Organ literature and dinner parties

For my course in organ literature, I often have students discuss topics as if they were attending a hypothetical (but quite possible) dinner party teeming with organists and organ enthusiasts. Just as there are subjects one does not mention in polite or unfamiliar company outside the organ world, such as politics, religion, or sex, so are there subjects within the organ world that are guarded and defended by alligators hiding in shallow pools. Students need to know the hot topics capable of launching lively conversation or killing it dead in its tracks. In such company, one must be careful before declaring a preference for:

Virgil or E. Power
Diane or Cameron
Pipe or digital
Allen or Rodgers
Memorized or not
Open judging or blind judging
Prescribed repertoire or free
Bach or Widor
Straube or Heiller
The way Crozier did it or the way Weinrich did it
“French Symphonic” or “French Romantic”
Aeolian-Skinner or Holtkamp
Romantic or Neo Baroque
“French Classical,” “French Classic,” or “French Baroque”
Bach wrote it or Krebs did
Flat or radiating concave
Flat or radiating non-concave
Flat or non-radiating concave
Flat or flatter
Flat or outright convex
Pistons or assistants
Hymns or recitals
Legato or detached
Legato or pecked at

Journalistic and LISTSERV blood has been spilled over these kinds of things. Fortunately, careers have not been completely dismantled over dinner party conversation. But it may be remarkable that some organists have any friends at all. Perhaps all this has now reminded you of all kinds of situations you have been in or would like to have avoided. You may now be reminded of this or that opinionated loudmouth, and your blood is boiling all over again. But let’s back up – I brought all this up in terms of how to teach a classroom course in organ literature AND how to get students in the habit of interacting in organ society without getting themselves ostracized before their time.

Some facts are not negotiable, such as composers’ dates or their influence on succeeding generations. It is on those hard facts that I have my students hang their knowledge. This accomplishes two things: it allows the students to stay engaged in meaningful conversation on organ topics in mixed company, and it gives the students framework on which to gauge incoming data. For example, if they hear conversation about 17th-century Italian keyboard music, they can immediately filter it through the lens of their knowledge of, say, Frescobaldi. If they hear something about double mouths or Wanamaker, then they don’t need to search their knowledge of BWV numbers to keep up.

Students, you may need waders or steel-lined pants in some pools you wade in. When in doubt, listen and keep a lid on it! Unless you’re writing a blog.