As organists or lovers of organ-associated music, much indeed is said about the current role of the organ (both secular and sacred), the availability of job opportunities for aspiring and current organists, and so on. Certainly in our Guild’s journals and meetings, we hear much about the prognosis for the future of the organ. And much of the time, it’s not very encouraging.
But for every discouraging word we could share, there’s also much worthy of praise on our musical horizon.
First, the volume of new and rebuilt instruments featured in the pages of our worthy journal, The American Organist, and other journals like The Diapason, never fail to amaze me. Month after month, at least one noteworthy organ and story of its inception, creation, and reception is chronicled, usually with great detail and enthusiasm. These instruments – substantial community investments – will be used, respected, and honored for decades to come. And for every new instrument that makes the headlines, how many more undergo simple repair or restoration with little notice, or simply continue to work with excellence week after week – unheralded, but with great significance to those who play and hear? Certainly for every story we could repeat of an organ falling into disuse, or being dismantled with no future home, we could also tell of those that are otherwise.
Second, a topic with greater complexity: There are, generally speaking, two kinds of growth that can be loosely termed as “broadening” and “deepening.” Broadening growth is that which covers a lot of territory but is fairly shallow – knowledge that covers many topics in a general way. Conversely, deepening is growth which covers very little territory, but in far greater depth – knowledge that covers few topics, but to a level of great detail.
One hundred years ago, the organ was a standard instrument for entertainment, serious performance, and worship. Pipe organs (there were no other, except for reed organs) were found in churches of every kind, concert halls, theaters, homes, department stores, funeral homes, hospitals, and every other conceivable place of gathering. And just as varied were its uses, both solo and in ensemble. This was a day of broad use and application for the organ. For every good organ and well-trained organist, there were dozens of mediocre instruments used to varying degrees of success.
In our day, for reasons too innumerable to name here, the organ finds a home in less diverse locations which are far fewer in number. Likewise, far fewer choose to learn to play the organ, and these reductions in the use of the organ are generally the cause for alarm and dismay. But let me suggest that although the use of our instrument and art is certainly less broad than it once was, many excellent things are happening, both in the construction of new instruments and in the use that they receive. Today, when the investment is made to both procure an instrument and secure an organist to play it, we find that both the instrument and artist are generally more highly valued than in days of a century past. The once common with a broad application is now less so. But, where the organ is to be found, and its music heard, one usually finds greater competence, fine artistry, and in general, greater depth than could have been found before.
I believe that some of the finest instruments existing today are recent ones (and this from an avid organ historian/preservationist!). Likewise, although there have always been very fine organists in every age, today the best performers represent a greater percentage of the total sum. Surely this is encouragement for us all, and reason to continue in our art with an aim toward improvement more each day. Let us always strive for excellence, flexibility, and variety as we seek to focus on the positive realities of our times!
T. Daniel Hancock, Dean,
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