SOME RECOLLECTIONS OF THE AMERICAN THEATRE ORGAN SOCIETY (ATOS) CONVENTION NEW YORK
1 – 6 JULY, 2007

Introduction. The 2007 ATOS Convention was billed as being the most memorable convention of all times and in many respects it lived up to that promise. Centred on New York, some 350 ATOS members stayed at the Marriott Marquis hotel situated in Times Square. With 46 floors and 1700 rooms, it had some remarkable views of Times Square and the bustling crowds, and a panoramic view of New York from the restaurant on the 46^th floor.

Its central position presented some difficulties for the drivers of our comfortable coaches but they were very experienced and drove with panache but with careful regard for other traffic.

Sunday 1 July. Following a 7.30am departure we arrived some two and a half hours later at our first venue. This was the Broadwalk Hall in Atlantic city, New Jersey, reputed to be one of the largest convention halls ever built with a capacity of 41,000 people. It houses the largest pipe organ ever built with, it is said, 33,000+ pipes in 8 chambers around the hall and a

7 manual console plus an additional ‘portable’ 5 manual console. It was built by the Midmer-Losh organ company between May 1929 and December 1932. The organ has had a chequered history, its completion being coincident with the 1930s depression in the USA and all the expected funding did not materialise.

The organ is completely silent but is being painstakingly restored by the ‘Atlantic Convention Hall Organ Society’. Everything is built on a massive scale. Health and safety rules apply in the USA as in the UK and visitors are, in theory at least, only allowed to look into the pipe chambers, and it was difficult to imagine, observing the feet of the bottom octave of the unique 64ft open diaphone rank that the tops of the pipes, each with its own pulley operated tuning slide, were so far above. It is difficult to conceive scale and complexity of the instrument, built to the highest constructional standards. The 7 manual console is a masterpiece of ergonomic design. Seated at the console it is clear that a normal sized individual could relatively easily reach all the manuals and the hundreds of stop tabs. A ballroom associated with the Convention Hall can accommodate 3,000 people. It contains a 5 manual Moller, presently out of service but in the process of renovation.

Atlantic City is renowned for gambling and the fear is that this monumental building and its contents will be destroyed to make way for more casinos. After wearily clambering up endless stairs, peering at forests of pipes and wandering through the huge building for some three hours or so I think most of the delegates were happy to partake of a quick lunch at a nearby restaurant before retiring to the buses for the return journey to the hotel.

By the time we arrived back at the hotel a Members’ Forum was well under way. Chaired by Ken Double, ATOS President, international theatre organist and sports commentator there was wide ranging discussion on many aspects of theatre organ funding and maintenance and the old problem of how to get younger people interesting in the theatre organ, an intractable problem which has been exercising ATOS for years.

Following a cocktail reception (you had to buy your own drinks), we proceeded to the historic Art Deco Radio City Music Hall, seating some 6,000, home of the Rockettes, for the opening concert of the Convention by Walt Strony. The RCMH Wurlitzer is the largest of 4 organs originally installed in the Rockefeller Centre and the largest Wurlitzer ever built. It has 58 ranks controlled by two independent 4 manual consoles.

The organist, Walt Strony, is a consummate artist and handled the Wurlitzer with panache. He performed an interesting and varied theatre organ programme with medleys of songs from the shows, with a wide range of key changes, improvisation and tonal variations. The RCMH is scheduled as a national monument and is hopefully not under threat of demolition.

Monday 2 July. This was an eventful day. First to West Point and the US Military Academy Cadet Chapel with Scott Foppiano playing the 4 manual, 346 rank (4/346) Moller. Because of security requirements we were required to present personal photographic evidence of our identity which took ages to process. However we were eventually admitted to the Chapel, a huge edifice containing what is said to be the largest church organ in the world. Departing cadet classes usually donate an organ stop and over the years it has grown to the present 346 ranks and is continually being enlarged.

Foppiano played a variety of works including Elgar’s Imperial March, Vierne’s Carillon of Westminster, Sullivan’s The Lost Chord, and Elgar’s Nimrod. The recital was not without incident - Nimrod commencing with totally inappropriate stops. To general amusement Scott Foppiano announced that organ wasn’t expecting to play what he wanted to play. However, the problem was sorted out quickly – apparently one of the hazards of computerised stop setting. The recital ended with a stirring God Bless America, everyone singing heartily and the trumpets ‘en chamade’ at the rear of the Chapel being used to great effect.

Next on the programme was a visit to a small theatre, the Middletown Paramount on 17^th South Street where two young organists, aged 14 and 16 respectively, were competing for the ATOS ‘Young Theatre Organist of the Year’ competition. Each played a 30 minute selection of tuneful melodies on the 2/10 Wurlitzer. It was difficult to choose between the contestants but the judges managed after some delay to decide that 16 year old Donnie Rankin was the winner. This will be a great boost to his career in the theatre organ world.

Then to the Lafayette Theatre some 30 minutes away to hear Clark Wilson on the

2/11 Wurlitzer accompanying the silent film in Steamboat Bill staring Buster Keaton. The film was in excellent condition and Buster Keaton’s stunts were quite spectacular; he apparently would not employ stand-ins. The music was most appropriate ranging from opera excerpts, orchestral snippets to well known tunes, all stitched seamlessly together to reflect the action on the film. The combination of theatre décor, silent film and organ music effectively conjured up the atmosphere of the 1920s. Clark Wilson is a well known silent film accompanist and a regular ATOS performer.

Tuesday 3 July. An early start was made to the Chaminade High School, Minitola. The organ, a 3/15 Austin-Morton, was unusual in that the pipe chambers were situated in chambers in the balcony of the auditorium rather than as is usual at either side at the front. Indeed one of the blowers could be heard gently grinding away in the background. The organist was David Grey from Scotland. 17 years old, he erupted on to the theatre organ scene when he won the ATOS Young Theatre Organists’ competition at the age of 14. His classical organ training began at the age of 14 on the organ of St Mary’s Cathedral, Edinburgh. He was then introduced to the theatre organ and took to it quickly.

His programme commenced somewhat predictably with a medley of songs from the shows including a lush Moon River but he then left the organ, went over to the nearby grand piano and played Chopin’s Polonaise in A flat. It was a flawless performance. Returning to the organ, he commenced playing 76 Trombones and stopped half way as though he had made a mistake. But he then picked out the tune slowly with the left hand, added the right hand and then the pedals and launched into a perfectly developed ‘76 Trombones’ fugue. After the break and another selection of popular tunes he returned to the piano to play Liszt’s La Campanella. Then back to the organ for a storming conclusion, an arrangement of The Dark Town Strutters’ Ball. He left to a standing ovation. He has an amazing talent and apparently has yet to decide whether to follow a classical or theatre organ career.

The afternoon found ourselves at the imposing Patriots Theatre at the War Memorial, Trenton, New Jersey built in 1930 as a memorial to US soldiers and sailors. In the comfortable well appointed auditorium the organ, a 3/16 Moller, rose from the pit and one wondered whether after Scott Foppiano and David Grey this performance could possibly be as enjoyable. However, Dan Bellomy, with a different style, a different organ and a delightfully lazy Texan drawl provided an exciting programme. He specialises in a jazz style with pieces by Count Basie, George Gershwin and others. He finished with a selection from The Lion King and a startling arrangement of Making Whoopee. A complete change of style, mood and sound made this a memorable performance.

Wednesday 4 July. The buses left the hotel without the usual delays and we reached our destination within a few minutes. It was, of course, Independence Day when most people take the day off therefore the usual heavy traffic was absent. We arrived at the Immaculate Heart Chapel, in Downtown New York before it opened but, after a short wait, we entered the church which was originally a Broadway theatre. The only evidence of this was the legend ‘Broadway’ in mosaic at the entrance, otherwise it had been beautifully converted from secular to religious use. The church has a 3 manual Robert-Morton which is being restored. The console was hidden under a cloth but this was soon removed by curious enthusiasts and perhaps engendered more interest than the organ provided by the Allen Organ Company for the recitals. This was a TO-5Q ‘Renaissance’ 5 manual, 55 rank digital organ which at the touch of a button, could be changed in scaling and voicing; effectively 4 organs in one.

Two organists were to play for us, Simon Gledhill from Yorkshire and Jelani Eddinton from Indianapolis. Both young organists, classically trained, have built their reputations in many national and international tours. Simon Gledhill performed first with a series of typically tuneful theatre organ pieces, Hans Christian Anderson, The Trolley Song, Rose Marie and an original Sydney Torch piece, Going for a Flight. Sadly the huge sound produced by the organ could be quite over powering although it was pleasant in the quieter pieces. Simon Gledhill’s finale was a transcription of two movements from Holt’s Planet Suite commencing with Mars. He appeared to lose his way in this piece but consummate artist that he is (they all are) he eventually returned to the theme without any break in performance. The classical organ sound was well illustrated in this piece.

Jeleni Eddinton followed - a different style and a different organ sound. He played some lighter orchestral organ transcriptions including pieces by Le Roy Anderson, and songs from Showboat illustrating the various sections of the organ . He finished with a stunning arrangement of a Liszt Hungarian Rhapsody. He got a standing ovation and concluded his recital with (another) God bless America.

I crept up to the balcony (it was closed off) to investigate the main source of sound from the organ in addition 12 speakers behind the console and found 3 banks each of 10 massive speakers. They were so large I’m not even sure how they managed to get them up there.

Wednesday late afternoon and evening was occupied with a New York harbour cruise culminating in the traditional 4 July firework display. Sadly the weather which had been warm and dry perversely changed to dull and damp. It was noted that the flotilla of boats manoeuvring for the best view before the fireworks commenced was corralled by half a dozen police boats complete with machine guns and a fleet of helicopters. When the fireworks started it poured with rain which put somewhat of a damper on the proceedings.

Thursday 5 July. Following a bumpy ride Downtown (if you think our roads are bad, try those in New York) we arrived at the Trinity Church, Wall Street, in close proximity to Ground Zero.

The original pipe organ in the church had been ruined by corrosive dust on September 11^th and had been replaced by a so called ‘virtual organ’, a digital instrument ‘replicating recorded note by note of an Aeolian-Skinner organ’ so the booklet said. With 170 stops and 70 alternate voices it is apparently unique in the organ world.

The same could perhaps be said about the organist. A tall athletic 26 year old he bounded on to the dais where the console was positioned and, after a cursory bow, proceeded to play Chopin’s Revolutionary Study mostly with the right hand, the traditional pianist’s left hand being played with his feet, accurately and at the correct speed. I’ve never seen pedalling like it. It was a bravura performance which brought the audience to its feet. There followed Bach’s Prelude and Fugue in G Major, sadly played almost as fast, the whole being lost in jumble of sound. Cesar Franck’s Piece Heroique was similarly treated. And so it went on, spectacular, yes, musical, no, in my view. Strangely enough an arrangement of Handle in the Strand by Percy Grainger was played quietly and with feeling. However, he got an enthusiastic ovation and played no les than three encores.

The ATOS banquet was held in the hotel in the evening. It was followed by the usual ATOS awards ceremony quickly and efficiently despatched by the president Ken Double. I was pleased to see that Scott Foppiano received the ‘Organist of the Year’ award.

Friday 6 July. The Convention concluded with a visit to Philadelphia to see and hear the Wanamaker organ in Macy’s store. With 6 manuals, 469 ranks and 28,000 pipes it is said to be the largest playable organ in the USA. It seems a little incongruous to walk through Macy’s ladies handbag department and be confronted by a massive pipe front and swell shades rising from the first to the fourth floor.

The organ was purchased in 1911 by John Wanamaker for installation in the Grand Court of his department store, (now Macy’s). John was an enthusiast (and very rich) and he set up an organ building shop on the premises employing some 40 people to extend and maintain the organ. Over the years it grew to its present size. Typical of these huge instruments it has had a chequered history as its upkeep became progressively more expensive and it is now in the hands of a small maintenance crew and is supported by the Friends of the Wanamaker Organ. The organ is played twice a day every day during shopping hours.

ATOS had the benefit of a recital by John Conte, the Grand Court Organist, master of orchestral transcriptions. His varied programme included Nimrod. The massive string section of the organ was well illustrated in an arrangement of Danny Boy. We also heard a selection from The Gondoliers and Vierne’s Carillon of Westminster. It was a marvellous sound in the resonant environment and Peter Conte knew exactly the right registers to use, not surprisingly as he has been grand Court Organist for many years. More surprisingly perhaps was that while a 100 or so ATOS members perched on display stands or sat on the floor quietly listening to the music, many others were happily going about their shopping apparently impervious to the glorious music surrounding them.

Conclusion. So the Convention ended. New York was a difficult venue for various administrative and logistical reasons but the ATOS Board and support staff certainly managed to pull something special out of the bag and are to be wholeheartedly congratulated.

The above account does little justice to the skill and musicianship of the participating organists and the enthusiasts who spend literally thousands of hours rebuilding and maintaining these historic instruments. And if sound and performance did not always please everybody all the time this was certainly an event to remember.

David Ball 18 July 2007

American Theatre Organ London and South of England Chapter

Bexley and District Organists’ and Choirmasters’ Association.