INAUGURAL CONCERT~DEDICATION PROGRAM AND RECITAL

SLE E CONCERT HALL ORGAN UNIVERSITY AT BUFFALO

SL EE CONCE RT H A LL.._ NO RTH C AMPU S,..SATURDAY , APRIL 21 , 1990

THE S LEE HALL ORGAN A BRIE F HISTORY

P Ianning for an organ for the University at Buffalo began in 1964. At that time, discussions

T were under way for a new campus in Amherst and the music faculty was asked to develop a "facility program" that would meet its future needs.

The plan that emerged called for the construction of a music hall complex that would be ready for occupancy in the academic year, 1968-69. The sum of $250,000 was allocated for the purchase of two organs - a large one for a concert hall and a smaller one to be in­stalled in a teaching studio.

It was not a new campus, a con­cert hall or an organ that was pro­duced at the end of that decade, however. Instead, there were social upheaval and financial crises followed by spending freezes and catastrophic inflation . The Amherst campus site finally started sprouting buildings in the early 1970s, as parallel plans were developed for Slee Hall. A formal faculty organ committee was set in place in 1974.

It was 1981 before the Univer­sity's Music Department finally moved into its new home on the burgeoning North Campus. Dur­ing those years, however, planning for the organs continued to evolve.

The Slee Hall organ was to be eclectic in tonal design. That is, it was to include stops and aids to playing that were typical of dif­ferent nationalities as well as eras of organ building from the 17th to the 20th centuries. In this way, the instrument would be adaptable to the wide range of repertory

studied by UB music students. The specifications for the pro­

posed instrument limited the number of organ builders that could or would offer construction proposals. One of these was Charles B. Fisk of Gloucester, Massachusetts. The company that he had founded was a leader in the revival of mechanical action in this country and the only builder of such instruments to specialize in designs that were intentionally eclectic and stamped by strong personal and artistic integrity. In fact, the organ company was in such demand that its waiting list was five years long, in spite of which C. B. Fisk, Inc. was selected to build the organ .

Fisk's Opus 95 - the UB Slee Hall Organ - was built by hand over a nine-month period during 1988 and 1989 at the Fisk workshop in Gloucester. It was constructed by 25 artisans working according to traditional historic methods.

After being assembled and tested in Gloucester, the instru­ment was disassembled and packed for its trip to Buffalo. Opus 95 arrived on campus on July 31, 1989 - 10 tons of organ in thou­sands of pieces in two massive moving vans.

Two dozen employees of UB and C. B. Fisk carried the organ piece by piece up two flights of stairs and into the concert hall that day and the next. Uncrated were: 2,883 pipes (some weighing more than 100 lbs.); a Honduras mahogany case in dozens of sections; a 204-key keyboard; pallets and stop

knobs; pneumatic bellows and hundreds of other parts. The organ covered the stage, aisles and auditorium seats like pieces of a giant and complicated jigsaw puzzle.

It took weeks for Fisk workers to assemble the organ in the loft. Next began the process of voicing, regulating and finishing the instru­ment by company specialists. Each of the thousands of pipes needed to be adjusted to the acoustical re­quirements of the hall. The level of craftsmanship speaks clearly of the consummate pride that the Fisk workers take in their art.

The University, its music faculty and students now have the long awaited organ. So too, does the entire Buffalo and Western New York community.

A s T I L L - E M p T y 0 R G A N L 0 F T, A B 0 v E,

OVERLOOKS THOUSANDS OF INSTRU­

MENT PARTS PRIOR TO ASSEMBLY AND

INSTALLATION IN SLEE HALL. A T L E FT

I S T H E J U S T - U N C R A T E D K E Y B 0 A R D.

S A T U R D A Y, A P R I L 2 1, 1 9 9 0

3 : 0 0 P. M.

S L EE CONCE RT H ALL

INAUGURATION CONCERT

CONCE RT PROGRAM

Symphony No. 10 in D Major for organ, op. 73 ("Romane")

Modera to

David Fuller, organist

Easter Carol (1892/1901) Roland Martin, organist UB Choir Harriet Simons, conductor

Prelude and Fugue in Eb Major, S. 552 ("St. Anne")

Barbara Harbach, organist

Charles-Marie Widor (1844-1937)

Charles Ives (1874-1954)

Johann Sebastian Bach (1685-1750)

Concerto for Organ with Percussion Orchestra (1977) Largo

Lou Harrison (1917- )

Finale: Allegro

Michael Burke, organist UB Percussion Ensemble Jan Williams, conductor

INTERMISSION

Concerto No. 1 for Organ and Brass (1951) Andante

David Fuller, organist UB Brass Quartet

Todd Hastings, trumpeter Andrew Vassa llo, trumpeter Michael T. Finn, trombonist Alan Jae necki, trombonist Richard Myers, brass coach

Variations on Mein junges Leben hat ein End'

Michael Burke, organist

Concerto No. 2 for Organ and Orchestra in g Minor, op. 177

Con moto

Barbara Harbach, organist UBuffalo Civic Symphony Charles Peltz, conductor

Normand Lockwood (1906- )

Jan Pieterszoon Sweelinck (1562-1621)

Joseph Rheinberger (1839-1901)

S A T U R D A Y, A P R I L 2 1, 1 9 9 0

8 : 0 0 P. M.

SLE E CONC E RT HALL

DANIEL CHORZEMPA

guest organist

T

DEDICATION PROGRAM AND RECITAL

Welcoming Remarks

Remarks

Introductions

Recital Preface

PROGRAM

Steven B. Sample President

Stephen Manes Professor and Chairman

Department of Music

President Sample

President Sample

RECITAL PROGRAM

Apparatus musico-organisticus (1690) Toccata sexta

Sonata for Two Manuals and Pedal (MS) Grave Presto Andante Scherzando

Fantasia and Fugue in c Minor, S. 537

Verset (MS) Basse de trompette

Te Deum (MS) Recit

Verset (MS) Tierce en taille

Pieces choisies (1740, posthumous) Fond d'orgue

Pieces choisies (1740, posthumous) Plein-jeu

24 Pieces en style libre (1914) Scherzetto

24 Pieces en style libre (1914) Berceuse

Pieces de fantaisie (1927) Carillon de Westminster

Georg Muffat (1653-1704)

Georg Philipp Telemann (1681-1767)

Johann Sebastian Bach (1685-1750)

Louis Marchand (1669-1732)

Louis Vierne (1870-1937)

INTERMISSION

Sinfonia in D Major

Fantasia and Fugue on B-A-C-H, op. 46

Felice Moretti (1791-1863)

Max Reger (1873-1916)

GUEST ARTIST

DANIEL CHORZEMPA is a virtuoso organist who has also earned interna­tional distinction as an accomplished pianist, harpsichordist and conductor.

He is widely celebrated on four con­tinents as an exponent of the major organ works of Franz Liszt and his distinguished recordings of organ com­positions by Bach, Handel , Haydn and Mozart and of the piano music of Beethoven and Saint-Saens have garnered for him a number of prestigious recording awards. These include the German Record Prize, the Edison Prize and the Grand Prix du Disque of the Hungarian Liszt Society.

A native of Minneapolis, Minnesota, Dr. Chorzempa holds a Ph.D. in musicology from the University of Minnesota and diplomas in con­ducting, piano and composition from the Electronic Music Studio in Cologne, where he composed his well­known Sonett, a work based upon the sounds of speech.

He rarely makes professional ap­pearances in the United States but has occasionally performed opening con­certs for major American organs. These include the Fisk organ built for The House of Hope Presbyterian Church, St. Paul, Minn. (1979); the historic 19th century Appleton organ placed at the Metropolitan Museum of Art, New York City (1982); and, of course, Fisk's Opus 95 in Slee Concert Hall.

UNIVERSITY AT BUFFALO ARTISTS

MICHAEL BURKE is director of music programs at UB and adjunct member of the keyboard faculty in the University's Department of Music.

He is a graduate of the Cleveland Institute of Music where he studied

BIOGRAPHIES

piano, organ and harpsichord with a faculty of distinguished musicians in­cluding Arthur Loesser, and Vronsky and Babin. He also served as a member of the institute's piano and organ faculty.

Mr. Burke serves as organist and choir director at Temple Beth Zion, Buffalo, N.Y. and St. John Lutheran Church, Amherst, N.Y. He has ap­peared in concert with the Buffalo Philharmonic Orchestra under Michael Tilson Thomas, Semyon Bychkov, Neville Marriner and Julius Rudel.

DAVID FULLER, UB Professor of Music, is curator of the Slee Hall Organ and has been intimately in­volved with the organ project during its 26-year history. Dr. Fuller has studied organ with such virtuoso musicians as E. Power Biggs, William Self and Andre Marchal, and harpsichord with Albert Fulle r. He holds three degrees from Harvard University and was a member of the music faculties of Robert College, Istanbul (Turkey) and Dartmouth College before joining the UB faculty in 1963.

A specialist in 17th and 18th century French music and in problems of baroque performance, Dr. Fuller has lectured and performed widely throughout this country and in Turkey, Haiti, England and France, where he has recorded for Harmonia Mundi.

He has received a number of major awards from the National Endowment for the Humanities and the Council for the International Exchange of Scholars. He has written more than 100 scholarly articles for such publica­tions as the Encyclopedia Britannica, The New Grove Dictionary of Mu sic and Mu sicians and the Harvard Dictionary of Mu sic. His publications also include essays, editions of keyboard music and periodical articles.

BARBARA HARBACH is coordinator of keyboard studies at the University at Buffalo and one of the most highly regarded classical keyboard musicians in the nation. She was named one of the top classical keyboard players of 1989 by Keyboard magazine and Gramophone magazine has called her "the acknowledged interpreter of modern harpsichord music."

Dr. Harbach tours extensively as a concert harpsichordist and organist and has appeared in recital through­out North America and Europe.

She holds degrees from Penn­sylvania State University, Yale Univer­sity and the Eastman School of Music. Her scholarly activity centers on the work of women composers, whose 18th century keyboard works she is researching, editing and publishing.

The most recent of her extensive recordings include eight compact discs for Gasparo Records that include Bach's Art of the Fugue and Goldberg Variations; Volumes II and III of 20th Century Harpsichord Music; Volume II of Music for Solo Harpsichord by 18th Century Women Composers and three discs of 20th century organ music.

ROLAND E. MARTIN is a member of the University at Buffalo music faculty; organist and choirmaster at Trinity Episcopal Church, Hamburg, N.Y. and accompanist for the Chau­tauqua Chamber Singers.

With Wade Preston Weast he com­prises the trumpet-organ duo, Baroque 'n Consort, which has completed several successful concert tours in the United States and Europe.

Mr. Martin holds degrees from the State University of New York College at Fredonia and has performed exten­sively throughout the United States, Canada and Bermuda. He has won a number of awards and grants for his work as a composer and conductor.

THE BUILDER OF THE SLEE HALL ORGAN

A cademic settings are particu­larly appropriate for instru­ments manufactured by C. B.

T Fisk, Inc. The company was founded by Charles Fisk, who had chosen organ building as a profes­sion because it combined his extra-ordinary aptitude in physics with his love for music.

The workshop was established in Gloucester, Massachusetts, and soon attracted bright young co­workers, who combined their talents in music, art, engineering and cabinetry to build instruments meant to inspire both players and listeners. Always experimenting, Fisk was the first modern American organ builder to aban­don the electropneumatic action of the early 20th century and turn back to the mechanical (tracker) key and stop action of historical European and American instruments.

c H A R L E S B. F I S K, A B 0 V E,

An instrument built for Memorial Church at Harvard University in 1967 was the first modern American-made tracker organ with four manuals. The first Fisk organ built for a concert hall - at the University of Vermont -was based on classic French ideals, yet was housed, like the Slee Hall Organ, in a modern case.

FOUNDED A COMPANY

WHOSE ART I SANS BUILD

ORGANS MEANT TO IN-

SPIRE BOTH PLAYERS AND

LISTENERS. Other historically inspired Fisk

organs in academic institutions can be found at Wellesley College, home to a conjectural copy of a 1620 North German instrument; Mount Holyoke College, whose organ is based on an early Italian example; the University of Michigan, whose instrument draws from the historical designs

of Gottfried Silbermann; and Stan­ford University, whose organ has stops from both the French and German traditions.

The five-tower layou t of the Slee Hall Organ was inspired by the Cavaille-Coll organ at the Moscow Conservatory, which gracefully solves the problem of a relatively wide instrument located above an orchestra stage. The Cavaille-Coll connection is prominent in the tonal architecture of the Slee Hall Organ as well. The execution of the concept, however, is con­temporary and uses sculptural tex­tures and materials like those found in Slee Hall.

The organ case is made of Hon­duras mahogany with a hand­rubbed oil and wax finish . The facade pipes are formed from: a hand-hammered alloy of lead and tin, cast at the Fisk workshop, and display a shimmering surface. The organist's platform is integral to the design, occupying the center of the composition. This position, essential to a sensitive mechanical key-action, also provides excellent sight lines for performers and the audience. Thus, aesthetics, func­tion and historical precedent are combined into an original visual design.

Charles Fisk died in 1983, but the company he founded con­tinues to be a community whose goal is to use talent and imagina­tion to stretch the boundaries of organ building, combining contem­porary technical possibilities with historic design and inspiration. The University at Buffalo is indeed proud to be home to one of its creations.

I NNOVATIVE IN FUNCTION AND DE­

s I G N, F I S K ' S 0 P U S 9 5 W A S C R E A T E D T 0

OFFER SOUNDS CHARACTERISTIC OF

MANY COMPOSITIONAL STYLES AND

PER I 0 D S.

UNIQUE FEATURES OF SLEE HALL ORGAN

THE THE

The Slee Hall Organ is one of the most important instru­ments to be found in any

T North American educational in­stitution. It offers a number of features which make this organ unique.

Fisk's Opus 95 combines a fully mechanical stop action with a state-of-the-art electronic combina­tion action. It is the first organ to incorporate a new Servopneumatic lever, invented in 1989 by Stephen Kowalyshyn and other members of the Fisk staff. This lever provides mechanical assistance to the player while maintaining control over the "speech" of the pipes and is therefore of great practical and ar­tistic significance to the musician.

Another first in the Slee Hall Organ is the treatment of the Great Mixture, a stop with several pipes per note sounding the har­monics of the organ's fundamental. It may be used as a traditional breaking mixture or as a harmonic progression increasing ranks as one goes up the scale, which adds power and brilliance to the ensem­ble and allows great clarity in the polyphony.

As a teaching instrument, the Slee Hall Organ provides the possibility of idiomatic regis­trations for organ music in a wide variety of styles. In this, it is a worthy successor to the highly­regarded and innovative Fisk organ at Stanford University, which has the unique ability to shift between 17th and 18th cen­tury tuning systems.

Those famili~r with contem­porary American organs will also

be struck by the unusual number of powerful low-pitched pipe ranks relative to high-pitched ones in this organ, the number of reed stops relative to flue stops and their diversity.

These combine to provide the solidity in bass and middle-pitch ranges necessary in music of the 19th and 20th centuries and to preserve a clear pitch line when the organ is combined with an orchestra.

The Slee Hall Organ is designed to offer sounds characteristic and authentic for the presentation of the indispensable works of J. S. Bach and his German contempo­raries, the highly coloristic French repertory of the 17th and 18th cen­turies and the very different 19th and 20th century French school. The "Slee sounds" are also adapt­able to the less specific require­ments of German, Italian and American organ compositions written since 1800.

Slee Hall, State University of New York at Buffalo C. B. Fisk, Inc., Gloucester, Massachusetts. Opus 95

SPECIFICATION

Direct mechanica l key and stop ac­tion. Tubular pneumatic ac tion to large bass pipes. Great action op tiona ll y assisted by the Kowalyshyn Servo­pneumatic Lever.

Wind pressure 3V4" Pedal reeds and Bourdon, wh ich are

4 1/4".

Tuned in "Fisk !," a nearly equal temperamen t.

Manuals CC-a3, 58 notes Pedalboard CC-f, 30 notes

Great. Manual I Prestant 16 ' Prestant 8 ' Spillpfeife 8' Flute harmon ique 8 ' Violoncelle 8 ' Octave 4' Waldfli:ite 4 ' Twelfth 22h ' Fifteenth 2' Seventeenth 1% Mixture II-VII German Trumpet 8 ' Trompette 8 ' Clairon 4'

Positive. Manual II Bourdon 16 ' Principal 8 ' Gedackt 8 ' Octave 4' Baarpijp 4' Nazard 22h ' Doublet 2' Quarte de Nazard 2 ' Tierce 134 Scharff III Cromorne 8' Trechterregal

8 ', prepara ti on

Swell. Manual III Flute traversiere 8 ' Flute a cheminee 8 ', preparation Viole de gambe 8' Voix celeste 8' Flute octav iante 4 ' Octavin 2 ' Cornet V 8 ' Basson 16 ' Trompette 8 ' Hautbois 8 ' Voix humaine 8 '

Pedal Bourdon 32 ' Prestant 16' Bourdon 16 ' Octave 8 ' Bourdon 8 ' Octave 4 ' Mixture III 2 ' , Contra Posaune 32 ' Bombarde 16' Posaune 16 ' Trompette 8 '

Couplers Great to Peda l Positive to Pedal Swell to Pedal Swell super to Pedal Positive to Great Swell to Great Swell to Positive Suboctaves on Great

Hook-down pedals Great Mixture Bass off Tremulant Great off Great to machine Stable wind

Balanced Swell Pedal Balanced Crescendo Pedal Combination action

Numerous individuals have contributed countless hours in bringing the Slee Hall Organ project to fruition. The following individuals deserve special recognition.

ACKNOWLEDGEMENTS

Frank Bartscheck

Dennis Black

Patricia Carpenter

Judith A. Coon

Stephen Englert

Dean Fredericks

Paul Goodman

John Grabowski

Harbans Grover

Valdemar Innus

William Johnson

Nancy Kielar

Walter Klyczek

Roger McGill

James McKinnon

Robert Migdalski

Judith Miller

David Rhoads

Maria Runfo la

Sean Sullivan

Myron Thompson

William Wachob

Jon Whitmore

The University at Buffalo acknowledges the work of Dr. David Fuller, Professor of Music, who has overseen the Slee H all Organ p roject, and the artisans of C. B. Fisk, Inc.

Board of Trustees State University of New York

Frede ric V. Sa le rno Chair111an

Darwin R. Wales, Vice Chai r111an

D. Clinton Dom inick judith Lasher Duken Hazel N. Dukes Arnold B. Gardner john L. S. Ho lloman , Jr. , M.D. Ala n V. lsa lin judi th R. Krebs Miles L. La sser Victor Marrero Na ncy H. Nielsen , M.D. Katherine W. Roby Rosemary C. Salomone joseph C. Ta lar ico

Central Administration State University of New York

Chancellor D. Bruce Johnstone

The Council University at Buffalo

M. Robe rt Koren , Chair111an

Seymour H . Knox, Chair111an E111en tu s

Frank N. Cuo mo Ke nneth Gage jo hn F. Kopczy nski , Sr. james F. Phillips, M .D. Mary E. Rand olph joa n K. Robinson Rose H. Sconiers john N . Walsh , Ill Phili p B. Wels, M.D

Officers University at Buffalo

President S teven B. Sampl e

Provost Willia m R. G reiner

Vice Presidents Dale M. Land i

Spo11sored Progra111s john P. Naughton

Clinical Affairs Donald W. Rennie Rona ld H. Ste in

University Relations Robe rt j. Wagner

Univers ity Services

Academic Deans joseph A . Alutto

School of Manage111e11t Geo rge S. Bobinski .

School of lnfonna!Jon and Library Studies

Bon nie Bullough School of Nursing

Willia m M. Feaga ns School of Dental Medicine

David B. Filvaroff School of Law

Bruno F1eschJ School of Arc/ntecture and Pla11ning

Tho mas F. George Facu lty of Natural Sciences a11d Math e/1'/a tics

Thomas E. Hea drick (Interim) Faculty of Arts a11d Letters

George C. Lee . . School of Eng111eenng and Applied Sciences

Ross D. MacKi nno n FaCIIItij of Social Sciences

jo hn P. Naughton School of Medicine and Bia111edical Sciences

Hugh G . Petrie . Graduate School of Educatwn

Fredrick W. Se idl School of Social Work

G. Ala n Stull School of Health Related Professions

David j. Triggle School of Pharman;

University Deans Judith E. N. Albino

Dean of the Graduate School

john A. Thorpe Dean of the Undergraduate College

University at Buffalo Foundation, Inc.

Chairman john L. H ettrick, Sr.

Trustees and Directors Robert T. Brady David N. Ca mpbell Lawrence P. Caste llani Ra nd all L. C la rk William M. E. C larkson Kenneth L. Gayles, M.D. Richard E. Heath , Secretary je re my M. jacobs Ross B. Ke nz ie Northrup R. Knox M. Robe rt Koren Wil fred J. Larson Sta nford Lipsey Reginald B. Newman, II Wi lliam H . Pearce Gerald). Philbin A lice M. Poslu szny Lou is R. Rei£ Leonard Rochwarger Donald A. Ross Steven B. Sample, .

Chair111a11 of the ExecutiVe Co111111ittec

Willia m l. Sch apiro Pau l L. Snyde r Linda ). Wachner Robert G. Wilmers

Trustees Emeriti Melissa W. Banta Alvin M. G lick Pasq uale A. G reco, M. D. G irard A. Gugino, D.D.S. Howard L. Meyer, 11 Morley C. Townsend Philip B. Wels, M.D

President joseph). Mansfield

Vice President Ed wa rd P. Schne ider

~14