2016 Parsons Pipe Organ - Holy Trinity Lutheran Church, Buffalo, New York
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- Опубліковано 20 лис 2021
- Brent Johnson talks with Matt Parsons, Project Manager of the Parsons Pipe Organ Builders, and Ivan Bosnar about Parsons' 151-rank Opus 43 installed in Holy Trinity Lutheran Church in Buffalo, New York.
Specification of the organ: parsonsorgans.com/home/projec...
Parsons Pipe Organ Builders: parsonsorgans.com/
Holy Trinity Lutheran Church: holytrinitybuffalo.org/
Associated Pipe Organ Builders of America (APOBA): apoba.com/
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Mr. Bosnar perfectly understands the musical "character" of each registration and individual stop. Organs tell you how they want to be played, and he listens perfectly to this "voice." Absolutely brilliant demonstration.
St Thomas More, I'm like that too when it comes to the pipe organ and particularly when I write country music songs. The registrations of sounds and the lyrics when writing songs tell you how fast or slow the songs will be sung or how the pipe organ is to be played!
This gentleman is a TERRIFIC organist! Thank You!
This is by far the most talented demonstrator I've yet heard.
Bosnar is obviously improvising when exploring individual stops and combinations of them. He does it well. But that’s how one gets to know an organ when first meeting it. Improvisation is an acquired skill, and it has its ups and downs as the player perfects it-- in one’s own style.
I began my organ studies on this instrument in September, 1968, when it was the original Moller. John W. Becker was my teacher. At my tender age of 13, that instrument was overwhelming; this new version is certainly more familiar after 53 years of professional experience, but OMG, what a treasure! I'd love to have a crack at it if I ever get back to Buffalo...
Growing up just outside of the city, I recall James Bigham presenting recitals in the early 80s. I was fascinated, but my parents were bored, lol.
Thank you for this!
The “Bangshorn” is named for Rev. Charles Bang, a former pastor of the church!
A stunning instrument from start to finish. I appreciate Matt Parsons’ commentary on maintenance, and the need for allowing the pipes to effectively speak into the room (and not through inadequate openings). The organist who did the demonstration was outstanding.
A marvelous video showing off this gem! I am a member of Holy Trinity and worked for three years as an assistant to the maintainer of the organ just before the Parsons rebuild and can attest to the condition of the organ at that time ... it was pretty bad. Parts were failing fairly readily and regularly. I recall being in the chambers late one Friday night cutting strips of leather and applying glue and handing them up to the maintainer, who was patching the air bladders on the swell shade motors, which weren't closing completely. There were ranks of pipes that we never tuned in the time I was assisting because we simply could not get to them; other sections of the organ would have to be de-piped to permit that access. The old tuba stop wouldn't stay in tune for any length of time and we were constantly touching up the tuning on that between the major tunings. (That was replaced by the new Bigham Tuba.) The chancel chamber was a real rabbit warren and getting around inside it required a fair amount of contortionism. The main console, despite a rebuilding the late 90s, was already showing signs of significant wear in the keyboards, and on it went. I envy the Parsons crew and the easy time they now have in working on the chancel organ!
The organ is amazing. Equally amazing is Ivan's demonstration. I could listen all day...
This is a awesome console. Look at it...look at all those couplers!!!!
My church restored some missing pipes in its (now) Parsons organ a few years ago that had been taken out in the 1950s because its members then wanted to "hear and not see" the organ and removed its two towers. So there were 2 or 3 sounding pipes and 2 or 3 dummy pipes re-installed in each. Sadly, our long-term organist never got to hear the project he had started as he died of a brain tumor before the physical work was even begun.
What impresses me about this is making maintenance and access possible. I know of many otherwise fine instruments that were scrapped because they did not meet these criteria.
If you ever return to Buffalo, you must see the Massive 4-manual Hook and Hastings in the Cathedral. It will be well worth the visit!
Done!
A clear demonstration that bigger is not always better.
Quite. A lot of very nice individual sounds where the whole is somehow less than the sum of the parts, and where, despite the enormous specification, there remain serious deficiencies of foundational tone.
These huge American organs with their bloated consoles never seem to have real beauty of tone. Perhaps it isn’t helped by the very dry acoustics these churches tend to have.
44:46 I've never heard a None before. It Sounds really interesting with the septieme.
The positiv 8’ Principal is lovely
I'm amazed!
Wow! What an organ! (Wish we could have heard the 64' Pedal stop.)
Thanks to everyone. 👍
Many of the digital stops listed in the spec have actually been removed.
@@OrganMediaFoundation Thanks for the info. Much appreciated.
@@OrganMediaFoundation Why were the digital stops removed?
@@GlamRockCowboyunreliable and ineffectual, I'd imagine. The 16ft Diapason is digital in its lowest octave and does not sound at all effective.
Quite an instrument and awesome demonstration by Ivan Bosnar. Thanks all for this video!
Outstanding in every way, congratulations to all!
Parsons has created a masterpiece! There’s a lot to like in it, in fact too much to be enumerated in this limited space. A lot of great romantic sounds, classically voiced flutes, reeds of every description! I oiled love to get my hands (and feet) on it.
This is awesome I'm from Niagara Falls New York and I trave to Buffalo NY alot, I knew this organ existed but I have never had a chance to see or hear it. I'm so glad you came to Buffalo and made this video of such an amazing instrument! I hope you come back to Buffalo, we have many other amazing organs here. The 1876 Hook and Hastings organ at St Joseph's Catherdral is impressive as well as the 1893 Johnson and son's organ at Saint Stainslaus Bishop and Marter Church.
Magnificent instrument. Excellent engineering and sound. I will definitely keep Parsons in mind for any organ work I contemplate.
I wouldn't, not on the available evidence... this organ is a bloated, overblown mish-mash of ill-matched sounds, however pleasant most of them are in isolation.
Okay … this was clearly a challenging assignment for any firm to endeavor - particularly in light of your remarks. Per adventure there’s room for improvement?
@@dkeithtag I would reduce the chancel organ to a fairly standard English style four-manual of eighty stops or thereabouts, put in a lot more Pedal fluework, and of the Gallery organ, only the enclosed division would remain. All of the neo-classical bubble and squeak would be removed, including the entire chancel Positive. I would also discard the modern solid state digital control system (maximum lifespan 30 years or so) and convert it to old school analogue EP. If it was all in one place I'd prefer tubular pneumatic action, but the divided installation and remote gallery section make this a tad impractical.
Wow..vary nice..and cared for..and the plexiglass cover 2 thumbs up..great organ..ty for visiting this church.and it organ..
Glad to see a few earlier comments mentioning Roberta Bitgood and several others who were very important to the development of this instrument. I am a lifelong member of this church, and always understood that Dr. Bitgood, former AGO national president and Holy Trinity's beloved Director of Music from 1947 to 1952, prepared the original late-Romantic tonal specification for this organ, as built by the M.P. Moller Organ Company and dedicated May 1, 1949. There was also John W. Becker, distinguished Minister of Music at Holy Trinity from 1954 to 1972, faithful steward of the organ and who oversaw installation of the chancel Positiv in 1966. Certainly to be remembered are the contributions of James Bigham (virtuoso Organist-Choirmaster at Holy Trinity from 1977 to 2017) and Frederick Swann (tonal consultant from 1977 through the late 1980's during all of Moller's multiple enlargements of the organ), both of whom determined to save (as well as, of course, greatly add to and enhance) the best portions of the 1949 organ. The donors should be remembered, always. The 1949 Moller organ had been funded largely through the gift of Mr. and Mrs. Edward J. Liebetrut, whose bequest to their church would provide for various components of the music program at Holy Trinity for many years. The extraordinarily generous donor for all of the work done on the organ beginning in 1977 has been the Buffalo, NY-based Margaret L. Wendt Foundation; in fact, the combined organ (chancel and gallery) is known as the Margaret L. Wendt Memorial Organ, named in memory of Miss Wendt (1885-1972) whose parents, William F. and Mary Gies Wendt, were among the original members of this church at its formation in 1879.
It's a shame all those named could not have been satisfied with making a few telling additions to maintain a cohesive whole, and instead ended up with a mish-mash of different tonal ideals with some serious deficiencies (especially in the Pedal) and no accessibility for maintenance...
Love the trumpet stops, a soft and beautiful sounding organ...loved the gallery organ 👍👍
So much to like. I love that the buildup never takes you away from foundation.
I do think that the Great could use a second open diapason that's broader than the other., more useful than the 16, Principal. The Violone 16 on the Great is an amazingly useful stop I'm sure
Gallery 8' Principal is wonderful
Excited to listen to this concert!
Matt. Such excellent advise. Service accessible !!!!
Fantastic!
Wow! An amazing organ with many registration possibilities as shown by the man who gave a wonderful demonstration.
It sure gives a multitude of sounds and moods . Dfor such an mix and match hodge podge the is amazingly unified in sound. When you consider that there is no plan for a unified organ.
@@kevinklingner3098 One of the important features of Parsons' project for Phase I (the Chancel organ only) was to have all of the pipes evaluated from one tonal perspective. Some of the flutes changed places and a few other scaling tweaks were made. All of the pipes were revoiced or regulated as required to blend into a cohesive instrument. The second Phase would apply the same process to the Gallery organ at the same time as the mechanism is revised.
@@petergeise5477 I hope that the gallery organ is thrown out and not replaced. All that should be retained is the Swell. No need for anything more back there. The Chancel organ needs some serious revisions and downsizing too.
Amazing.
Such a GREAT video!
This is an amazing organ. I wish the Möller Console was five manuals too.
This is Roberta Bitgood's M.P. Moller organ.
Wow, best pipe organ ever!
Ha, not even the best organ in upstate New York...
@@richardharrold9736 Well, what's the best?
Wow more organs from this Size!
mechanical and other forms of engineering at it's best!
I think this is an example of "overkill". I say this because St John the Divine ,in NYC, is ten ranks smaller and is housed in a much much larger building.
Absolutely. The unenclosed Gallery divisions and the Positive need to be discarded in their entirety and the remainder recast as a four-manual of eighty ranks or so.
The Great chorus builds perfectly. Your ear never shifts up the octave. The 8’ is a bit thin but the ensemble is just great
Great video beautiful instrument, some odd stop names. Is it really a fistula conora?
I suspect the major donor was a medical doctor. Is there a double open fistula 32 which sounds at 16 hurts in the pedal div?
Formerly the MP Moller organs
Can your audio guys get the organ louder? Most of your videos the instruments are recorded too quiet
That meditation from 1:02:20 to 1:13:28 is absolutely gorgeous. What is its name and who composed it, or was it simply an improvisation?
All of the music heard in this video was improvised by Ivan Bosnar.
@@OrganMediaFoundation It is stunning the way Master Tallis's Testament (Herbert Howells) is.
Please convey my profound admiration. I listened to it four times and didn’t tire of it for a moment. I hope he publishes it. This is the type of piece one would showcase during a recital!
"Anthropoglossa" is a stop name I've never heard before. Does is couple with "Glossalalia"?
Greek for "Human Voice" - Maybe just a Lutheran church's way of avoiding calling it by it's normal Latin/French stop names "Vox Humana" or "Voix-Humaine": too Catholic. LOL!
5:08 is that the most stable bench they could find?
There are not that many Koppel Flute pipes.
Ah a typewriter gedect on the pos lol
lol!
Ah yes, love an exposed zimbelstern lol
Not hugely impressed with the organ-builder bloke, who does not seem to know the difference between comprehensive and cohesive, and while the organ itself makes some very nice sounds, I still wouldn't call it entirely cohesive - there is still a relative paucity of 8ft tone, most of the Pedal basses are digital (the transition from badly voiced pipes to weak toast in the 16ft Diapason is very audible!), the (atrocious) percussions are all digital, as is the Swell sharp mixture, the reeds are underscaled... I would much rather have a simple four-manual with half the number of stops but appropriately scaled and with a real Pedal 32ft/16ft Open Wood, 32ft Bourdon etc, while throwing out all the neo-baroque buzz, bubble and squeak as the irrelevances they are, including throwing out the entire gallery organ except for the Swell, which could remain as an Echo division... this incarnation of the instrument may prove more reliable than the last, but I do not see it lasting the test of time as an instrument of musical integrity - despite all the pleasant sounds it undoubtedly makes. The confused nomenclature doesn't help - three different Vox Humanas with three different names in three different languages!