A cathedral organist.

An organist is a musician who plays any type of organ. An organist may play solo organ works, play with an ensemble or orchestra, or accompany one or more singers or instrumental soloists. In addition, an organist may accompany congregational hymn-singing and play liturgical music.

Classical and church organists[link]

The majority of organists, amateur and professional, are principally involved in church music. The pipe organ still plays a large part in the leading of traditional western Christian worship, with roles including the accompaniment of hymns, choral anthems and other parts of the worship. The degree to which the organ is involved varies depending on the church and denomination. It also may depend on the standard of the organist. In more provincial settings, organists may be more accurately described as pianists obliged to play the organ for worship services; nevertheless, some churches are fortunate to have trained organists capable of more elaborate "voluntaries" (the solo music before, during and after the service) and improvisation. As most churches can afford to employ only one musician, the organist is usually also responsible for directing and rehearsing the choir(s). In the twentieth-century, many pipe organs were replaced by pipe-less electronic and digital organs, often as a low-cost alternative to rebuilding older pipe organs.

In the English cathedral tradition the organist is now generally called "Director of Music", although his or her function is mainly in the training and direction of music rather than actual playing; there will generally be one or more assistant or sub-organists who play for most services and some recitals. Sometimes the organist will be assisted by an organ scholar. The post of organist at most of the great cathedrals includes recital work and choral training. Musicians such as Malcolm Archer, John Scott and Barry Rose are accomplished organists as well as choral directors. Another function of an organist is often as teacher to future players. Few organists hold historically special positions such as Carol Williams who is the Civic Organist of San Diego, the last true Civic Organist position still active in this the USA.^[1]

A concert organist

Since the strengths and weaknesses of the organ are difficult to understand without a good deal of playing experience, most music composed for organ has been written by organists. Since the majority of pre-twentieth-century organs were installed in churches, classical organ literature was almost exclusively written for liturgical use.

Many composers, therefore, are equally known for their performance talents, some historical examples being Johann Sebastian Bach, Dieterich Buxtehude, Felix Mendelssohn, Franz Liszt, César Franck, Charles-Marie Widor, Louis Vierne, and Marcel Dupré. In Europe, the historical importance of churches as employers of musicians meant that many composers who now are very seldom remembered for their association with the organ were, nevertheless, engaged as professional organists: for example, Wolfgang Amadeus Mozart, Camille Saint-Saëns, and Edward Elgar.

For a list of organists, see List of organists.

Ancient titles still in current use[link]

In English churches, chapels and cathedrals the Organist may also be known as Master of the Choristers, Choirmaster or Director of Music; however, there are some ancient titles still in current usage:

• Church of St. Mary Magdalene, Newark-on-Trent - Master of the Song School
• Magdalen College, Oxford - Organist and Informator Choristarum
• Southwell Minster - Rector Chori
• York Minster - Master of the Music
• Westminster Cathedral - Master of Music
• Chichester Cathedral - Organist & Master of the Choristers
• Armagh Cathedral - Organist & Master of the Boys

Theater organists[link]

The theater organ has a separate repertoire and playing style, and in its heyday (during the first third of the twentieth century) there were considerable numbers of organists employed. A few carry on the tradition today.

Organists in popular music[link]

There are many organists employed in the production of popular and jazz music. In the United States most of them play the Hammond organ, and many are classically trained, often in piano rather than organ. In England and Japan, one of the most popular series of instruments is the Yamaha Electone; while Electones of recent decades are more properly characterized as digital synthesizers rather than as organs, the player interface, and the skills and coordination required to play, mean that it is effectively an organ in these respects.

Organizations[link]

The Royal College of Organists (RCO) in the United Kingdom is the oldest institution of organ studies. From that sprang the American Guild of Organists (AGO), the Gesellschaft der Orgelfreunde e.V. (GdO) in Germany, and the Royal Canadian College of Organists (RCCO). All these institutions are oriented toward the organist involved in classical music rather than popular music. There is also the American Theatre Organ Society.

See also[link]

• List of organists
• List of jazz organists
• Organ recital
• Organ shoes

References[link]

1. ^ Jennifer Medina, "Year That Began Like a Dirge for San Diego’s Organist Ends in Joy," New York Times 26 December 2011[1]

Further reading[link]

• Organ playing and teaching in the Encyclopedia of Music in Canada

External links[link]

• American Guild of Organists (AGO) (US)
• American Theatre Organ Society (ATOS) (US)
• The Royal College of Organists (RCO) (UK)
• Royal Canadian College of Organists (Canada)
• Gesellschaft der Orgelfreunde (Germany)
• Professional Organists Webring
• Concert Organist website (UK)
• Incorporated Association of Organists in the UK
• Organists' Review The leading journal for organists with a worldwide readership
• Young Organists on YouTube - A playlist of organists under 20 years of age
• Civic Organist of San Diego

Cameron Carpenter
Cameron Carpenter in Hong Kong (2011)
Background information
Born	1981
Occupations	Organist
Instruments	Organ
Labels	Telarc SeeMusicDVD
Website	CameronCarpenter.com

Cameron Carpenter (born 1981) is an American organist known for his virtuosity,^[1] showmanship, technique and arrangements for the organ.^[2][3]

Biography[link]

Carpenter has bachelor's and master's degrees from The Juilliard School in New York, having studied with Gerre Hancock, John Weaver, and Paul Jacobs. Though he is not religious,^[4] Carpenter was from 2008 to 2009 the artist-in-residence at Middle Collegiate Church^[4] in New York's East Village, where he played a four-manual virtual pipe organ that he designed for the broad ranging music of that church. Carpenter ended his residency in July 2009.

A champion of virtual pipe organs, Carpenter has been referred to as "extraordinary",^[5] "the most controversial organist in the world"^[6] and "meshing virtuosity with musical intelligence" ^[1] while also attracting criticism.

Recordings[link]

Early in 2008, Telarc signed Carpenter to an exclusive five-album recording contract. His Telarc debut album, Revolutionary, was recorded as a CD and DVD at Trinity Church Wall Street in New York City,^[4] and released September 23, 2008. The title comes from Carpenter's transcription of Chopin's Revolutionary Etude. The album made Carpenter the first organist ever to receive a Grammy nomination in the category Best Solo Instrumental Performance (without orchestra) for a solo album. His first commercial album was a 2006 CD/DVD, Pictures at an Exhibition, on SeeMusicDVD. It includes his arrangement of the programmatic piano work by Modest Mussorgsky, and his own improvisatory "New York City Sessions." Visuals for the Moussorgsky were created by Marshall Yaeger and his Kaleidoplex. The recording was made at Trinity Church, New York.

An "early" recording, made in 2005 and financed by the Allen Organ Company, was titled notes from the underground. This recording was a highly unusual project for Allen, as Carpenter was given near-complete artistic control of the album, selection of the program and even oversight of graphic design (featuring location shots of Carpenter at famous New York City graffiti sites). This album was not reissued by Allen and is now a rarity.

On June 1, 2010, Telarc issued in the U.S. Carpenter's newest recording project, a two disc set with a CD carrying a J.S. Bach recital that had been recorded live at a recital he played in the Church of St. Mary the Virgin in New York City,^[7] and a DVD containing a full studio recital program with narration by Carpenter, as well as video clips from other live recital programs.

Work[link]

Carpenter has been both criticized by some and praised by others for his unorthodox interpretations of the standard organ repertoire. Registrations rarely follow those suggested by the composer, and Carpenter often takes dramatic liberties in articulation. Carpenter is also noted for his advocacy of the digital organ, particularly development of a touring virtual pipe organ, citing factors^[8] such as the obstacles the pipe organ imposes on the ability of a traveling performer to enjoy an ongoing relationship with a single instrument in the same manner as many other instrumentalists. Despite this, he frequently performs on pipe organs, often garnering major exposure for the instrument.^{[9][10][11][12][13][14][15][16][17][18][19]}

Personal life[link]

In an interview with The Advocate, Carpenter was identified as "queer" — a term often used to encompass one or more non-heterosexual orientations. “While my first love was a boy and I’ve had numerous male lovers, I also love women,” Carpenter said.^[20] In a Sunday, November 15, 2009 Arts & Leisure full page interview with "The New York Times" ( "In Concert: Talent, Style and Sequins" by Vivien Schweitzer), Carpenter "describes his sexuality as 'radically inclusive.'"

External links[link]

• Official website

References[link]

Gaylord Carter (August 3, 1905 – November 20, 2000) was an American organist and the composer of many film scores that were added to silent movies released on video tape or disks.

Early Life and Musical Beginnings[link]

Gaylord Beach Carter was born in Wiesbaden, Germany, the son of Charles Davis Carter(1857–1940) & Olive Athena Beach(1873–1964)-both musicians themselves. His father was a church organist and taught music, while his mother taught voice. They met in Europe and were married at Litchfield cathedral in England, eventually spending time in Wiesbaden, where Gaylord was born. Actually, Gaylord was originally to be called Mortimer Preston Carter, and the name Gaylord came about later. His family soon emigrated to the United States, settling in Wichita, Kansas, where his father opened a conservatory of music and also served as a church organist.

Young Gaylord displayed the family talent for music and became a soloist in a church choir, until his voice changed. He also played the organ in another church from the age of ten. As the "Jazz Age" evolved, Gaylord found himself drawn to the new musical form and dared to try jazz on the church organ. On one occasion this transgression was discovered by the pastor, who then chastised him: "Gaylord, stop playing that high-falutin' music in church!". By the time he was fourteen he was playing at a local movie theater, accompanying the silent films at children's matinees.^[1]

Silent Movie Era Career[link]

The family remained in Wichita until 1922 and then made the long drive in the family's Chandler touring car to Los Angeles, California, where 16 year old Gaylord was enrolled at Lincoln High School in the Lincoln Heights district. Gaylord found employment at a local theater accompanying movies on the piano and then, as the theater prospered, a new Estey organ. After graduating from Lincoln High, he attended UCLA where, by 1926, he was engaged in pre-law studies. He continued playing in theaters to finance his education.

Carter was playing accompaniment to a Harold Lloyd movie at the Seville Theater in suburban Inglewood when he was spotted by an agent of the Harold Lloyd Company, who had dropped in to see how the movie was doing at the box office. Gaylord would later tell audiences that the agent was there to "see that Lloyd got his proper cut from the box office". Impressed by the description of Carter's playing, Lloyd recommended him to Sid Grauman, who offered the 21 year old $110 dollars a week to be the full time organist at his downtown Los Angeles movie palace, the Million Dollar Theatre. Carter accepted the offer and left school. Though he later paid for the college educations of his brother and sister, he never completed college himself. Carter was summoned to the UCLA deans' office and asked if his reason for leaving his law studies was financial. Carter replied, "Yes! I'm making too much money to stay!".^[2]

Radio, Television, and Post-War Career[link]

Through the remainder of the 1920s, Carter played at the Million Dollar and other theaters, including Sid Grauman's larger downtown venue, Grauman's Metropolitan, the most capacious movie palace ever built in Los Angeles. The introduction of sound films, and then the onset of the depression, led to a declining demand for theater organists, and by the mid-1930s Carter had launched a career in the booming new medium of radio. He played on several network shows and also had his own local music show on Los Angeles station KHJ. In 1936 Carter became the staff organist for the hugely popular Amos N Andy radio show, a position he maintained until entering the Navy in 1942. He also made a film appearance in 1937, as himself, in the MGM short "Sunday Night at the Trocadero". The 18 minute short contained a sequence with singer Connie Boswell performing "I Can't Give You Anything But Love", with Carter providing accompaniment on the Hammond organ. When, at age 90, he was asked about the making of this short and if there had been any further film appearances he responded (with mock incredulity), "I don't remember making THIS one!".

He spent the war years serving in the Navy as a film officer in Alaska. Following the war he resumed his radio career, playing for such shows as Bride and Groom, The Whistler and Suspense. He then moved on to television in the 1950s where he was the musical accompanist on the Pinky Lee Show, the association with which produced a 78rpm children's record on the Decca label that included Carter's rousing "Pinky Lee" theme on the Hammond. And in 1961-1962 Carter had another local show of his own, "Everybody Sing with Gaylord" on Los Angeles channel 13 KCOP-TV. No known videotapes or kinescopes exist of this program. In 1959 Carter spearheaded a revival of silent movies, beginning at the Rialto Theater in South Pasadena, California with Douglas Fairbanks' "The Mark of Zorro". During these years he also continued to perform occasional live organ concerts, both at those few theatres which had maintained their silent era organs, such as South Pasadena's Rialto Theatre and Seattle's Paramount Theatre, as well as public venues with theatre organs, such as the Pasadena Civic Auditorium. He also made recordings on several of these vintage instruments, releasing numerous albums on the Artisan, RCA Victor, Malar, Pelican, New World, Win Mil, Delos and FTC labels. Carter had previously recorded pipe organ and Hammond organ singles during the 1940s on the Capitol, Black & White, and Imperial labels. Also, the pioneer "program music" impresario C.P. MacGregor made recordings of Carter in the 1940s. MacGregor had a recording studio located on Western Ave. in Los Angeles. These were Hammond organ solos, and are astonishing upon the listening as regards the musical styles and technique Carter displays in them.

Silent Movie Revival and Beyond[link]

In the 1960s and beyond, Carter helped fuel a revived public interest in silent movies with his production company Flicker Fingers Productions, which he had formed with business partner Jim Day. In the 1970s, Carter was hired to provide recorded scores for theatrical re-releases of several Mary Pickford movies.^[3] With the arrival of home video players, recorded versions of classic silent movies became available and Carter recorded scores, many of his own composition, for a variety of these films. Among them were many movies made by his early benefactor and old friend Harold Lloyd. Carter often told the story of scoring a Harold Lloyd picture with Lloyd present during the recording session; during the sequence from "Safety Last" in which Lloyd is scaling the side of a building, he loses his grip. As Lloyd catches hold of the hands of an enormous clock, Carter at the organ swings into the song "Time on My Hands"-which prompted Harold Lloyd to give Carter a mock stern glance and declare, "Gaylord, I'LL do the jokes!". Starting in 1975, Carter began recording Wurlitzer organ scores to classic silent films for Blackhawk Films, which distributed 8mm and 16mm film prints for the home movie market. In the 1980s, he scored a dozen silent classics for home video release by Paramount Pictures. Owing to the efforts of noted film historian and preservationist David Shephard, several of the Blackhawk films were later issued onto Laserdisc and then DVD through Image Entertainment. During the late 1960s, he also performed as the organist at Los Angeles Lakers games at the Forum, including at the 1969 NBA Finals.^{[citation needed]}. He is known to have performed the manic organ part of "Grim Grinning Ghosts" for the Haunted Mansion ride soundtrack.^[4]

Final Years[link]

Gaylord Carter remained active into the 1990s. He made tours of North America, Europe, and Australia, performing on many of the world's surviving theater organs. In 1975 and 1994, he was inducted into the hall of fame of the American Theatre Organ Society. In 1987, he was the first organist to perform for the "Last Remaining Seats" program, which had been launched by the preservation organization, the Los Angeles Conservancy, playing the organ at the Orpheum Theatre in that city's Broadway Historic Theatre District, a few blocks from the Million Dollar Theatre which had been the scene of his first great success. In his last years he also performed occasionally at the Warner Grand Theatre, which was fairly near his home in San Pedro, California.

Carter began experiencing T.I.A.s (transient ischemic attacks, or mini-strokes) at age 87 in 1992, but recovered sufficiently to continue performing. His last major performances were a pair of concerts on the occasion of his 90th birthday, at the Avalon Theater on Santa Catalina Island and the Paramount Theater in Oakland, California. After living in Hollywood for thirty years, he spent his final years in his home in the Los Angeles district of San Pedro, where he had resided since 1968 in a house designed by architect Richard Neutra. In 1996, he suffered a massive stroke at age 91, from which he recovered mentally but not physically. For the next four years he held court in San Pedro, unable to play but ever the witty survivor still receiving his many friends and admirers-who basked warmly in his company. After a second stroke in 2000, Gaylord Carter died peacefully in his home overlooking the Pacific ocean at the age of 95.

Notes[link]

1. ^ Chris Elliott (2001). "Gaylord Carter". American Theatre Organ Society. http://www.atos.org/Pages/Journal/Carter/carter.html. Retrieved 2007-04-28. 
2. ^ Myrna Oliver (2000). "Gaylord Carter; Theater Organist". Los Angeles Times. http://sul2.stanford.edu/byform/mailing-lists/amia-l/2000/12/msg00034.html. Retrieved 2007-04-28. 
3. ^ "Silent Era People: Gaylord Carter". silentera.com. http://www.silentera.com/people/musicians/Carter-Gaylord.html. Retrieved 2007-04-28. 
4. ^ http://www.doombuggies.com/media_audio_30thtracklisting.php