathtaking experience to be in the Washington National Cathedral and sing hymns with over two thousand musically-minded people. Having been in this cathedral for several worship services previously, including Easter, I knew the magnificence of the structure and even the power of being in a large group for worship. But to have so many people with musical knowledge joining together in song brought tears to my eyes. This was truly music to my ears and to my soul. The words of the AGO chaplain, Rev. Dr. Thomas H. Troeger, will stay with me forever. “Every time you make music, you are calling people back to the better spirits of their nature.”
Many venues for the convention concerts, allowed a view of the organist either by placing the console in full view of everyone or by providing a video feed of the organist. Along with the American organists, I heard performances by an organist from France and one from Germany. Bringing together so many incredibly gifted organists at the AGO convention for high caliber performances was almost overwhelming. For example, one organist is so talented that he not only played with two hands, two feet, and from memory, he changed organ stops constantly – just because he can think of so much at once. Another organist had a note that became stuck, known as a cipher. She worked with the church organist, got it fixed, apologized to the packed house, and completed her amazing recital unfazed.
The Louisiana trip provided two listening experiences including a concert by the Titular Organist of the Cathedral of Seville, Spain. In Jasper, IN, and in Allentown, PA, I was able to experience a different style of accompaniment for congregational worship, leading me to incorporate new ideas into my technique and style. In Phoenix, AZ, I heard two outstanding accompanists at worship services. I learned about the two dozen volunteers who gave every Saturday for five years to clean, refurbish, assemble, voice, and tune an organ for their church. An organist in Columbus, IN is so passionate about the pipe organ he plays and maintains, that it was hard to get away once he began talking about this beloved instrument.
I was amazed at how many people willingly shared with me, without time constraint, the instruments they love and the knowledge they possess. Through this grant, I have formed friendships that will continue to provide me with future experiences. Upon learning of my grant, people suggested many additional instruments that I did not have the time or resources to visit. The trip to Philadelphia to see the largest pipe organ in use in the United States grew out of one of these suggestions. That experience was extremely enlightening. I learned about the pipe organ, toured the multiple pipe chambers, and visited the organ refurbishing facility housed above a Macy’s store. I was astounded to learn about the full-time paid staff and troupe of dedicated volunteers who keep this organ in top working condition. This greatly expanded my concept of how many people appreciate the pipe organ.
A question I asked of the many professionals I met regarded the future for the pipe organ, especially considering the increase in non-traditional music in worship. The answer from organists and builders is clear. The rich, full sounds of the pipes are universally loved, assuring the future of pipe organs. It was gratifying to learn that properly designed and constructed pipe organs and their various parts can last for hundreds of years with proper care. Having heard the vast number of talented musicians in Washington, D.C., my view of the pipe organist as a dying breed has changed. While only a few universities maintain prestigious organ performance schools, many others teach organ technique as a course offering. Many of these non-organ majors will be sitting on the benches made by today’s organ builders.
As a new member of the American Guild of Organists I plan to attend the Indianapolis chapter meetings to learn more about the pipe organ and hear additional concerts by talented musicians. Hopefully I will be able to experience pipe organ repair and tuning first-hand. Now that I have begun improving my keyboard skills, I will continue to practice both on my piano and my small electronic organ. Within myself I feel the joy of producing music and the reward of improvement as I continue to work. This rekindling of skills helps me relate to my students who require much repetition to acquire new academic skills. With the words of the AGO Chaplain resounding in my head, I will utilize music in my classroom to bring my students “back to the better spirits of their nature.”
