Search Results for: Young organists
Ronald G. Pogorzelski and Lester D. Yankee Organ Scholar Program Hosting
The Ronald G. Pogorzelski and Lester D. Yankee Organ Scholar Program will offer a young person the opportunity to experience a ten-month paid internship within a significant music ministry program somewhere in the United States. The program model is designed to include combined investments from AGO National Headquarters and a host church with an outstanding music program. In total, the organ scholar will be offered a salary of at least $30,000, housing, and healthcare options.
Organ Scholar Program Overview
2025-2026 Ronald G. Pogorzelski and Lester D. Yankee Organ Scholar Host Application - Deadline: September 30, 2024
Application for prospective Host Institutions interested in sponsoring an Organ Scholar.
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September 2021 TAO Feature Article
Northminster Presbyterian Church
Indianapolis, Indiana
C.B. Fisk Inc.
Gloucester, Massachusetts
By David C. Pike
Stoplist
Over the last three quarters of a century, Northminster Presbyterian Church, set in the Broad Ripple neighborhood of Indianapolis, has grown from a modest assembly gathering in a borrowed space on Sunday evenings to many hundreds of members worshiping in a smartly updated building on Kessler Boulevard. Today, this faith community is an active and dynamic force not only in Broad Ripple, but also in several communities around the world. The well-known red-brick colonial-style edifice, which has been expanded multiple times since its 1957 inauguration, is as notable for the outstanding music made inside as it is for its landmark 40-foot-high steeple.
Northminster’s top-notch music program is the concerted work of two of Indy’s very fine church musicians. John Wright has served as director of music ministries since 2000. His many responsibilities include overseeing an ambitious choir program and serving as artistic director of Sound & Spirit, the church’s arts series. Wright, who holds a master of music degree in choral conducting from the University of Tennessee, served as director of the Montreat Conference on Worship and Music in 2016.
Marko Petričić, music associate and organist, holds MM and DMA degrees from Indiana University, where he studied with Christopher Young. A winner of numerous organ competitions, he is a member of the music faculty at the University of Indianapolis, where he initiated a program in organ and sacred music. He has performed on most keyboard instruments with the Indianapolis Symphony Orchestra. Moreover, as an accomplished bayan accordion performer, Dr. Petričić has won top prizes at several international competitions.
Music has played an indispensable role at Northminster since its founding. On its website, the church spells out its musical mission in unequivocal terms:
The Christian faith is a singing faith, answering the call in scripture that exhorts God’s people to “Sing to the Lord.” When we gather to worship and glorify God, music draws us closer with a unique and compelling power. From African-American spirituals to Bach cantatas, from Tanzanian folk songs to newly commissioned hymns, Northminster’s choirs, soloists, and instrumentalists lead the congregation in the singing of praise that spans time and many cultures. Psalms, hymns and spiritual songs, the sounds and poetry of liturgical texts, seek to enhance worship, to comfort, encourage and inspire, and to embrace those within and beyond the walls of our church.
A lofty imperative to be sure, but by early 2014, Northminster’s musicians were experiencing profound frustration with regard to their ability to serve the church’s musical aspirations. The pipe organ, a three-manual, 37-stop pitman chest electropneumatic dating from 1963, had begun to exhibit severe signs of decrepitude, even in the wake of a 2001 renovation. Its placement—divided, speaking sideways, and buried in chambers on either side of the chancel—was far from ideal. Understandably, the church leaders were wary of pouring more funds into propping it up, and thus the idea for a new mechanical-action instrument was born.
Conversations about the possibility of a new Fisk tracker for Northminster began in February 2014 with an introductory phone inquiry from John Wright. By May of that year, an initial visit had been made to the church, and a preliminary proposal was in the works. It would take five years for all parameters to be ironed out, but in due course they were, and at long last, in April 2019, a contract was signed.
Our discussions from the outset revolved around the need for a versatile instrument, limited in scope, that would make the best use of a confined chancel placement. Leading congregational song with strength and gusto was at the top of the list. Providing suitable resources to proficiently accompany the church’s superb choir was every bit as essential. With these cardinal objectives in mind, tonal and visual concepts developed for the organ, concurrent with a reimagined chancel space. In the proposed design scheme, the proscenium and side walls that bounded the existing organ chambers would be removed, increasing both the volume and footprint of the chancel area and creating a single acoustical space for music-making, the spoken word, and congregational participation.
Visual design ideas for the organ and remodeled chancel layout were investigated in a 1:16 scale model, allowing for thorough examination and discussion of their merits and limitations. Fisk visual designer Charles Nazarian spearheaded this lengthy collaborative process. The opening up of the chancel area that resulted from Charles’s input has provided a greatly enhanced setting, both visually and practically, for worship services and musical performances alike. Traffic flow is much improved. The choir now has room to breathe. The end result of this collaborative effort is an instrument in an acoustically sympathetic environment that serves the larger needs of the church and at the same time supports the continued development of a robust music ministry.
Opus 154 has two manuals and comprises 19 stops (17 of which are independent voices) and 1,063 pipes. The facade is composed of pipes from the Great 8′ Prestant, built of polished, hammered 75 percent tin. The console features keyboard naturals capped with camel bone and sharp keys of ebony. A ¾-horsepower blower supplies the more than 14 cubic meters per minute of wind required to play the organ. All pipes are voiced on a wind pressure of 3¼“ (82.5 mm) water column. The temperament is Fisk II.
The specification leans toward the German Baroque but includes an enclosed front-to-back Swell division for effective accompaniments. The organ is eclectic in that it combines a principal chorus reminiscent of Gottfried Silbermann’s small village church instruments, a Spire Flute modeled after the Spillpfeifen of Friedrich Stellwagen, Schnitger-style reeds on the Great and Pedal, and Cavaillé-Coll-inspired flues and Hautbois in the Swell. Opus 154 has a refined and responsive mechanical key action featuring carbon fiber trackers, a lively and buoyant wind system, an electrically controlled stop action, and a solid-state combination action.
Whether we’re building a large cathedral organ or an instrument of more moderate scope, the end result—visually, mechanically, and tonally—represents a summation of our cumulative organbuilding experience. Working within the limitations of a relatively small number of stops presents substantial challenges in both tonal design and voicing, especially for an instrument that is being asked to do so many things. In terms of specification, our point of departure for Northminster was Fisk Opus 107 at the Dover Church in Dover, Massachusetts, where, since its 1993 inauguration, the organ has excelled in the roles of leading worship and supporting a fine music program. As with every instrument we build, the tonal and visual designs for Opus 154 were tailored to the church architecture, the volume and acoustical properties of the space, and organ placement.
As historically informed organbuilders, it is important that we occasionally step back and remind ourselves that we live in America and that the better part of our work is for American institutions. While we stand with one foot firmly rooted in the centuries-old organbuilding traditions of Europe, our other foot is securely planted on this side of the Atlantic. It is our mission to create musical instruments that are relevant to modern-day Christian worship and organ pedagogics here in the States. We are also mindful that, in order to stand as viable musical tools now and well into the future, our organs must show artistic backbone and design integrity as exemplified by the European instruments of yore. The exuberant facades and enduring voices of these antique organs provide us a unique connection to the past even as they bring us joy and comfort here in the present. In the centuries to come, may the same be said of Opus 154.
From the Music Associate-Organist
The organ committee at Northminster Presbyterian Church conducted a lengthy and detailed search to replace the 1963 Reuter organ. The new instrument needed to fulfill many roles equally well, most importantly to lead, inspire, and support congregational hymn signing. In addition, it needed to serve as a great accompanying instrument for the 45-member chancel choir, for chamber ensembles, and even for full orchestra. Lastly, it needed to be an exciting concert instrument that convincingly performs different eras and national styles of organ repertoire. As such, this organ would also be an excellent teaching instrument.
While not a large organ (19 stops, 26 ranks), C.B. Fisk Opus 154 fulfils all of its functions superbly in our remodeled and acoustically improved chancel space. The vocal tone of the 8′ Prestant on the Great sings beautifully throughout its entire range. The 4′ Principal blends well into the principal chorus, but also acts as a solo stop that is not overly assertive. The principal chorus with the mixture fills the room but does not overwhelm in its intensity. The Spire Flute is the most versatile stop on the instrument, as it can act as a soft solo stop, continuo stop, and the fundamental support of the full organ. Schnitger-style reeds on the Great and Pedal are wonderful for congregational singing and a variety of solo repertoire.
The Swell division is enclosed front to back, and this provides an enormous dynamic expression. Cavaillé-Coll-inspired flues and Hautbois in the Swell complete the tonal design of this organ. The bewitching beauty of the Celeste pairs equally well with the harmonically rich and gentle Chimney Flute and the surprisingly effective Violin Diapason. The Cornet décomposé, with Nasard and Tierce, provides a variety of solo stop combinations.
The pandemic has been challenging for everyone, but accompanying a quartet of singers and playing service music for virtual-service recordings has been a rewarding experience even without using the full potential of Opus 154. As the world gradually shifts back to normal, we look forward to resuming live music-making, as we welcome everyone to see and hear this marvelous organ in person!
Marko Petričić
March 2023 TAO Feature Article
First Presbyterian Church
Charlotte, North Carolina
Quimby Pipe Organs
Warrensburg, Missouri
Stoplist
By Brian Seever
The first thing that strikes a visitor to First Presbyterian Church in Charlotte, North Carolina, is the set of three chandeliers adorning the center aisle. These light fixtures make a statement—bold yet refined. Originally from a public space in New York City, they have graced this historic sanctuary for a century, reminding us of an aesthetic long since passed. In contrast, the new organ has been playing for less than a year. Yet its grand visual impact and bold, cohesive tonal resources make a statement of their own.
This new instrument, Quimby Opus 79, was built and installed in 2022. Greatly expanding the tonal palette and versatility of earlier organs, it fills the room with subtle pianissimos and dramatic choruses. Controlled by a four-manual and pedal console, this five-division instrument easily handles the full spectrum of organ repertoire and leads congregational singing with grace and variety.
Three diapason choruses, each varied in color and power, form the backbone of the instrument. The Great chorus nods heavily to the English builders of the 19th and early 20th centuries. Crowned with a four-rank Mixture, supported by a Trumpet that doesn’t overpower, and undergirded by a Double Open Diapason, the Great chorus can handle any number of musical demands. The Swell chorus is a subtler counterpart to the Great, yet it still has the growl found in many Swell divisions. This chorus is enhanced by independent 16′, 8′, and 4′ trumpets that add fire and drama. The Choir chorus is more demure and sweet but adds brilliance to the other choruses and to choral accompaniment.
The string tone of the organ begins with a 16′ Violone in the Pedal, which continues into the Great. The Swell Gamba and Celeste add rosin and beautiful undulation to that division. A Dulciana at 16′ and 8′ in the Choir, along with the Unda Maris, adds subtle beauty and supports softer registrations.
The flutes of the organ are varied and plentiful. The softest pair is found in the Swell: the Flauto Dolce and Celeste. Tapered and harmonic, they impart a soft and misty color to the quietest of registrations. The Swell also features a Cornet, underpinned by a Chimney Flute and continuing with clear and sprightly open ranks above; this contrasts excitingly with the 8′ Clarinet in the Choir. The Great features a Harmonic Flute at 8′ pitch, expanding the tonal palette for major repertoire. The Bourdon and Spire Flute enhance the Great with subtle tone. Choir flutes include a wood Flauto Traverso of wonderful singing quality and 4′ and 2′ Harmonic Flutes that add a silvery brilliance to that division.
The Choir also has a chameleonlike Bassoon that extends to 32′ pitch in the Pedal. In the Swell, an Oboe of sweet but present quality joins a subtler chorus registration or solos over an undulating accompaniment.
The Solo features four color stops of beautiful and strong quality. The French Horn and English Horn add characteristic flair. The Doppel Flute fills the sanctuary with a solo flute tone that embraces the listener. In contrast, the Tuba crowns the entire organ and adds both gravitas and brilliance to even the fullest of registrations.
The Pedal has a diapason unit that is available at full compass on the Solo as the Major Diapason. This broad principal tone grounds the organ. A prompt Bourdon of full tone extends down into the 32′ range. The fire of the Pedal comes from an uncompromising 16′ Trombone with brazen and full-bodied tone.
Mechanically, Quimby instruments feature our version of the Blackinton slider windchest, distinguished by a pneumatic pallet design and the absence of slider seals, allowing for the flue pipes in each division to speak without the “explosive attack” experienced by individual valves, since each note shares a common channel with the other ranks. The reed ranks and offsets are on electropneumatic pouch-style windchests.
These tonal resources are integrated into a striking Neogothic case built by New Holland Church Furniture of New Holland, Pennsylvania. The organ is controlled through the Virtuoso system, built by Integrated Organ Technologies of Alpharetta, Georgia. These elements of architecturally inspired tonal design and a versatile control system have combined to create a magnificent instrument of visual and tonal beauty that will surprise and delight all who see, hear, and play it.
Quimby Pipe Organs would like to thank everyone at First Presbyterian Church, especially Will Young, Wilfred Neal, Ben Treece, and Jim Tyndall, for all their attention to detail as this project came to be. We would also like to offer our sincerest thanks to Diane and Gloria at the front desk, who delivered countless packages to us throughout the installation.
Those at Quimby Pipe Organs who made contributions to the building and installation of this fine instrument are Michael Quimby, president and tonal director; Eric Johnson, head reed voicer; Joseph Nielsen, flue voicer; Brian Seever, service department manager and lead installer; Daniel Sliger, woodshop foreman and lead installer; Charles Ford, project designer; Chris Emerson, executive assistant and lead installer; and the following production team members: Chirt Touch, Anthony Soun, Mahoney Soun, Bailey Tucker, Bryce Munson, Noah Lipham, Baylee Martin, and Aime Touch. Special thanks to Amory Atkins, Joshua Wood, and Terence Atkin of the Organ Clearing House for sharing their expertise in rigging, winding, and general organbuilding throughout the installation.
Brian Seever is the manager of the service department at Quimby Pipe Organs, tuning and overseeing the maintenance of over 100 instruments. He is also involved with installations and other major projects.
Article photos: Brian Seever
National Volunteer Week 2024
During National Volunteer Week, April 21–27, we’re recognizing the hundreds of volunteers who donate their time, expertise, and resources to their chapters and our national organization. Thank you! As a token of our appreciation, the AGO is giving away three new pairs of organ shoes: to one young organist, one regular member, and one special member. Submit your name—or the name of another outstanding AGO volunteer—chapter, volunteer position, and email address to chief membership officer Elizabeth George at elizabeth.george@agohq.org and she will conduct a drawing for the three lucky winners. Again, thank you and please keep doing what you do!
October 2023 TAO Feature Article
St. George’s Episcopal Church
Germantown, Tennessee
Goulding & Wood Pipe Organ Builders
Indianapolis, Indiana
Stoplist
By Goulding & Wood
One of the most interesting aspects of a new organ project is seeing how an institution navigates the process. A healthy venture, typically the product of a healthy organization, will exemplify the personality of the group overseeing the endeavor. One such example is St. George’s Episcopal Church in Germantown, Tennessee, which followed a path that was unlike any other in our experience.
Our first contact with the church came in 2004, by way of an inquiry from Lynn Bauman, then organist and director of music. The parish was evaluating how to address the failings, both musical and mechanical, of its aging pipe organ. The conversation developed along normal lines, with site visits and design work for a new instrument. The congregation shared the campus with a day school—something that had become increasingly difficult over the years because of limited space. Although the parish had established the school, both had grown to a point that necessitated the separate incorporation of each. The church elected to purchase land and move to a new campus, and this refocused the conversation around a new organ for St. George’s.
The dialogue with St. George’s continued to be fruitful, and the organ task force designated Goulding & Wood to be the builder of the new instrument. This led to a flurry of design activity with architect Jim Williamson, himself a staunch Episcopalian, and acoustician Dennis Fleischer. During the stressful time of the transition, Lynn Bauman moved to another position, and Angela Saunders took the helm, working closely with Mark van Stolk, chair of the organ task force. The design team worked together unusually well, with a healthy cross-pollination of ideas. The final design of the church space was engaging, warm, and inviting—a refreshing blend of traditional organization and contemporary language.
Given the enormous undertaking of creating a fully equipped facility for a large and active faith community, the committee overseeing the project elected to pursue a comprehensive plan that could be implemented in stages. Goulding & Wood proposed a well-developed three-manual instrument of 54 ranks, with plans for prepared stops in each division and an overall design that could be installed over time. We responded to the committee’s request by first installing most of the Great and Swell divisions, along with three Pedal stops. The Choir Cremona was installed on the toe board of the Great Trumpet, providing a useful color in this vastly reduced version of the final design. The organ proved itself not only adequate for weekly use in liturgy, but also able to hold up to a demanding and thrilling inaugural recital by Cherry Rhodes in the spring of 2008. The success of the instrument was such that we feared the congregation would not feel a strong need to complete the organ.
To our delight, Mark van Stolk and Angela Saunders remained steadfast in their commitment to see the instrument through to completion. St. George’s engaged us to add the remaining Great stops in December 2010, the remaining Swell stops in October 2012, and an independent Pedal reed in February 2014. The complete Choir division and remaining Pedal stops were installed in January 2016. The organ now stood virtually complete as originally designed, lacking only the casework to visually articulate its presence in the room. Angela Saunders retired in July 2017, and her post was filled by Alan DePuy, who eagerly took up the completion of the case. Our team returned to Germantown to discuss design concepts for the facade in September 2018. We were thrilled to find in Alan a talented musician, a kind person, and an ardent advocate for the organ. Mark van Stolk continued to doggedly pursue the end goal, maintaining regular contact with our workshop. When Alan DePuy passed away in January 2020, tragically young and very unexpectedly, the desire to see this project through grew even stronger. Lucas Fletcher, a recent graduate of the Indiana University Jacobs School of Music, was named organist and director of music, and his familiarity with Goulding & Wood made him a very willing partner in the conversation.
Our engineering team had created several design concepts for the facades over the dozen years we had been involved with St. George’s. Jim Williamson’s elegant, understated vision called for casework that was confidently simple yet bold in scale. The result is the twin 16′ red oak facades that flank the chancel today. The pipework resources in these cases allowed the church to increase the specification of the organ by three ranks beyond the instrument proposed in 2006, including an independent 16′ stop on the Great. Work on the cabinetry began in late 2021, and the installation occurred the following summer. Cherry Rhodes returned in the spring of 2023 to dedicate the completed instrument in another masterful performance that showed off all of its resources.
Musically, the organ adheres to the character of Goulding & Wood instruments. Broadly scaled principal choruses provide a strong backbone, creating rich ensembles that encourage congregational singing. Colorful flutes and strings expand the color palette with interesting and contrasting hues, while reeds supply power, pungency, and poetic appeal. Contrasting 8′ diapasons on the Great stand in opposite facades, offering different levels of intensity and accompanying the two sides of the choir seated decani and cantoris. Each division uses Goulding & Wood’s exclusive design of electropneumatic slider and pallet windchests—a mechanical system that promotes gentle speech, blending voices, and precise ensemble tuning. The acoustical environment of the church, designed by Dennis Fleischer, allowed our voicing staff to finish pipework without forcing speech or driving wind to overcome the issues typically associated with chambers. The organ’s sound flows freely, with spontaneity and conviction of tone.
The completion of Opus 46 marked the conclusion of a process begun nearly 20 years before. This longevity hints at the aspects of organbuilding that we at Goulding & Wood value most. While we have an uncompromising commitment to building the most artistically sophisticated musical instruments possible, this aspiration is rooted in a fundamental desire to be a partner with the congregations that entrust us with their goals. We are extremely grateful to Mark van Stolk and Jim Freeman for their unwavering support and enthusiasm through the years, and especially to Angela Saunders, who has maintained close ties to the organ even in retirement. In addition, we extend our deep appreciation for the workshops of Jacques Stinkens, A.R. Schopp’s Sons, and Solid State Organ Systems. Finally, we recognize the powerful dedication the people of St. George’s have to worship and the role of the organ in liturgy. Many people contributed to keeping the spark of this project alive throughout periods of dormancy, personal tragedy, change, and uncertainty. We are honored that this congregation values our work and our collaboration, and the completed Opus 46 (2007–22) stands as a testament to the primacy of musical liturgy in their parish community.
Goulding & Wood Pipe Organ Builders
Amos Burch
Annie Clark
Bob Duffy
Mark Goulding
Rob Heighway
Jerin Kelly
Phil Lehman
Tyler MacDonald
Jamie Mahan
Jason Overall
Tim Piotrzkowski
Kurt Ryll
Ben Sallee
David Sims
Monty Thurman
Mike Vores
Brandon Woods
Photos by Goulding & Wood, except where noted.
Cover photo by Andrew Parks.