The Correct Translation

I have a confession: rather than practicing those indespensible scales I have been perusing the Catholic blogosphere- both time consuming and occasionally frustrating! After two hours of digging I feel like every synapse in my brain is firing. There are just too many worthy issues to discuss and not nearly enough time... and given that this is an big election year everything is spinning in overdrive.

A series of posts on the Commonweal blog caught my eye. The USCCB's rejection of the newly proposed Roman Missal translations (reported 8 July) has generated a firestorm of response.

And here is where I descend into the generalizations: On one hand many US Bishops disliked the archaic language of the 2008 ICEL proposal. There is a great need for sensitive and resonant texts. Afterall, if people can't comprehend language what use has it?

On the other side champions of the newly proposed texts see this as a refreshing return to the authentic spirit of of the Latin texts- or at least a bona fide step in that direction. The 1997 ICEL translation was a 'watered-down' politically correct sham.

Looking at side-by-side excepts from the Missale Romanum, the Cramner/Duffy Reformation-era English, and the 1997 and 2008 ICEL renditions we can make some interesting observations. The differences are clear but the the motivations, ideology, and Ecclesiology behind them is at best debatable and at worst open to pure and shameless speculation.

For example: the 11th Sunday in Ordinary Time: from 1997 we get "O God, the strength of all who hope in you..." From 2008 we have "O God, the strength of those who hope in you..." What's the difference? "All." Oh, we can read so much into this!! It's just like that worn over "pro multis" debate: 'God didn't come with that hippy inclusive language. He came with law and hard teachings. The Church is a special club and only certain people can make it.' Well, maybe. To echo the Academy Award-winning film There Will be Blood, "The doctrine of universal salvation is a lie, a lie!..."

Indulge me with another highlight, this time from the 12th Sun in OT. The 1997 version says "Lord God, teach us to hold your holy name both in awe and in lasting affection..." 2008 goes like this: "Grant us, O Lord, fear and love of your holy name always and in equal measure..." Key words that pop out , for me, are "teach" vs. "grant," "fear" vs. "awe," and "affection" vs. "equal measure."

My guesses on each... "Teach" is an everyday word that any English speaker comprehends quite quickly. "Grant" sounds legalistic or even archaic, to put it negatively...maybe 'formal' is a less derogatory description. I am trying to imagine, "Mom, prithee grant unto me thy blessings such that I may take the car for the evening." Who talks like that? Should the language of the Liturgy be the language of everyday (vis-a-vis meaningful and comprehensible)? Perhaps the broader question is, what kind of God do we have and how ought we approach him? "Does God wait to smite us with his divinely jeweled orb and sceptre?" or is he our "friend"? Maybe both, perhaps? If so, how do we strike a balance?

"Fear vs. awe:" Like "Fear of the Lord" disappearing from some Cathechetical texts, this is another one that draws the battle lines. Screams the Trad: "People these days need to be reminded that everything we have comes from God! We would cease to breathe if he forgot us for an instant! We can die at any second! Did I mention how terrible Hell is and that real people you and I know will probably go there?" Anyone ready for 1950's style sexual repression, depression, closet alcoholism, and abuse? An authoritarian culture of fear? Well, purely correlated, purely correlated. Then Sr. Starbeam butts in: "You stupid people and your fixation on fear. God loves all and forgives all- I'm okay, you're okay, God too. We care way too much about these old fashioned legalistic concepts of God and the Church. God is a woman and a beautiful one. We should be in awe of her feminine mystique. Fear? The only thing you should fear is me and my improvised liturgy!"

As for "affection" vs. "equal measure"...Huh? How do they even come up with this stuff?! Don't tempt me to start stereotypes about clergy, loony Latinists, and intimacy hangups. Ever read Song of Songs? God loves the Church in a visceral way, to put it mildly. These were earthy Mediterraneans writing- they knew how to be blunt and have fun. I guess I gave away my preference on this one.

Okay, I digress, massively! One of my Latin professors, a weathered classicist with more books in dead languages than the Library of Congress, once relayed this relevant story to our class: "As we were translating passages one day I had three students with three rather distinct renditions of one line. We heard them all and then one girl, sitting in the very back row, right in there" (he pointed to the very same seat), "asked, 'But, Dr. W-, what is the correct translation?' And then I just laughed." Why? **Disclaimer: This answer may cause some folks' skin to crawl**: there isn't one! Yes, I know, this seems to reek of "moral" relativism. But think, if you've ever studied a language you know this is absolutely true. And what about Babel? Don't we believe as a matter of Faith that language and communication hurdles are just one of many consequences of sin?

So, the point to all my ramblings: chasing the perfect/correct translation is chasing the pot of gold at the end of the rainbow. We'll never get it. To me this seems almost common sense but I am always surprised by what I find out there! To be clear, I acknowledge that a translation may be correct insofar as it is 'officially' endorsed or prescribed by the Vatican. I cannot, however, believe or even take seriously someone who thinks any given translation is unquestionable. There are too many factors to consider and none can accommodate them all: formality, accessibility, intelligibility, rhythm, ...even length, to name a few (how dryly pragmatic)!

Rather than the 'correct' translation we ought to seek the 'best' translation- and even that presupposes expectations built on a consensus. I hope and pray that the USCCB can agree on some concrete parameters which will guides its suggested revisions. Otherwise we're back with the same problem... And whatever they eventually agree upon I'm okay- even if I can't reconcile it with my ideology and preference. That's hard to swallow. When we say something is "correct" I suspect we often mean that it is merely congruent with our strongly held convictions or preferences- which is nice if it happens, incidentally. Either way, I trust the Bishops of this Country to make a choice that anyone can respect. If I don't like it I'm not going to go off and switch Rites or found the SSPX.

And then, some day, getting the ICEL and Vatican to validate it all? That mountain is safely in the distance, for now.

POEA- Emphasis on the 'A'

Pipe Organ Encounter Advanced. This was only the most recent inspiring event of my musical summer.

Some years ago the American Guild of Organists began camps for kids interested in the organ. Aptly named "Pipe Organ Encounters," (POE) they were wildly successful. However, problems developed. Many of the same students attended multiple times and, to put it mildly, were not exactly beginners anymore!

Thus, the AGO created the accelerated version. The Lincoln, Nebraska Chapter won the bid to host this first ever POEA and it was off to the races on 6 July.

Disarmingly talented high school students sent in audition recordings and ultimately 18 were selected to attend the week-long intensive. An all-star faculty was on hand to give private lessons and master classes... James David Christie, George Ritchie, Pamela Ruiter-Feensta, and Todd Wilson to name a few. The faculty recitals were quite a treat!

Volunteering bits of time in my scattered schedule to supervise, drive, etc., I tagged along on visits to some exciting instruments and events. Known for his outstanding craftsmanship and fidelity to significant historical trends in organ building, Gene Bedient gave tours of his shop and a lecture on tuning systems/temperaments. http://www.bedientorgan.com/

We spent one afternoon in Omaha, Nebraska visiting the Pasi organ of St. Cecilia's Cathedral. This instrument and space deserves an entire post of its own! After basking in its luxurious sounds and the outstanding scholarship and wisdom of Dr. George Ritchie in his masterclass, we spent the evening with a residential Kimball Theatre Organ that will blow your socks off.

Joel Martinson, a Dallas-based composer of organ and choral literature, gave a useful talk about trends in the musical profession regarding employment, composition, etc. The lesson here: self-publish if you can make it! The big houses are struggling to keep up and will drag you into their vortex if you sign your soul (or your rights) over in the end. It's bad news all around: Production costs are increasing; The internet makes things instantly available; They're taxed on their inventories (which are massive!); etc. And Mr. Martinson knows...he's in with Oxford University Press, Concordia, Morningstar, and Selah to name a few. http://www.joelmartinson.com/

Only two things went wrong, as far as I can tell: Paul Jacobs of Julliard had to drop out at the last second and the water didn't work in the dorms the first morning. The local paper, the Lincoln Journal Star, had a nice, if not rather hidden (back of the Saturday Religion section), article on the camp: http://journalstar.com/articles/2008/07/12/living/religion/doc4877d93cba41f294169917.txt

The absolute apexes of the week, however, were the student recitals at its conclusion. On Friday the 18 participants showcased pieces they had polished throughout the week in two recitals- the first on a new Reuter at First Presbyterian in Lincoln (see picture above) and the second on a fine Bedient at St. Paul United Methodist. As I was listening I often thought, "I can handle some of this stuff..." But then I kept remembering that these performers are 5 or 6 years younger than I! And regardless of age or training much of the music is just downright tricky...for anyone- Duruflé, Calvin Hampton, Reger, Langlais, major Bach preludes and fugues, one memorized JSB Trio Sonata movement, and much more!

As the students departed for home and other organ camps around the US, it dawned on me that they will be at the absolute forefront of our profession in forthcoming years. Their zeal, talent, and dedication stands to rocket them into the spotlight!

So...they gear up for more high school, and then, soon enough Julliard, Curtis, Oberlin, or Indiana. Me? Practice, practice, practice!

Shameless Propaganda

Well...after this gaping silence my two month hiatus must end. Now comes the time to resume writing! School is hiding somewhere in August and this summer has positively been an "Organ Spectacular."

A couple important facts:

1. The American Guild of Organists (AGO) has designated this next year as the "International Year of the Organ." The commemoration officially began at the National Convention which took place 22-26 June in Minneapolis-St Paul, Minnesota. The celebration will last until next summer. Countless people have arranged and engaged great scads of publicity, energy, and money to ensure that this instrument has high visibility in forthcoming months.

2. The organ is the greatest instrument- (besides the human voice)! Regardless of personal taste, it is simply impossible to disavow the magnitude of its greatness. Even those who don't like the thing can acknowledge its remarkable and unique status... as Stravinsky griped: "the monster never breathes!" Indeed, it is a breathless wind instrument.

As a keyboard instrument it covers more dynamic range than any other. With regard to timbre it is only matched by the orchestra- which is in itself many instruments. As far as power is concerned it can even swallow the orchestra if it wants. How about the greatest marriage of science and art ever? One can only marvel at the centuries of painstaking developments- a trio of fine artisan craftsmanship, the exquisite laws of physics, and the ceaseless driving quest for beauty. Given its complexity and considering when it arrived on the scene (as we know it) a few centuries ago we might even say that this is one of the greatest technological achievements ever. (If no one believes this then he/she ought to spend a little time inside an organ case)!

And repertoire? It has more music written for it than any other single instrument... spanning nearly 700 years of Western culture, reflecting its history accordingly in a rich diversity of styles. And, in the last century this icon of the West began to incorporate influences from around the world. If economic globalization was a recent phenomenon stemming from our instant communication mechanisms then musical "globalization," we might say, began in the progressive musical minds of people like Debussy, Charles Ives, Messiaen, and Duruflé- years ago. Bewitched by wonderful sounds from new places and ancient times composers such as these concocted compelling and delectable musical sounds that changed our world- and much for of it for the organ.

I must confess that only a few short months ago I was feeling rather phlegmatic about all this. However, a few things have ignited the fire. Namely: a fantastic European organ tour, the AGO National Convention last month, and the first ever Pipe Organ Encounter Advanced this last week. It was at this POEA that, as a part time volunteer, I had the unique privilege of meeting and interacting with some of the most prodigious young organists in the US. If I worried before I certainly now have no doubt that the organ has splendid future in store.

I am transfixed by the exceptional talent and zeal of all these other young organists. Hope abounds when I know that the organ captivates people with its depth and breadth- its timelessness. Whether inspired to play saccharine devotional music that would make the most pious person weep- or flashy Demessieux Etudes- or Calvin Hampton dances- or the golden Bach standards, there is room for almost everything and everyone at the organ bench. Considering all this I feel quite comfortable suggesting that many people would heartily echo Mozart's famous words spoken in October, 1777: "In my eyes and ears the organ is the king of instruments."

(Highlights and reflections on my travels and encounters are forthcoming).

Ecclesiastical Phishing

School controls most of my life at the moment. However, they can't keep me down forever- it's time to write.

Last week an official from the University Credit Union came to give a talk to my Fraternity about financial scamming. We learned we shouldn't write our pin-number on the back of the credit card. He also informed us that it is dangerous to approve large withdrawals from our accounts when initiated by people in Singapore whom we have never heard of. Overall, I enjoyed that good old-fashioned thread of common sense which ran through most of the talk. It lent a nice sense of continuity.

More than anything, however, I loved the talk about phishing. When I was 10 some paternal relatives and I hiked for an afternoon up into the Absaroka Range. At some little glacial lake near the convergence of Wyoming, Montana, and the sky we caught foot-long brook trout on every cast. It was marvelous...as is robbing people through cleverness. Indeed, the unethical and immoral homonym of my summer vacation activities captured my curiosity as we discussed last Monday evening.

We know that natural selection is hard at work when we encounter something like this- oh, the brilliance of it! I like Wikipedia's key phrase: "masquerading as a trustworthy entity." I can imagine the email now: "Hello John Doe, My name is Dave. I am with your bank. We want to send you a quarterly statement but for some reason we lost your name, Social Security Number, and account number. Please give us that crap so we can get our work done. Love, Dave." And people will supply!

But then a thought entered my head: "What if this trick was taken to a whole new level? What is people outside of cyberspace started exploiting the ignorance of the sincerely curious? What if it happened...in the Church?" And then I realized it does- all the time!

Intelligent people, no matter where they lie on the ideological spectrum, know that the one who controls the education and flow of information has immense power- perhaps more than anyone. There will always be a noble, even enthusiastic, few who are willing to step up to bat and be that underpaid teacher. But outside the classroom, where no degree is required (and likewise no accountability) and the wages altogether non-existent (but immense social renumeration waiting in the grab bag) it is very much the opposite of that Gospel parable- the harvest is small and laborers many. Yes, idiots and ideologues abound and everyone swears they've got the "real" story.

The little angel pictured above is named "Kitschy." He puts all human concepts of reproduction to shame for he has approximately 18,687 identical twins in parishes across the USA. No insane amount of fertility drugs could ever reproduce this reproduction. No, this takes the good old fashioned zeal of ethnic piety. (My gr-gr grandmother Anna Petrzelkova Egrova funded one of the twins). Anyway, Kitschy has a message for you: "I am the model for Catholic Art." Of course, there are many people sincerely asking that question. "What art is appropriate for Church?" "What music can go in the liturgy?" etc. And Kitschy and his confrères seem altogether too happy to play the prof and supply the definitive answers.

Take this to the next level. Take a bunch of truth, mix in a little crap, and...voila- heresy! It is terribly effective because people who ask questions are generally open to answers (to varying degrees depending on the place and time). When most Catholics can't name the 10 Commandments, much less the 7 Sacraments we know it can only be disastrous when folks pose questions like: "What language should the Mass be?" "How powerful is Mary?" "You mean my sister's ordination wasn't valid?" etc. Pick your extreme and there is, at worst, a heretic eager to answer- with devastatingly misleading poppycock. In most cases you'll probably just get some really confident, yet hopelessly unbalanced, apostle of (fill in the blank with fringe devotion of choice). I always have loved the Roman Church because there is something for everyone. It is a vast space in which to swim around (though it is still finite) and occasionally hang out in a little corner (for we all have gifts and talents, unique ways to be stewards). That's alright until I think everyone else should be clustered right where I am (read: checking Mary's message at Medjugorje like clockwork).

It seems that we should pick our battles. There are a few core teachings and if we 'cry wolf' every day we will run out of steam and be dead in the water when the real battle comes. Yeah, Kitschy will do, but he is hardly a well thought artistic contribution to Church decoration. He's still not the model and if anyone claims this I will dig my heels in. That kind of talk takes things to a whole new level. Likewise, when the SSPX priest tells you Vatican II was a farce and John XXIII was an anti-pope, they've hopped out of the pool. When someone says you should pray your daily Rosary because such-and-such Saint said it is 'the gold coin by which we buy our way into heaven' certainly don't let any Protestants hear. When another says, "Hi, I'm with the Catholic Church and Mary is co-Redemptrix," just be wary. (When even JPII didn't approve that I get suspicious. And he was as devoted to Mary as anyone. Heck, he had his Marian crest branded on his coffin!)

And don't give them your credit card number either.

More Loyola pics!

Chrysler Building anyone? Actually, it's Mundelein Hall!















It was very cold. Here is the chapel from the rear. In front sits Lake Michigan.















Decorative railing















Altar too















The Tabernacle















A Station















Processional Cross















Lots of lines















It's a lake

Madonna della Strada- on the way to Art Deco

"Madonna of the Way." I think this reminds us well that Christian living is a ceaseless journey. Maybe this also suggests to us the nature of healthy Marian Theology- it's going toward Christ. The focus belongs on Him (read: overt Marian theology creeps me out). I happened upon an article in the online Loyola Magazine that exemplifies what I believe is this true spirit of Catholic journey, inquiry, and progress (see link below). It speaks of the Cassaretto family. To summarize: A bright, young Frank Cassaretto attends Northwestern in the late-1920's. He believes that science and religion are not only compatible but inseparable (remarkably progressive considering this is decades before "Fides et Ratio!") When his chemistry professor suggested that by class's end there would be no room for God Frank left and headed straight down to Loyola. His family hasn't left since- and they've made quite the name for themselves it seems. This was all very interesting to me for several reasons: I've been having quite a few discussions about the apparent contradictions between faith and science lately; I think it's refreshing that there are people who will stand up and proudly say they found faith at a Jesuit school; and...I think the Cassaretto's helped build a damned good chapel! http://www.luc.edu/loyolamagazine/summer07/FamilyTies.html

Despite the raging Depression Professor Cassaretto helped raised money and his wife even pitched in the bridge club winnings. These contributions and many others from generous and dedicated women and men of faith culminated in the 1938 completion and 1939 dedication Loyola-Chicago's "Madonna della Strada" chapel- campus chapel to this day.

Madonna della Strada, designed by Chicago architect Andrew Rebori, stands as one of the finest examples of Art Deco in Catholic Chicagoland- at least among churches. (Next door, Mundelein Hall features some sculpted angels flanking the doorway that look like they came straight off the Chrysler Building!) However, it has been a long time in the making. Though the structure was remarkably completed in the midst of the Great Depression it wasn't until 1948 that the interior walls could even be plastered. In truth, the interior was never quite completed- until now. An interior renovation/completion project which began in 2004 has nearly ended. In January I had the privilege of experiencing this new space. My friends were initially struck by the relative simplicity of the room- which I expected. Many people display a predilection for the 'busy' decorative scheme, a kind of 'gothic' prejudice in Church design. This is no such animal. But neither is it the barren, so-called 'neo-iconoclasm' that so many people fear in churches today. (It's Art Deco!) Where there are images, and there are plenty, they are in rich and vivid color, stylized figures with clean lines, clearly respecting the Art Deco theme. It is a bright sanctuary- the walls are white and ample natural light flows in through a number of windows. This clarity only heightens the impact of the rich iconic material. The fresco behind the altar as well as the Stations of the Cross, both with gold-leaf, are the work of Turkish-born iconographer Meltem Aktas.

The liturgical furnishings are absolutely stunning. The altar, ambo, and decorative railing, fashioned out of iron and marble, form an elegant and cohesive visual statement. I especially like the floor in Madonna della Strada. The picture above shows what's going on here. Gray tile from a 1982 renovation was removed and replaced with Italian marble of several varieties. The marble is arranged such that it forms inlaid sleek-lined designs which add remarkable richness to the room. The floor patterns in the main aisle point processionally from the baptismal font to the altar- symbolic of our Christian journey, and the name of the chapel itself.
One other thing that many people notice straightaway are the chairs. This church has no pews...which seems to be an increasing trend in Churches today. Personally, I think pews are a bit overrated- "medieval torture devices" someone cynically called them once. But this is a bit anachronistic! Pews are a relatively new and Protestant innovation appearing initially around Reformation times. (This doesn't make them bad, just the discomfort)! My saintly LCMS neighbors once told me, rather shocked, that the European cathedral they visited had not a single pew- all wicker chairs! I chuckled discretely in accord with my ethnocentrism. The fact didn't surprise me. Church chairs in the old world are as much a Catholic tradition as booze. So, I suppose, the seating arrangement in Madonna della Strada comes with good precedent.

Also a big part of the Catholic tradition, at least nominally...in some places...is music. Madonna della Strada, with its plaster walls, barrel-vaulted ceiling, and polished marble floor has the wettest acoustic I've ever encountered in a church of its size (which is relatively small, surprisingly). It seems the S.J. powers-that-be spared no expense in this renovation. I was, however, a little skeptical when it came to the music part, only because the Jesuits haven't been known for their love of the organ in the last few decades. I was, accordingly, delighted to find that they've commissioned an instrument for Madonna della Strada which will make a sonic statement rivaling the room's visual eloquence in excellence. This coming summer Goulding & Wood of Indianapolis will install its Opus 47- a 3-manual, 70-rank instrument which takes its tonal inspiration straight out of 19th-century France. They have specifications on their website: http://www.gouldingandwood.com/main.htm. This will sound positively brilliant- and be worth every dime of the mint it surely cost. I think this is cause for a return visit! The installation of the organ will mark the last phase of the renovation. If Mr. Cassaretto were alive, I think he'd be happy to see the Chapel in its full splendor. And the sound of that instrument...I think it could bring anyone to God, chemists at Northwestern included.

This chapel has always been the preeminent visual reminder of God's presence at Loyola. Now, after a just renovation long deserved, Madonna della Strada can again fulfill its full purpose- It is grand house of God and a fitting sanctuary for his people. See their website for more: http://www.luc.edu/loyolamagazine/fall07/Feat_MadonnaDellaStr.html

Cathedral of the Holy Name- Chicago

A couple of months ago I was introduced to Dr. Ricardo Ramirez, music director and organist of Holy Name Cathedral, by a mutual friend at a concert. Dr. Ramirez is a wonderful man and a talented musician with quite the resume. In addition to his D.M.A. he holds a grad degree in electrical engineering. Not many organists can boast that kind of versatility! (Well, Naji Hakim). If I recall correctly he did some collaborative work with a dance troupe as well! In any case, I took him up on an offer to visit the organ. His secretary called, responding to my message, while we were at SS. Faith, Hope and Charity to say Dr. Ramirez could show me to the organ at 1pm. It was 12:40 and I was in Winnetka. "That's great," I said, and without a moment's delay we hopped in the car and headed down the Kennedy. People were returning from lunch so traffic was a bit hectic. I hopped out a few blocks up State Street and ran down to the Cathedral- only five minutes late. But alas, he was not there. I was a little upset with myself but the docent sent me around the block to the rectory. And there he was.

Dr. Ramirez took me up to the gallery which is, understandably, under lock and key. I'm always amazed how often small Catholic churches in tiny towns with small "toasters" for organs have both the loft and the console locked. In this case it seems pretty defensible- considering how many people (of all types) wander in and out of the Cathedral and considering what's on the other side of the door.

In the gallery, of course, is the largest Flentrop in the US. It also happens to be the largest mechanical-action organ in Chicago-land. A projected conceived by then-music director Richard Proulx, it was built in 1989 at the Flentrop workshop in Zaandam, Holland and generously funded by Alice O'Malley Robinson as a memorial for her husband. Pictures, as usual, don't quite do it justice. Visually I think it looks quite striking in the room, which itself has been tastefully and sensitively renovated. (A great example of how styles can be blended!) The organ is absolutely huge- physically and sonically, coming in at 117-ranks. And recordings don't do it justice either, mostly because there aren't any. Dr. Ramirez explained that there are no recordings of this superb instrument because for the longest time the acoustics didn't do it justice. I had to agree. I went to Mass at Holy Name over four years ago and recall the sound of the room was awfully stifled. However, much has changed. The entire floor has been redone- no more carpet, all terrazzo- hooray! I'm guessing this will usher in a new era wherein the world may soon be able to encounter something of this instrument's amazing sound. They have quite the choir too!

But, there is no better way to know an instrument than to play it. And play it I did! (Not so much as I would have liked). There were ongoing First Friday devotions in the Eucharistic Chapel so I was limited to smaller combinations or more delicate sounds. Nevertheless it was quite amazing. Ricardo gave me a brief demonstration. Some interesting highlights: certain chorus reed stops can be turned so that they are controlled by a pedal lever. Though they aren't on separate chests they act "effectively as ventil levers." This certainly comes in handy with French Romantic literature. Also, on the swell sits one of the finest voiced 1' flutes anyone will encounter. It's not at all shrill, not like olden-times Reuter upper-work- this positively glistens. Ricardo played a little Messiaen excerpt to show off the stop. Though there is no mechanical assistance he said it is never terribly heavy. A four manual tracker looks quite formidable! And speaking of which, glancing at the console you think you're looking at a giant 17th Century North-German instrument. Not so- this has all kinds of reeds, foundations, and mutations. And some of the voicing seems downright warm. In noodling around for a bit I found that the flutes have a fairly rich sound- and the celeste is hardly anemic. I expressed my surprise and Ricardo concurred, "there's nothing you can't play on it."

...Which brings me to the one downside- there are absolutely no combinations. So, the stops are all there (and they are quite large and pull out about 2 feet) but without a diligent assistant or eight arms it would be a bit difficult to play...oh...let's say Howells. But all reservations aside it's something positively amazing to behold. I understand every instrument has its limitations. As my old organ professor once said, "every time you choose one thing you necessarily loose another, in getting something new you loose something that was before." In this case it seems that the choice for the unmatched connection and control that mechanical action provides (especially for this size of instrument!) precluded the option of combinations.

The Holy Name Flentrop, like all good church organs, supports both the liturgy and the great solo literature. For more immediate sound at the front of the sanctuary Holy Name has an additional instrument. This choir organ, a 1981 Casavant (revoiced by Martin Ott in the later '80s), sits up on the south side of the sanctuary behind the ambo. Unfortunately I didn't get to hear that one. But this is just one more reason to return! The AGO has an excellent website from a 2006 convention which contains information, specs, and multiple pictures of the Cathedral organs. Check it out at
http://www.agohq.org/2006/html/venues/venues3/HolyNameCathedral.pdf