Music

Shown is the facade (located in the chancel) of the Estey organ, installed in 1905. An antiphonal division, with display pipes, was installed in the rear balcony in 2004. (Photo courtesy of Rob Howard.)

See detailed report on the organ

See report of the Music Committee

Report on the Organ

Christopher C. Warren

Throughout the year, the organ functioned advantageously, thanks to the schedule of tuning and maintenance by the Kerner & Merchant firm.  It lent the necessary support to worship services both as a solo instrument (preludes, offertories, postludes) and when accompanying congregational singing.

Two special events featured the organ.  First was the July 4th celebration, when once again the church was open to the public; the emphasis was, of course, on patriotic music.  A vocalist and a percussionist helped to make this a success.

Second - on October fourth, James L. Potts, Canon Musician at St. Paul's Cathedral, Syracuse, appeared in recital.  This well attended event offered a variety of pieces from the baroque era to the contemporary.

Through his skillful approach to the music, Jim let his audience sample the organ's numerous contrasting tonal colors as well as its extensive dynamic range from ethereal pianissimo to robust fortissimo.  These qualities, along with that of sustained tone, are the defining characteristics of pipe organs, whatever their size; they identify and belong exclusively to this instrument.  Listening to the organ prompts a deeply emotional response whether one attends a concert or participates in a service of worship.

Unlike any other musical instrument, an organ's tonal design and mechanism allow for development and expansion as funds and space permit.  Thus, our organ today is appreciably different, and larger, than it was in 1905, when installed.  Technological advances, through the years, have revolutionized organ building.  It is reasonable to anticipate further improvements in the future.

Recent changes were made by Kerner & Merchant before the Potts recital.  K&M installed two additional sets of pipes, to brighten the swell division and increase its clarity.  Also, they increased the degree of availability for two present stops, which now may be played independently on either of two manuals or the pedals.

Later in the fall we added twelve low-pitched pipes to extend the range of a present stop producing a string tone.  The result:  a new pedal-division stop and a low-pitched octave playable on both manuals.

The Potts recital in October was well received, suggesting the desirability of scheduling further such events.  One inquiry has already been made which may result in another recital next fall.  This might well have special significance as we welcome our new pastor.

Report on the Pianos 2009: Hello Dollies

Dollies?  Why yes, indeed.  See them supporting our two grand pianos - the Steinway in the sanctuary and the Baldwin in Fellowship Hall (formerly in the Clark Room, as part of the late Lois Lee's gift).
Grand pianos (and uprights, too) are heavy and awkward, and not easily moved on the small casters that come with them.  In a private home it may rarely be necessary to move a piano.  However, the situation is different in public multi-functional rooms such as our sanctuary and Fellowship Hall.  For a grand piano, a dolly helps solve the mobility problem; although hardly a thing of beauty, it is practical.  The piano sets on this metal device, positioned under the three legs.  Its fairly large wheels will harm neither a rug nor a bare floor, and will allow for relatively easy movement.

Several measures have been taken to enhance the Baldwin grand.  First was the thorough tuning, always necessary after a move.  Then, a "Dampp-Chaser" was installed.  This simple electrical device has long served the Steinway.  The same protection will benefit the Baldwin.  A small unit, mounted under the piano, automatically supplies either heat or humidity (a small water tank must be kept filled) as required in order to maintain optimum conditions for the piano's woodwork, leather and felt, integral to its sound.

The Steinway is equipped with a heavy cloth cover that can be placed over it to protect the exterior and maximize the heat/humidity conditions within.  We purchased a similar cover for the Baldwin.  We also installed a locking device for the keyboard cover, to prevent misuse.

Last, we purchased a (so-called) artist's bench for the Baldwin, somewhat smaller than the conventional bench and far more versatile, since its height is adjustable.  Its brown finish complements that of the piano case.  The new bench is a "one-seater," whereas the duet bench upstairs seats two.  That bench can be brought downstairs if duets are performed on the Baldwin.

In addition to the Baldwin grand, we have a Baldwin upright.  For many years in Fellowship Hall, it is presently located upstairs in the choir room.  The Baldwin replaces the piano donated several years ago by Lois Rainsford; we gave that piano to the Randallsville church.

Since there was much piano-related activity in '08, it is appropriate to present the details here.  Usually the annual keyboard report centers on the pipe organ, which, after all, occupies the prime position in the musical context of this church.  The organ functioned well in '08, for the most part.  Toward the close of the year, strange things were happening because of an electrical problem, now apparently solved.

Everyone should be assured that the piano situation is favorable and promising for the future.  Our Steinway in the sanctuary is most frequently used, since it accompanies the choir.  Fellowship Hall’s Baldwin is capable of serving a variety of needs, as they arise.  And the choir room Baldwin upright is essential for pre-service warmup sessions.

Four fine keyboard instruments enrich the musical experience at First Baptist:  something to celebrate!

Respectfully submitted,

Christopher C. Warren, Organist

The Organ in 2007

Christopher C. Warren

During the past year the organ has continued to serve our needs well, thanks to Kerner & Merchant Pipe Organ Builders.  They attend to maintenance and tuning, as well as special needs that occasionally arise.

In the summer, K&M replaced the Peterson chimes, installed a few years ago, with new ones, manufactured by the Deagan firm.  The new chimes, with a five-level volume control like their predecessors, are superior tonally.  Another advantage is the appearance of the new chimes, whose 25 brass-polished tubes add a welcome visual highlight to their balcony location.

Two improvements were made to the console that increase its degree of  “user-friendliness.”  The two rows of tilting tablets above the manuals, which control mostly stops but also the inter- and intramanual couplers, were replaced.  The new tablets are arranged in a more practical manner.  In addition to nomenclature, they now bear numbers, making it far easier for the organist to jot down information when working out registration (selecting the appropriate stops) for a piece and recording such information for immediate (and possibly future) use.

These tablets—86  plus five blanks—may be depressed and released manually.  However, when playing, it is usually far more convenient to rely on the combination action system to do this.  Underneath the manuals are rows of buttons called combination pistons.  A finger push engages them.  Above the pedalbard are some similar devices—toe studs—operated by the feet.  It is a simple task to program the combination action system; instantaneous changes in registration may then be made at any time, by a free finger or foot.

A second improvement is a new display screen, located just above the top (swell) manual.  This replaces the former screen, which was smaller, dimmer, and rather difficult to read.  This screen indicates which of many functions is currently in use, for example, transposing, recording, or playing back, to name three.  But the most crucial information concerns the memory level that the organist has selected.  These levels govern the entire combination action system.  There are 100 in all, providing a tremendous degree of flexibility as far as registration is concerned.

Finally, mention of a significant organ event in June 2008 is in order, involving the Chenango MusicFest—now in its second decade .  The groundwork belongs to ’07, when it was decided that for the first time, the organ would be included.  This marks a significant breakthrough!

First Baptist will host a recital by Dr. Craig Cramer, of Notre Dame University, on Sunday, June 15, at 2:00 pm.  The organizers of the Fest are aware of the excellence of our recently refurbished  organ, especially with the Antiphonal Division installed in 2004.

Valuable publicity will be forthcoming through the American Guild of Organists (AGO).  This will benefit both the MusicFest and First Baptist.  Plan to attend, if at all possible! 

History of the organ at FBC:

In 1904, discussion leading to a replacement of the first pipe organ began in conjunction with plans to refurbish the sanctuary at First Baptist (after more than 60 years of use) and to construct a much needed addition to the building. The original Andrews organ was antiquated. Eventually the church contracted with the Estey Organ Company of Brattleboro Vermont. The Estey instrument, installed in December 1905, was first heard in early January 1906, at the time of celebration for the completion of sanctuary renovation and the sizable addition to the back of the building.

Understandably, the organ has undergone numerous changes over the past century, thanks to modernization efforts in line with advancing technology. Virtually unchanged, however, is the imposing Greek Revival case with its 63 display pipes:  the visual centerpiece of the room. Most of the original functional pipework survives, although there have been a few replacements as well as several additions representing various tonal colors.  Deserving of special mention is the antiphonal division in the rear balcony, built in 2004 by the Kerner & Merchant firm.  Its six distinctive ranks of pipes splendidly increase the organ’s musical capacity and benefit from the sanctuary’s favorable acoustic conditions. The recently purchased zimbelstern is a delight!

The organ presently comprises 1,993 pipes (34 ranks) controlled by 84 stops and distributed over two manuals and a pedalboard. Additionally, 12 electronically produced tones provide a deep bass pitch not currently available on any other area pipe organs. Another resource is the 25-note set of chimes, located in the rear balcony.

This up-to-date instrument plays an integral role in all types of services, and is suitable for concert use as well.  We encourage visitors to come and experience the inspiring voices that constantly enrich the worship experience for both regular parishioners and guests.

On August 27, 2006, a new tonal accessory to the organ was introduced - a zimbelstern. The zimbelstern is located on a platform just behind the largest pipe in the center of the facade and is operated electrically and controlled by a stop tablet on the oran console. The device is 10" square, 12" tall and has baffles on two sides that help project the sound outward into the room.

Nine high-pitched variously shaped brass bells, arranged in a circle are struck by a rotating mechanism in the center. When in use, they provide a distinctive complement to organ sound either by itself or as accompaniment.

The word zimbelstern means "cymbal-star." It is comparable to the popular Christmas holiday table decoration where heat from candles turns a "windmill" that strikes small cymbals.

Like the chimes, the zimbelstern adds significantly to the tonal palette of the organ. It increases the organ's expressive capacity, benefiting both the worship and musical experience offered at First Baptist.

The Choir at First Baptist