11

RENÉE AND HENRY SEGERSTROM CONCERT HALL

July 3, 2019

Wednesday at 7:30 p.m.

Out of courtesy to the artists and your fellow patrons, please take a moment

to turn off and refrain from using cellular phones, pagers, watch alarms

and similar devices. The use of any audio or videorecording device or the

taking of photographs (with or without flash) is strictly prohibited. Thank you.

The Center applauds:

The American Guild of Organists2019 West Region Convention

presents

Paul Jacobs, organFantasia for Organ JOHN WEAVER (B. 1937)

Concerto in D Minor after Vivaldi, JOHANN SEBASTIAN BACH BWV 596 (1685–1750) I. (Allegro) II. Largo e spiccato III. Allegro

Fantasia in F Minor, K.594 WOLFGANG AMADEUS MOZART (1756–1791) Adagio-Allegro-Adagio

Variations on America CHARLES IVES (1874–1954)

— I N T E R M I S S I O N —

Symphony No. 6 Op. 59 LOUIS VIERNE (1870–1937) I. Introduction et Allegro II. Aria III. Scherzo IV. Larghetto V. Final

Sponsored by generous donations from Barry Hon and C. B. Fisk, Inc.

Colbert Artists Management307 Seventh Avenue, Suite 2006 • New York, NY 10001

www.colbertartists.com • (212) 757-0782

22

ABOUT THE ARTIST

C. B. FISK, INC.

History and Philosophy

C. B. Fisk, Inc. was founded by Charles Brenton Fisk. Raised in Cambridge Massachusetts, he was a chorister

at Christ Church where E. Power Biggs was Choirmaster. A brilliant scientist who studied nuclear-physics at Harvard and Stanford, he worked briefly at Brookhaven National Laboratories, but during his Stanford years decided to pursue a career in organbuilding. He apprenticed himself first to John Swinford in Redwood City, California, and then to Walter Holtcamp, Sr. in Cleveland, Ohio, who was at the time the most avant garde of American organbuilders. He went on to become a partner and later sole owner of the Andover Organ Company. In 1961 he established C. B. Fisk near his childhood

PAUL JACOBS

Heralded as “one of the major musicians of our time” by Alex Ross of The New Yorker and as “America’s

leading organ performer” by The Economist, the internationally celebrated organist Paul Jacobs combines a probing intellect and extraordinary technical mastery with an unusually large repertoire, both old and new. He has performed to great critical acclaim on five continents and in each of the fifty United States. The only organist ever to have won a Grammy Award—in 2011 for Messiaen’s towering “Livre du Saint-Sacrément”—Mr. Jacobs is an eloquent champion of his instrument both in the United States and abroad. No other organist is repeatedly invited as soloist to perform with prestigious orchestras, thus making him a pioneer in the movement for the revival of symphonic music featuring the organ.

Mr. Jacobs made musical history at age 23 when he played Bach’s complete organ works in an 18-hour marathon performance on the 250th anniversary of the composer’s death. Mr. Jacobs has premiered works by Samuel Adler, Mason Bates, Michael Daugherty, Wayne Oquin, Stephen Paulus, Christopher Theofanidis, and Christopher Rouse, among others.

During the 2018-19 season, Mr. Jacobs will perform the world premiere of John Harbison’s What Do We Make of Bach? for organ and orchestra with the Minnesota Orchestra under conductor Osmo Vänskä; with the Cleveland Orchestra he will give the American premiere of Austrian composer Bernd Richard Deutsch’s Okeanos for organ and orchestra. Abroad, he performs Barber’s Toccata Festiva with the Lucerne Symphony Orchestra. Additional orchestral engagements include performances with the Phoenix Symphony and the River Oaks Chamber Orchestra. Mr. Jacobs will appear in recital under the auspices of the Los Angeles Philharmonic at Disney Hall and the American Guild of Organists at Segerstrom Center for the Arts, the Madison Symphony Orchestra, and the Bach Festival Society of Winter Park. Mr. Jacobs continues as director of the Oregon Bach Festival Organ Institute, a position he assumed in the summer of 2014.

Mr. Jacobs studied at the Curtis Institute of Music, double-majoring with John Weaver for organ and Lionel Party for harpsichord, and at Yale University with Thomas Murray. He joined the faculty of The Juilliard School in 2003, and was named chairman of the organ department in 2004, one of the youngest faculty appointees in the school’s history. He received Juilliard’s prestigious William Schuman Scholar’s Chair in 2007. In 2017 Mr. Jacobs received an honorary doctorate from Washington and Jefferson College.

333

wind system that provides that same kind of flexible wind as a hand-pumped system, but without needing a calcant.

Opus 150 for Christ Church, Philadelphia is American Eclectic again, with both French (Cavaillé-Coll) and German flues and reeds; with a rückpositiv (“Chaire” organ) in a gentle Germanic style reminiscent of the Pennsylvania German organ builders, and echoing some of the firm’s early work at Old West Church, Boston. It overcomes major space constrictions, and incorporates a new division without overwhelming the room nor disturbing the preservation of an historic space.

Each is in a different style tonally and visually. Each overcomes significant technical challenges. Each has fine mechanical action that organists love to play. Each is built for longevity and possesses extremely high quality craftsmanship in all aspects. All include hand-crafted pipework by expert pipe-makers at our own shop. No two ranks are the same; pipes are based on historical models and construction techniques, but new scalings are the norm for each instrument. Research can be put to immediate use in the sophisticated construction of new pipework, which is then followed by on-site voicing, of every pipe in every stop, by our team of highly-trained, experienced voicers, to suit the acoustical environment of the room. Our unique visual design method, which uses a scale model of the room and allows for manipulation of the model by our designers in continuous interaction with the client, produces an instrument that looks like it belongs in the space. Fisk uses traditional construction methods, yet with innovation and creativity—we are not afraid to use 20th-century materials when those materials yield a better, more robust result for the player and listener.

Many of the same people who were drawn by Charles Fisk’s bold ideas continue their work as they share their experience and institutional knowledge with another generation of organbuilders. This dedicated community continues to use its talent and imagination to stretch the boundaries of organbuilding, producing instruments that add to the rich heritage of the King of Instruments.

summer home on Cape Ann. The Gloucester workshop attracted

co-workers who combined their talents in music, art, engineering, and cabinet making to build organs that redefined modern American organbuilding. Always experimenting, Charles Fisk was the first modern American organbuilder to return to the mechanical (tracker) key and stop action of historical European and early American instruments. The Fisk firm built the largest four-manual mechanical action instruments in America in the 20th century, first at Harvard University in 1967, and at House of Hope Church in St. Paul, Minnesota, in 1979.

The company builds many kinds of organs. Some of our instruments are landmarks based on historical organs: at Wellesley College, patterned after North German organs of the early 17th century; at the University of Michigan in the manner of the Saxon builder, Gottfried Silbermann; and at Stanford University, a large four-manual dual-temperament instrument that combines elements from the Renaissance and the Baroque.

Some are monumental organs for concert halls and ancient cathedrals: those at the Meyerson Symphony Center in Dallas, Minato Mirai Concert Hall in Yokohama, Benaroya Hall in Seattle, and Renée and Henry Segerstrom Concert Hall at Segerstrom Center for the Arts were all designed for maximum impact with orchestra as well as for solo repertoire. In 2003 C. B. Fisk built a five-manual organ for the Cathedral in Lausanne, Switzerland, the first American organ in a European cathedral.

Some serve the requirements of academic communities, including Southern Methodist University, Rice University, Oklahoma University, Oberlin Conservatory, Pomona College, Furman University, Kobe International University, and Indiana University. A new organ for The Memorial Church at Harvard University was dedicated in 2012.

Though the large concert hall and academic instruments stand out in our history and get much of the acclaim and attention, the majority of our work at Fisk is, and always has been, eclectic organs for churches. These are crafted with the same care and precision as our more well-known instruments. Our

philosophy of deliberate and very judicious use of the best sounds from various times and tonal styles is now rightly valued and embraced by the organ world. Our stoplists represent an exploration of organ sounds beyond the stereotypical. The complex relationships of the eclectic collection of voices, as opposed to those of a single national tonal style, are voiced and balanced with extraordinary thought and care. Our goal is quite simply stated: to create and critically voice instruments for a particular room to make music sound good.

Like any large work of art, organ design and tonal characteristics are influenced by cultural factors—our art does not happen in a vacuum, nor outside of time. The instruments of our early years were the forefront of the American revival of classical European organbuilding in academia. Our second generation produced a bloom of large landmark instruments in concert halls and universities. Our recent instruments continue to be at the leading edge of thoughtful, innovative, tonally and technically sophisticated design. C. B. Fisk, Inc. continues to combine the science of physics and the art of music, as is illustrated by three of our most recent organs:

Opus 147 for The Holy Name of Jesus Cathedral, the new 2,000-seat Roman Catholic cathedral in Raleigh, NC is an English and American Eclectic, with hints of the great cathedral and town hall organs of the British Isles. Its action wonderfully overcomes the issues of a large tracker organ, due to superior action design, and to the Kowalyshyn servo-pneumatic lever which allows coupled manuals to be played with the same musical finesse as uncoupled manuals.

Opus 148 for the Centennial Chapel of Christ Church Cathedral (Episcopal) in Cincinnati, OH is historically influenced by the long traditions of the organ in Italy: the lower manual closely based on 16th-century Renaissance organs by Antegnati, the upper manual more loosely based on 19th-century organs by Serassi, both of which were examined closely and listened to intently on the firm’s most recent study tour to Italy in 2014. It includes a mechanical self-pumping

ABOUT C. B. FISK, INC.

44

ABOUT THE C.B. FISKWILLIAM J. GILLESPIE CONCERT ORGAN

voiced on 8 ½” pressure. At 16ft, 8ft, and 4ft pitch, and also available in the Pedal, these reeds, with a tone akin to that of the Tuba, provide an intermediate step between the Swell reeds and the full organ with the Tuba.

As with all Fisk instruments the key action is mechanical except for a few of the largest pipes and the high pressure reeds. A Kowalyshyn Servo-pneumatic Lever may be engaged to lighten the action when divisions are coupled to the Great while retaining the touch and control of the tracker action. The KSPL also allows for the inclusion of an Octaves graves coupler. The stop action is electronically controlled, with a solid-state combination action for preset registrations. Multiple pistons, toestuds, and reversibles, as well as multiple memory levels and a sequencer, are included to allow the player maximal artistic control of the vast tonal resources of the instrument.

The outward aspect of the instrument was installed in 2006 for the opening of the Concert Hall. The inner workings and pipework were installed the following summer, with voicing continuing into the following year. The completed instrument has 4,322 pipes and weighs 30 tons.

C. B. Fisk Opus 130 was our fourth symphonic concert-hall organ, so its design was guided by our previous

experiences in Dallas, Yokohama, and Seattle. We were delighted to have worked with Artec Acoustics, led by the late Russell Johnson, with whom we had worked on the design and construction of the Lay Family Organ in the Meyerson Symphony Center. Artec’s variable acoustics seem ideal for halls with an organ. Acoustics for the organ are optimal when the hall is opened to its maximum reverberation, whereas orchestras and most other ensembles sound best with somewhat less. Flexible acoustics make both conditions possible, and both the Lay Family Organ in Dallas and the William J. Gillespie Concert Organ in Orange County are stunning successes.

In collaboration with Cesar Pelli, architect of the Renée and Henry Segerstrom Concert Hall, we were asked to design an organ case that would appear to flow directly into the movable canopies above the stage. He designed the canopies to be covered in aluminum leaf, and suggested that the organ also be entirely silver to harmonize with the central theme of the interior design. Only the console is of maple, complementing the other woodwork in the hall. Pelli also suggested an asymmetrical layout of the pipes within a grid of nine

equal-width vertical sections with horizontal bands at sixteen-inch intervals. In keeping with the asymmetrical design, the keydesk is deliberately not centered in the composition.

The organ features three stops at 32-foot pitch: a reed, the bold Tuba Profunda, and two flues, the mezzo-piano Great Montre in the façade, and the forte Pedal Untersatz. These stops provide a sustained low bass that the symphony orchestra cannot furnish, speaking a full octave below the string basses, and are especially effective in a room such as the Concert Hall with the solidity to support these low frequencies.

The Swell and Solo divisions are both under expression, in massively-built enclosures that offer a wide dynamic range to increase the organ’s usefulness in its accompanimental role. Two quiet voices in the Swell, the Contra Gamba 16’ and the Flute Celeste II, both firsts in the Fisk oeuvre, can be held back to near inaudibility with the swell box fully closed.

A high-pressure English Tuba has become a signature rank on all our concert hall organs. This useful and powerful reed can be used as a solo stop, or it can add a tremendous body of sound to the full organ for orchestral climaxes. While the earlier Fisk concert hall organs had a battery of French reeds in the Great, Opus 130 has a chorus of Willis-style Trumpets

55

GREAT Man I Montre 16’ en façadeMontre 8’ Violoncelle 8’ Spire Flute 8’ Flûte harmonique 8’ Octave 4’ Flûte ouverte 4’ Superoctave 2’ Progressive Mixture II-VIMixture VI Cornet III (CC–f3)Trompette 8’ Double Trumpet 16’ Trumpet 8’ Clarion 4’

FEATURES General Tremulant Swell Tremulant Balanced Swell Pedal Balanced Solo Pedal

Combination action by Solid State Organ Systems

Kowalyshyn Servopneumatic Lever

POSITIVE Man II Bourdon 16’ Principal 8’ Gedackt 8’ Salicional 8’ Unda maris 8’ Octave 4’ Rohrflöte 4’ Nasard 2 2/3’ Doublette 2’ Flûte à bec 2’ Tierce 1 3/5’ Sharp IV Cor anglais 16’ Basson 8’ Cromorne 8’

COUPLERS Positive to Great Positive to Great (mech) Swell to Great Solo to Great Tuba to Great Octaves graves to Great Swell to Positive Tuba to Positive Tuba to Solo Great to Pedal Positive to Pedal Swell to Pedal Swell Super to Pedal Solo to Pedal

SWELL Man III, enclosed Contre Gambe 16’ Violin Diapason 8’ Viole de gambe 8’ Voix céleste 8’ Flute Celeste II Flûte traversière 8’ Bourdon 8’ Prestant 4’ Flûte octaviante 4’ Doublette 2’ Octavin 2’ Plein jeu IV Bombarde 16’ Trompette 8’ Basson-hautbois 8’ Voix humaine 8’ Clairon 4’

SOLO Man IV enclosed Diapason 8’ Doppel Flute 8’ Octave 4’ Tierce Mixture V Clarinet 8’

TUBA floatingenclosed with Solo Tuba Magna 16’ Tuba Mirabilis 8’ Tuba Clarion 4’

PEDAL Untersatz 32’ Montre 32’ GTOpen Wood 16’ (32’)Montre 16’ GTSoubasse 16’Contre Gambe 16’ SWBourdon 16’ POSGrosse Quinte 10 2/3’ Octave 8’Violoncelle 8’ GTSpire Flute 8’ GTOctave 4’ Tuba Profunda 32’ (16’)Tuba Magna 16’ SOBombarde 16’ Double Trumpet 16’ GTTuba Mirabilis 8’ SOTrompette 8’ GTTrumpet 8’ GTTuba Clarion 4’ SOClarion 4’ GT

Opus 130 The William J. Gillespie Concert Organ SEGERSTROM CENTER FOR THE ARTS Costa Mesa, California 2008 57 voices, 73 ranks, 4,322 pipes

66