60th Anniversary Season Kick-Off!

NSAGO Dean Andrea Handley
NSAGO Dean Andrea Handley

Andrea Handley

Well, we’ve said goodbye to another summer, schools are starting, choirs are starting, and we’ll all be in full swing hurtling toward Christmas before we know it. And our 2017-18 North Shore 60th Anniversary season of programs begins this month, too!

We are very excited about this coming season. Every one of our programs will focus in some way on our 60th anniversary as a chapter. (Scroll down to see our entire season of programs) To kick off, on September 24 at 7pm, we will celebrate with a worship service at First United Methodist Church in Evanston. The service will include organ, choral music, and hymns written by composers largely from the history of our chapter, including Thomas Matthews, Austin Lovelace, Morgan and Mary Simmons, and Adrienne Tindall.  WFMT’s own Carl Grapentine will be the host and commentator for this special event. Chapter organists who will be playing include William Aylesworth, Brian Schoettler, and Christine Kraemer. We will also install NSAGO officers and board members at this service, and a reception will follow the service.

NOTE: Please consider joining your voice to the choir for this service – rehearsal from 6:00-6:40pm that evening. The pieces needed are “the Lord Is My Shepherd by Thomas Matthews, “Eternal Light” by Leo Sowerby, and the Peter Lutkin “The Lord Bless You and Keep You”.  If you need copies, contact Brian Schoettler (brian@nullfaithatfirst.com), organist at First United Methodist Church, Evanston.

Andrea Handley, Dean

My Life as a Beginning Organ Student: Highlights and Confessions

Richard Spears

As with so many others, my obsession with the pipe organ began when I was a child. When I was eight, the families of the adult choir were enlisted to relocate organ pipes and parts from the sanctuary to the parlor while the church chancel was being rebuilt. I was fascinated by the idea that all those strange parts were needed to produce the incredible sounds of the instrument. No one but the organist was allowed to play the church’s huge Kilgen, but I often sat behind her trying to figure out how the thing worked. I was certain what a Bombarde would sound like, even though it was never used, and I was desperate to know what kind of hole an Ophicleide would blow in the wall.

I took piano lessons for ages and received instruction on the organ from the church organist who provided me with her ancient, marked up copies of Bach’s major works, and served as my driver and chaperone to hear visiting recitalists. My regular practice instruments were a Hammond and a Baldwin.

As a teenager, I attended two of the “Summer Vocal Camp” sessions at Westminster Choir College in the 1950s. John Finley Williamson lectured about the union of choral singing and the pipe organ, with George Markey demonstrating the lecture points. And the knot joining the two was pulled tight in my mind and heart. There were of course, practice organs available for “borrowing.” It was the intense choral experiences of those summers that led me to study phonetics, with the goal of benefiting choral singing.

About ten years after my first exposure to organ innards, I found myself at college, hired as a day laborer to gleefully unload a new Reuter organ, pipes and parts, for installation in a church across the street from Texas Christian University. I had come there intending to study organ, but life happened. My student job was in the same buildings as the practice organs, where I “borrowed” practice time, and “borrowed” advice from anybody who knew more than I did. My day labor status quickly changed to installer, wiring specialist, pipe-racker, key-holder, and even tuner. Ah, the road to heaven was paved with spotted metal!

The organ was completed and finished about the time that E. Power Biggs came to town to play a concert. He was shown this new neo-baroque wonder and I was told he loved it. I had the audacity to attend (observe) his Master Class the next day, and when he asked if there were any non-organists in the audience, I was foolish enough to raise my hand. I was read the riot act and advised to leave and attend his recital instead. I was singled out, glowered at, and my life events were lining up to pass before my eyes. He was interrupted by the head of the organ department who gently told Biggs that I was “one of the builders of the organ across the street that you liked so well when you played it yesterday.” There was a complete change of tune, and I was praised for coming, and Biggs thought all organ builders should attend. (I was definitely “schooled” by E. Power Biggs and managed to steal a lesson or two anyway, the first being, don’t raise your hand.) Following that, I did tuning and repair in Ft. Worth, and while I was in graduate school in Bloomington, Indiana. When I traveled doing service and installations during the summers, I learned that quite a few of my fellow organ technicians played quite well, had organ degrees, and didn’t mind having “lessons” stolen from them. I also learned that it was always wise to be playing something challenging just as the organist is arriving to approve the tuning. My repertoire thenceforth consisted of the first pages of some really good stuff.

After a long career teaching phonetics, lexicography, and linguistics at Northwestern, I left academia and became a full-time lexicographer, retiring from MacGraw-Hill in 2001. Much later, at age 72, I went back to my love, the organ, and picked up where I had left off. I find I am still able to learn, slowly, but, alas, I am not able to be taught. So I am back to stealing advice. I purchased a Johannus so I don’t have to steal practice time any longer.

I have been a member of the Organ Historical Society for a number of years, and was encouraged to join the AGO because it’s filled with old and new friends with whom I share so much. I am happy to serve on the board, and give something back as well as work to sustain respect for the instrument and its players.

Richard Spears, board member

Treasurer’s Corner

July and August have been busy month of activity for our chapter. There were 31 renewals with receipts of $1,140, 11 individuals made $650 worth of contributions to our chapter,  and 5 folks contributed $233 to the Scholarship Fund.

Our renewing members are (by date of renewal) Steven Folker, Mary Simmons, Morgan Simmons, William Crowle, Jill Hunt, William Roderick, Robert Stebbins, Robert Woodworth, Daniel Dauner, David Schrader, James Sharpe, Michael Stutzman, Kirstin Synnestvelt, Eileen Baumgarten, Mark Konchan, Sharon Phillips, Tomoko Shibuya, Paul Vander Weele, Cho Hyea Young, Philip McPeek, Sharon Peterson, James Janossy, Judith Kohl, Elizabeth Naegele, Bev Sheridan, Laurie Stivers,Theodore Gresick, Susan Klotzbach, Donna Siemro, Brian Schoetller, and Barry Wenger.

We extend a hearty thank you to William Roderick, Jill Hunt, William Crowle, David Schrader, James Sharpe, Tomoko Shibuya, Sharon Phillips, Elizabeth Naegele, Beverly Sheridan, Maggie Kemper, and Donna Siemro for their contributions to our North Shore Chapter.

We are grateful to Mary Simmons, Morgan Simmons, Jill Hunt, William Crowle, and Sharon Peterson,  for their gifts to our scholarship fund.

I look forward to seeing you in September!

Laurie Stivers headshot

Laurie Stivers

Laurie Stivers, treasurer

2018 January Jubilees


January Jubilees exist to nurture the many part-time musicians working for religious institutions, and provide opportunities for them to be introduced to the AGO and its work and mission.  January Jubilees offer part-time musicians  the chance to meet and interact with peers who share an interest in the King of Instruments.  There are two 2018 Great Lakes Region Jubilees.  Dates are listed in January and February on the non-NSAGO calendar.