The Magazine: Can the Pipes Prevail?

by

by Eric McAfee

 

“Some churches demand a statement of faith and profession of creedal belief of any applicant.  Other churches never even ask that question because they’re interested in finding a musician,” Michael Messina told me from near the chancel of Trinity Episcopal on the edge of Indianapolis’ Mapleton-Fall Creek neighborhood, where he is the Director of Music.  But it isn’t always easy to articulate how a church and its organist relate to one another theologically…or how they don’t.  This ambiguity makes any exploration of the church organists’ world that much more difficult to capture, but also that much more compelling.  When the church first hired Messina, he “was asked a pretty non-threatening question nineteen years ago when I auditioned: ‘Tell us about your faith journey.’ That was it.  There was no kind of litmus test.”  Messina grew up in the Lutheran Church-Missouri Synod, but he has long worked for the Episcopal Church, and he generally agrees with the spiritual expression. “One thing I love about the Episcopal Church is that we are not a people of common faith; we are a people of common prayer. . .So there is a tremendous breadth of experience and range of religiosity in the Episcopal Church, all the way from complete fundamentalists to some of the most famous Anglicans of the 20th century. . .Benjamin Britten and Ralph Vaughan Williams, who were both professed agnostics.”

 

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The gardens and grounds outside Trinity Episcopal Church. (Source: American Dirt)

 

Do some denominations place music talent ahead of theological fidelity when hiring organists?  By now, the answer should be obvious.  While the initial goal of this article was simply to explore the culture of classical organists for an Indianapolis arts magazine, a disproportionate number of my interviewees have affiliations with Episcopal Church of the USA.  Simply put, the Episcopalians value their pipe organs.  A few other denominations tend to champion an “organ culture”: among them, the Evangelical Lutheran Church in America (ELCA), the Presbyterian Church (USA), the United Methodist Church, the Christian Church (Disciples of Christ), the United Church of Christ and the American Baptist Church.  Collectively they form what scholar William Hutchison ostensibly branded “The Seven Sisters of American Protestantism.”

 

But the fact remains that these churches must work overtime to affirm the organ’s role in worship—or even its role in contemporary music. “Weddings.  Sunday morning.  Funerals,” acknowledged Frank Boles, organist and director of music at St. Paul’s Episcopal Church on the far north side of Indianapolis.  “That’s where we’re getting the majority of people hearing the organ.  Concerts are down here”–holding his hand close to the ground–“and it’s usually the lowest crowd, and that’s where your challenge is.  What kind of programming—making it as interesting as possible.  Some people use more gimmicks.”  What about getting the organ out to the public through a more relaxed venue?  I didn’t need to ask Boles if the pipe organ is primarily tethered to the church.  As the largest instrument in the Western musical tradition, there’s no way around it.  In fact, the most dedicated churches may even modify their church to accommodate the instrument, which is precisely what happened at St. Paul’s in 2007.  Under Boles’ guidance, a team of architects and engineers re-imagined the sanctuary, replacing a muffled old Möller organ whose “failure was imminent” with a brand new commission from the Casavant Frères (opus number 3856 for the Canadian company).

 

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The four-manual console that controls seven divisions. All parts of the console were hand made at the Casavant Shop. The console is movable anywhere on the chancel floor through a fiber optic cable. (Source: St. Paul’s Episcopal Church, www.stpaulsindy.org)

 

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The chancel view of the suspended cross, full organ case , choir, high altar with reredos. (Source: St. Paul’s Episcopal Church, www.stpaulsindy.org)

 

 

It should also come as no surprise that Trinity and St. Paul’s Episcopal churches seem to be part of a dying breed.  Does the average American even associate a church service with a pipe organ?  While a handful of major Christian denominations keep their traditions alive through regular maintenance and the hiring of skilled organists—the ECUSA perhaps the most steadfast among them—many others have downgraded to the cheaper, more movable (but also less durable) electronic organ, or have divested their churches of the instrument altogether.  To some extent, the shift in musical traditions relates to the fact that the tapestry of American religious life is becoming more variegated, like the nation itself.  Theological differences routinely foster schisms, resulting in a precipitous growth in the number of Christian denominations, from an estimated 1,600 in 1900, to 18,800 in 1970, then to 44,000 in 2013, according to the Center for the Study of Global Christianity.  Concurrent with this intensifying pluralism is that most new denominations exclude the pipe organ.  The result?  An increasing difficulty for talented organists to find stable work—or for organ-based churches to find a musician.  Thus, few expect their organists to adhere to denominational creeds.  They can’t be choosy.

 

David Sims, until recently an organist at a Disciples of Christ church in Columbus, Indiana, admits that stereotypes of staid old Mainline Protestant Churches—the aforementioned “Seven Sisters”—guarding their pipe organs are largely true.  Smaller churches formed at the dawn of the Baby Boom are replacing their already deteriorated organs with digital ones—if at all—because “they aren’t in the market for the highest quality craftsmanship organ.  The churches that are buying these sort of artisanal organs. . .those are the really affluent churches.  Absolutely [Mainline].  Methodist, American Baptist.”  And while some of the Mainlines offer rock, acoustic, or blended services, most still keep an organ on hand.  John Webb, an organist at St. Timothy’s Episcopal on Indy’s South Side until recently, singled out one smaller Mainline church that he feels surpasses the ECUSA in its commitment to traditional hymnody.  The Moravian Church has “hymns that are still being written by members.  During the service, you’ll probably sing about eight to ten.  They have services of nothing but hymns—the Singstunde. . .Hymns is a part of the culture; it always has been. . .I have one of the older hymnals of the Moravian Church in America which is [from] 1820-something, and there’s over 1500 or so hymns.”  As a member of the Board of Trustees for the Moravian Music Foundation, Webb recognized that the public knows very little about it because it is so small, with only about 40,000 members across the US and Canada.  The Indianapolis locations closed years ago.  “My [Moravian] church in Charlotte—very small. . .while they couldn’t afford a lot of things, they made room for their organ,” Webb said.

 

But the churches that valiantly preserve their organ and hymn traditions have only earned a Pyrrhic victory: nearly all are plummeting in membership.  Not one of the “Seven Sisters” is growing.  Boles recognizes that the Mainline churches sounded the warning bells: “The 90s argument. . . you could go over to this church which was just always a band.  You have that either/or.”  Some Episcopalians have postulated that organs might even be scaring their parishioners away.  Boles felt his church will prevail. “Look which tradition has lasted the longest. . .It doesn’t mean that the organ has to be archaic; it just has to change its paradigm.  I think amplified band music is a fad, because we are in a technological age.  You’re opening the whole thing about hymnals being on wide screens. . . Religion has a lot to do with community.  The organ is a vehicle for that community.”

 

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Outside St. Paul’s Episcopal, where the entire interior worship space was rotated 180° to accommodate a brand new organ in 2007. (Source: American Dirt)

 

But the numbers don’t lie.  All of the aforementioned Mainline churches, broadly characterized by high median incomes and low birth rates, struggle with identity as their influence has diminished greatly since 1950, or even since 1970, when they comprised about one-third of the population.  Now they’re below 20%.  Mainline Protestants stare across the yawning divide toward their biggest counterpart, the Evangelical churches, characterized by youthfulness, high birth rates, a far more literal interpretation of Scripture…and a renunciation of liturgy—i.e., the organ and service music.  The Evangelical churches typically offer drums, electric guitar, and bass each Sunday morning, in unadorned churches, presided over by male pastors wearing jeans and a t-shirt.  Juxtaposing these generalizations with WASP stereotypes only reinforces the latter culture as stuffy, even exclusive.  It doesn’t help that the Mainline churches routinely hire music directors with advanced degrees, while Evangelical churches often just pull members of the church—volunteers who usually lack academic musical training.  Perhaps the praise band is a fad, but it’s also a reaction to authoritarianism and hierarchy that many Mainline churches guard as heritage—if they haven’t already started offering “contemporary” services to compete.

 

Not only is Sims confident the organ will retain its footing, he challenges the notion that the Evangelical approach is all that democratizing.  “If the music is basically pop music with religious lyrics, it may make it more accessible in the sense that it’s like something that we hear all that time.  But that also means that church music sounds just like mall music, which sounds just like car music. . .running music.  It’s all the same thing,” he observed. “Whoever is hot on the charts this week is probably not next week, and church music goes through the same cycles.  [I]t’s damaging to have all of your religious songs. . .attached to a medium that is disposable and temporary.  What does it say about this message that we find to be eternal and to say, ‘Well, I can write a pop song about that’?”

 

Nonetheless, Boles, who has witnessed the Mainline implosion for a generation, acknowledged that organists’ inability to adapt aligns with their perceived elitism: “Organists have to be so careful because we come off that way; we are that way.  We snub [praise bands] and we can’t.  It’s got its place and its own acoustical style.”  Sims resisted the charge that organs are highbrow simply because they’re elaborate, expensive, and require a skilled musician at the helm.  “The whole point of an organ and why it was developed for Roman gladiator battles is because it’s loud or soft, one person can control it, and it can fill a stadium—or a church—with sound,” Sims observed.  “We’re not used to singing along with that amplified sound. . .The people holding microphones. . .are performing for the congregations.  So there’s a way in which the organ is more egalitarian than many contemporary praise bands.  They’re designed to enable everybody from the first pew to the back pew to sing together, and they work with wind. . .just like our voices.  For many praise bands. . .there’s a barrier they create between themselves and the world—amplifiers, a stage, the lights, and everything.  That becomes very elitist to me.”  Like any Biblical exegesis, the argument on which type of sacred music is appropriate depends large on the context built around it.

 

Virtually everyone I interviewed offered guarded optimism about the instrument’s long-term relevance.  If the pipe organ recedes further, it won’t be because its biggest proponents raised the white flag.  They’re working hard.  While any successful freelance musician must display some entrepreneurial flair, Messina believes that organists have always had to be consummate multi-taskers: “Most musicians. . .perform their instrument, and then maybe they teach their instrument.  We as church musicians also have to be knowledgeable in another field—namely, choral conducting. . . We end up doing full-time office work, directing ensembles, choral music.”  Not one to put a romantic sheen on the profession, Messina asserts that “the craft of a church musician can be dangerously close to running an office, rather than being a musician in the sense that a symphony musician is.”  Peter Rogahn, Precentor at Bethlehem Lutheran (ELCA), asserts that the mighty instrument fosters a spirit of collaboration among both musicians and the congregation—much more than a concert-oriented approach. “It’s kind of the common thing to say that to get young people through the doors for churches, you need to do the rock band thing. . .But one of the things that [young people] tell me is that. . .[Bethlehem Lutheran] actually feels like going to church, because we sing hymns,” he said. “We chant the Psalms together.  It’s a very communal experience.  Maybe what we’re experiencing is just a shift in the pendulum that will eventually make its way back.”

 

Eric McAfee is an urban planner in the Lehigh Valley of Pennsylvania and an organist himself.  He also maintains a blog, American Dirt, exploring issues of urban design and land use.  This article is adapted from a much longer one at his blog which are linked below

Can the Pipes Prevail: Part I

Can the Pipes Prevail: Part II

Can the Pipes Prevail: Part III

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Susan Miller-Coulter
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Susan Miller-Coulter

A few months ago, a radio station in NYC had a 1 month long festival of all the works of JS Bach. Prominent within that was a web-streamed live performance of all the organ works of Bach, from St. Peter's Lutheran Church in Manhattan. This performance started at 7 am on a Saturday and ended at 1 am Sunday. It was mind-boggling: headed by the chairman of the organ department of the Juilliard School, with almost every organist of note in the US taking part. The age range of the performers was 20 to who knows, 70 years of age. People came and went all day and all night, sometimes to standing room only. People take heart. The organ and its vast literature is flourishing joyfully. It just doesn't get a lot of press. Don't believe it's almost dead, it's very much alive!

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Bob Chapman
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There is a fallacy in this article. The evangelical churches, with their non-organ music, are losing membership, too. It only took them a little longer to join the trend.

You may want to listen to these videos.

https://www.youtube.com/watch?v=D7Ry0TWIek4

https://www.youtube.com/watch?v=-xJkW0bMzlM

Once you get beyond the fallacy of the decline of the Episcopal Church, maybe you will see that our traditional worship is holding up and should be supported.

By the way, a smaller congregation and thrive using a good piano if an organ is not realistic.

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Eric McAfee (American Dirt)
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Thank you everyone for your comments and observations. Bob Chapman, you are correct--quite a few Evangelical churches are beginning to lose members. To be sure, the Southern Baptist Convention (SBC)--the biggest Protestant denomination of them all, and clearly Evangelical--has recorded consistent losses in numbers for about the last 10 years. Many others are flatlining, despite considerably higher birthrates than their Mainline counterparts.

That said, many non-denominational Evangelical churches are holding steady, and some are gaining. And few, if any, of the Evangelical churches have suffered the hemorrhaging that PCUSA has endured in recent years, which lost 5.25% in 2012 alone. http://www.layman.org/wp-content/uploads/2013/06/pcusa-membership-1960-20121.pdf

The outlook for Evangelical churches certainly isn't as rosy as it was in 1985, or even in 2000. But Presbyterian and Episcopal churches are less than half what they were at the 1960 peak, so the decline is impossible to ignore. I appreciate your and everyone's great feedback.

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Paul Woodrum
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Love pipe organs and the music they produce, though some modern digital organs give them a run for the money (even NYC's Avery Fisher Hall, home to the NY Philharmonic, replaced its pipe organ with one of them thar plug in appliances). Have known and worked with many organists, some good, some not so good, but all dedicated to their craft.

However, the placement and visual effect of St. Paul's fine new instrument strikes my as a very bad case of organolatry. Music is intended to support the liturgy, word and sacrament, but the pictures show a pulpit and altar overwhelmed by the pipe organ creating total visual confusion about what's important and central to the liturgy.

Also, choirs notoriously behave badly -- fidget, talk, giggle, drop things, pick their noses, &etc. Placing them directly behind the sacred ministers is not a good idea unless one insists on distracting or amusing the congregation during the sermon and sacrament.

And they turned the whole church around for this theological confusion! Certainly a better solution would have been to have placed organ and choir in the west end opposite pulpit and altar in the east, a position that would have equally allowed for support of singing while not destroying a meaningful architectural statement of the Faith.

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David Allen
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David Allen

Perhaps if you saw the choir members as minsters in worship, you would have a higher regard for them. The choir in which I sing doesn't behave in the manor which you have broadstroked all of us.

Where can one see the photos of the remodel?

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Ann Fontaine
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Ann Fontaine

David-- please sign your last name as well. Thanks, editor.

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Bill Belchee
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Bill Belchee

John Webb led our (Moravian) congregation to new musical heights during his tenure with us in Charlotte. He continually challenged both his choir and his congregation to praise the Lord in singing, and in singing with gusto.

The results of his talent and passion remain the high point of my 60-some year history in the traditional worship experience.

And, during his tenure, our congregation actually increased in size as well as in worship attendance.

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Thomas Spacht
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Thomas Spacht

Part of the problem with this is that the organ came into the church in a very different way from how it is now perceived. The organ entered the church because it exemplified the highest technology of that time and because it could lead and enhance singing. It entered the church to lead the congregtion's song - no choirs involved except as a separate function and then only in some places. All the other developments involving the organ happened later. If the organ is not perceived as the necesssary instrument for leading the assembly's song the chance of it remaining viable is slim. Even the documents of Vatican II gave the organ pride of place in leading the song of the assembly. Maybe that is something to think about.

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Canon David Link
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We recently launched a campaign to raise funds for some restoration work our Cathedral's Reuter pipe organ. We raised over $130,000 in a very short time... the response was way beyond anything we hoped for, and we were able to fund the completion of the long-planned antiphonal organ. So the organ is indeed, alive and well in some places (Thanks be to God).

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Elizabeth Fielding Oliver
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Elizabeth Fielding Oliver

Our church is very small and has a piano and a small electric organ. Our six-person choir leads a parish that sings with gusto and we make great music for the Lord every Sunday. We also do a lot of outreach and service work. The three nearest Episcopal churches have collectively spent over one and a half million dollars on new organs over the past five or six years. One has to ask - "Would Jesus have bought an organ or fed and housed people?"

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David Allen
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David Allen

Only $1.5 million for three new organs? They really couldn't have gotten a lot for that small sum.

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Emily Windsor
Guest

Wow. Church music is one of the very few prophet-centers of the Christed life. Monks and nuns, choirs and organ masters play for our edification, for profits and prophets, and many of their pieces make the Big Time, in popular numbers.

That this domain in the Church is threatened is very bad news for those of us who seek music to lead us to the Divine.

Emily

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