LAST FRONTIER ORGAN TOUR

An Organ Tour in the Paris of the South
"The Last Frontier:  An organ tour in Buenos Aires, Argentina, May 27-June 4, 2006
A travelogue by David Dahl  

The first organ tour to Argentina for North Americans became a reality this past May of 2006.  After visiting Buenos Aires a few years ago, Margaret Irwin-Brandon has become increasingly enthusiastic about its local culture, and most notably (for her) both the historic pipe organs and frequent opportunity to experience the tango!  With the good help of Buenos Aires organist, Rafael Ferreyra, she (Meg) was able to arrange a select number of organ visits over eight days for a tour group of twelve participants from the United States plus student assistant, Sebastian Achenbach (Buenos Aires).  The primary purpose of the tour was to hear and play instruments from the period between 1860 and 1920, a "golden" era of prosperity for Argentina and for the importation of European organs.   Non-organ experiences included a professional tango show (with characteristic bandoneon/string/piano ensemble), a visit to the excellent Bellas Artes Museum of Buenos Aires, the San Telmo antiques market, the Recoleta Cemetery (with Evita Peron's tomb), optional tango lessons, and a daily sampling of Argentine food in cafes and restaurants carefully selected by Rafael and Meg.  The signature grilled meat dishes known as asado were ordered frequently, which include delicious steaks and sausages cooked over an open flame.  

The Last Frontier Organ Tour provided a unique opportunity to hear mostly untouched instruments by Walcker, Serassi, Bossi, Forster & Andrews, Merklin and Mutin-Cavaillé-Coll.  At each visit members of the tour were invited to play as well as to examine the interior of the instruments.   On Sunday afternoon, May 28, the first musical event took place in the Aguaribay Art Center where Margaret Irwin-Brandon presented a superb harpsichord recital entitled "Bach Family Values" (with music by W.F. Bach, C.P.E. Bach, Louis Couperin and J.S. Bach) performed on a copy of a 1612 Ruckers double harpsichord with 18th C.  ravalement made by Buenos Aires harpsichord builder, Leopoldo (Polo) Perez Robledo.  Art works by local sculpture artist, Karina Kohoutek were on display in an adjacent room.  

On Monday, May 29 we traveled (via Subte, Linea A, the oldest subway line, and still using wooden railway cars from ca. 1900, built in Belgium) to Colegio "San Jose" Chapel to visit the J. Merklin & Cie. (France) organ from ca. 1900 (exact date unknown).  This two manual and pedal instrument has 23 speaking stops, with barker lever for the Grand
Orgue.  The chapel was actually designed to house the already purchased organ for the west gallery. An elaborate oak reredos of neo-Gothic design similar to the organ's case adorns the east end of the chapel. Rafael warned us that the organ "played" (but barely) during his visit three months prior.  At our arrival the blower did not respond.  Soon two local custodians appeared with various (wrong) fuses that got the motor "sort of going," albeit with accompanying noxious smoke.  Finally the correct 3rd fuses were found and inserted and happily the blower motor went to full capacity (without smoke).  The bellows, however, didnot yet fully rise.   Three large holes in various parts of the bellows were gushing air, with just enough wind supplied to hear tantalizing murmurs from a few stops.  Gradually we noticed that the organ was growing in power. This we learned was because three tour members had gone inside the organ and were holding jackets and handkerchiefs over the holes, permitting the bellows actually to rise to nearly correct height.  (I happended to be on the bench at the time and was able to get through one stanza of Rendez a Dieu with nearly full organ before the holes once again began gushing air.  Those 45 seconds gave a fairly accurate impression of the glory of this fine French symphonic organ, speaking into very favorable acoustics. Mr. Ferreyra announced that some funds had recently been made available for a restoration of this Merklin organ in the near future. (certainly in time for the next tour!)  

Following lunch at a historic cafe our next visit took us to the Basilica de Nuestra Señora de la Merced with its impressive 1897 E. F. Walcker & Cia. three manual tubular pneumatic organ of 40 stops. The windchests utilize a cone valve system.  Sufficient restoration some 20 (?) years prior allows this organ to be enjoyed today in virtually unchanged condition.  In 1904 Camille Saint-Saëns played a recital with great success, and which included some of his own compositions.  The organ is powerful in its tutti, and as expected can move from a quiet pianissimo to a rich sonorous fortissimo.  Of special interest are such stops as the labial (reedless) Clarinette 8', and the intense full-bodied Doppelflöte 8'.   The organ's chorus reeds lean toward a brilliant French sonority.  The tubular pneumatic action "encouraged players" to choose somewhat less ambitious tempi to insure that pipes would speak to full capacity.  

After a refreshing pause for coffee and tea at "la hora de te" we traveled to the parish of Nuestra Señora de Montserrat.  In this church, under restoration (yet!) for over 20 years, we observed another fine building (among several during our visit) in need of funds to be conserved.  In the rear gallery sits one of three Fratelli Serassi organs to come to Argentina during the 19th century, of which but two survive.  The organ was installed in 1868 at the request of the Italian priest who at the time wanted an organ from his homeland.  Virtually in original condition (some restorative work was done 20 years ago), the organ is a typical one manual and pedal instrument from the famous north Italian Serassi firm which produced the banda militaire organs of the late 18th and early part of the 19th centuries.  In addition to an expected ripieno, we also found registri di concerto that include treble solo stops such as the Corno Inglese Soprani 16', Tromba Soprani 8', Fluta Soprani 8', all to be accompanied by the Viola Bassi 4'. Solo stops in the bass range of the manual include the Fagotto Bassi 8', and Flauto registers (Bassi) at 4', 2' and 1'.  The Pedal consists of a Trombone 8' and Corni 4' in addition to the usual Contrabassi 16' + 8'.   Eight registers, including two Principale 8 stops, make up a typical ripieno, of which the 8',4', and 2' pitches are divided bass/treble.  A Voce Umana Soprani 8' provides a lovely "principal celeste" common to many Italian organs since 1600.  Although the original Timpano (drums) no longer exist, the treble Campanelli Soprani is still in place (tuned saucer bells at 4' pitch).  The registri di concerto solo stops were designed primarily to play transcriptions of arias from opera and certain orchestral music.  These stops are divided bass/treble at b-c' with foot levers to turn on/off various solo stops as one "orchestrates" the score.  Except for an occasional wedding, this fine Italian organ has not been used for worship in over ten years. While slightly out of tune, the warmth of the foundation registers (two 8' principale registers as well as the VoceUmana) and the sparkle of the ripieno were highly attractive and unmistakable.  Our host organist, Enrique Rimoldi, provided a thorough demonstration of this organ that he clearly loves to play.  

Tuesday, May 30:  After a morning visit to the famous Buenos Aires Recoleta Cemetery, burial place of the majority of renowned Argentinians, including Eva (Evita) Peron, the tour arrived at the private chapel known as the Basilica del Sagrado Corazón de Jesús. Built in 1905 for the private worship of a wealthy aristocratic family, the word "chapel" scarcely prepares the visitor for the enormous neo-gothic building with high vaulted ceiling and its some seven seconds of ideal reverberation.  Perfectly matched to the incredible acoustics is a masterpiece instrument, the Mutin Cavaillé-Coll organ, Op. 901, ca. 1906.  While prepared for a third manual (Recit.), the Grand Orgue, Positif Expressif and Pedale divisions numbering but 19 stops, produces a sound well beyond anything one might expect looking at the disposition.   Organist of the Basilica, Rafael Ferreyra, is accurate when he happily describes the magic of sound created by the marriage of this instrument and the building.  From the rich fond d'orgue registers, soaring Flûte harmonique, celestial Unda maris and fiery French reeds (Anches), the organ produces the quintessential colors, balance and brilliant power one expects from a a great Cavaillé-Coll organ.  (I shall never forget my own opportunity to try this magnificent instrument, playing the Chorale No. III of César Franck—the Adagio to the conclusion.)  The Basilica, next to a monastery and private school, is now open for public worhip, although sadly, the organ is not often used for liturgical services.  Rafael promises a much needed recording of this organ will be forthcoming.  

Wednesday, May 31:  Another subway ride on old Linea A took us to The Church of San Juan Bautista to visit the 19__?  Mutin Cavaillé-Coll organ of 24 stops.  This instrument wth a manual compass of 61 notes may likely be a late instrument of the Mutin firm before it ceased to function under that name.  No documentation remains for this organ and its installation.  After a stop by stop demonstration by Ferreyra, Señora Adelma Gomez performed the Fantasia on O filli et filiae by Alexander Guilmant  (Ms. Gomez, long time organist of the church, has been the chief supporter and organizer for organ recitals in Buenos Aires for over 30 years in spite of challenges to achieve sufficient funding for such events.)  At the end of Ms. Gomez's performance she announced that the b (below middle c') of the Grand Orgue had become silent. To attempt to solve the problem our two tour organ builders, Will Finch and Terry Joris, were given permission go into the organ. The problem was eventually diagnosed as a fallen leather nut in an extremely awkward and nearly inaccessible place; due to our need to move on (and with a forthcoming Mass at the church) we were unable to repair the organ.  One can suspect that this event may signal a need to replace all the leather nuts. The balance and sonorities of this grand instrument speaking into favorable acoustics revealed once again the expected color and grandeur of a typical French symphonic organ. Particularly effective is the Swell box of the Recit, which provides a very wide dynamic range, and which houses five reed stops.  

Following lunch in Confiteria Violettas, a historic cafe with gorgeous original turn of the century stained glass windows, the tour's next visit was to the Basilica de Maria Auxilliadora y San Carlos, a most remarkable church founded by Italian immigrants.  The church has playful off-white and rose striped walls (similar to the Cathedral in Sienna, Italy), with a highly ornate three level main altar. Chandeliers of amber Murano glass from Venice hang from a distant ceiling of blue with gold stars.  In the west gallery and speaking into this visually sumptuous neo-Renaissance room, is a 1910 three manual Italian organ by Carlo Vegezzi Bossi, containing 38 stops. The organ is apparently original in its tonal quality even though its first console (for a tubular pneumatic cone valve action) was replaced when the organ was changed to electro-pneumatic action.   The sound is bold and bright and represents the Italian change to an essentially romantic organ of somewhat German orientation (compared to the concept of the earlier1868 Serassi).  Luis Caparra, a virtuoso performer, presented an impressive demonstration recital; he is the faculty organ instructor for the Buenos Aires Music Conservatory.  

Our Wednesday evening event took place at the Catedral Metropolitana, the seventh building since ca. 1850 when the first church was built on the present site.  The oldest (believed to be) organ in Argentina, the so-called Colonial organ, resides on the floor of the nave near the crossing, and dates from the 18th c. (no exact date known).  The builder is also unknown although evidence suggsts an Argentine maker. The instrument is a positivo organ of seven stops, of which three (8', 4', 2') are divided bass/treble b-c'.  A pedal pulldown was added at an unknown later date with a compass of C –e.   The pipework speaks gently with attractive on-speech and appropriate flexible wind.  

In the rear gallery one finds the grand three manual 1871 Op. 363 E. F. Walcker & Cia, organ of 34 stops   Key action is mechanical (with detached turned-around console), and a barker type pneumatic lever connected to the Hauptwerk division.  Windchests are of the cone valve type.  Originally installed briefly in a church in Berlin, Germany (of allegedly smaller dimensions than the Buenos Aires cathedral), this organ was shipped to Argentina and inaugurated in 1873, the first of several German instruments (especially Walcker) to arrive.  In 1887 an Italian organ builder, Alberto Mateo Pozzi, made minor changes, including the addition of a barker type lever to Manual I.  Wind pressures may (likely?) have been raised from the original, possibly related to the larger space of the cathedral (than of the Berlin church) and a need for more sound. It was also soon discovered that the original bellows did not supply sufficient wind for the full organ, and subsequently larger bellows were also provided.   The organ appears to be mostly unchanged tonally except for the two relatively new reed stops from Laukhuff (Trompette 8', Clairon 4') replacing the originals.  Of special interest are the two "free" reeds (Bassson y Clarinette 8' on Manual II (Positiv), and the Physharmonica/Oboe 8' on Manual III (Schwellwerk).  The principals of the Hauptwerk have a pronounced "edge" to the tone, which is somwhat stringy and horn-like (perhaps from raised wind pressure?) The Fourniture VI is brilliant, producing a commanding plenum.  The organ has been in continuous service since 1873 with only minor service and repair attesting to the high quality of materials and workmanship typical of Walcker organs of the period. After tour members had the opportunity to play, Cathedral organist Enrique Rimoldi concluded the visit with a performance of the César Franck Piéce Heroique.  

Thursday, June 1:  Following a free and relaxing morning, the afternoon began with a one hour tour of the Teatro Colon, the famous opera house of Buenos Aires, considered to be one of the five greatest opera houses of the world.  Known for superb acoustics (which were immediately apparent on the Friday evening when we attended a stunning performance of Mozart's Cosi fan tutte), the hall is lavishly appointed with its seven galleries and grand entry hall.  Extending for some two blocks underground are two floors of rooms and rehearsal spaces where we witnessed costumes, shoes, wigs and sets being made for various ten operas performed each season.  

In the mid-afternoon the tour visited the Primera Iglesia Metodista with its three manual 27 stop 1882 Forster & Andrews organ.  Alas, this organ barely functions, giving hints of the rich, warm sounds it had been capable of producing until its deteriorating condition some 20 years ago precluded any further use.  One could readily see about 20 keys down due to broken trackers. Fortunately through the persistent efforts of Rafael Ferreyra and other local supporters of the organ, a grant has been secured to begin a restoration in the near future.  This British organ with mechanical action was built in Hull, England in 1882, originally with two manuals, Great, Swell and Pedal.  At some unknown point a third Choir division operating on tubular pneumatic action was added; no documentation remains, however, regarding this addition.  With a recently replaced blower we were at least able to hear most of the stops of the Great and Swell even if somewhat out ofregulation and tune. Playing on the keys that still worked, we were able to get a sense of the Great's Diapason chorus, based on 16' pitch. The sounds were round, unforced and of a vocal sonority.  The Swell reeds, Horn 8', Oboe 8', and Vox Humana 8', were even reasonably in tune after no service or tuning for about 20 years!  

On Thursday evening the tour was treated to a full recital on the largest organ of the tour, the Mutin Cavaillé-Coll organ of 71 stops in the Basilica del Santisimo Sacramento. The primary performer was Julia Brown, assisted by Barbara Baird and
Rafael Ferreyra. Ms. Brown, born and raised in Brazil, and with an MM in organ from Northwestern University, Evanston, IL, demonstrated her technical and artistic mastery throughout the recital, and especially with the Fantasie-Improvisation sur l' Ave maris stella  of Charles Tournemire, transcribed by Maurice Duruflé.  Performed with Barbara Baird (as organ duet) was the Song of the Sun by American composer, June Kirlin (Eugene, OR).  Rafael Ferreyra concluded the program with his evocative miniminalist work, Mars Aeliptica.   Although this monumental organ was given electropneumatic action and a new console in 1955, it remains virtually untouched tonally from its installation in1912, and needless to say, is powerful and brilliant.  

Friday, June 2:  Arranged for the late morning and early afternoon was a trip to the small town of San Antonio de Areco, located in the countryside, (the pampas) of the former gauchos, home to contemporary silver and leather artisans whom we visited in their ateliers. Here we also visited the stunning local museum where we enjoyed one of our best meals prepared espedially for the tour over an outdoor grill (parilla).  

An unexpected bonus on the way back to Buenos Aires was an added visit to the city of Luján with its enormous double towered Basilica de Nuestra Señora de Luján.  The rear gallery holds a large three manual Mutin Cavaillé-Coll organ of 49 stops from ca. 1908, an instrument which originally had three chamade reeds (Tuba magna 16', Tuba mirabilis 8', and Cor harmonique 4').  These reeds were dismounted about 20 or 30  years ago and though somewhat damaged, have fortunately been stored in the organ.  Even though the instrument has been silent for over 20 years, it is almost completely intact (as witnessed from a brief inspection by Finch and Joris, who were granted permission as representatives of C.B. Fisk to examine the organ.)   Finch and Joris reported that nearly all pipes, key action and wind system appear to bein place with little damage.  It was not possible, however, for them to raise the wind to hear the organ.  Twenty years ago a new Italian console (intended for use with electric action) was ordered by theBasilica's Italian priest, who apparently died the day after the console was delivered.  This console still remains unused since the next priest, a Frenchman, declared that "no Italian console would replace "our French console", and thus the original tracker keydesk and tracker action remains in place.  The Basilica is very large and high, and I could only imagine the glorious sounds that may emerge some day from this sleeping masterpiece.  I was happy to learn that the organ is being carefully watched, leaving hope that it will remain untouched until a a complete restoration can be funded.

Saturday, June 3 was a day set aside for a visit to the Bellas Artes Museum, tango lessons, shopping, and a wonderful wine tasting with smoked wild meats and home-made cheese appetizers from Patagonia at the Hotel Sofitel.  

On Sunday June 4, tour members were free to worship at a church of their choice. The closing musical event was a recital played by tour participants at the Iglesia Evangelica Alemana (German Lutheran Church) with a two manual organ of 25 stops by E. F. Walcker & Cia, Op. 1615, from 1911. In 1991 the original tubular pneumatic action was changed to electropneumatic action.  I was struck by the rather bold plenum on Manual I (with Principals at 8' 4' 2' Mixtur II-IV), evidence that Walcker continued the classic concept of a full Principal Chorus well into the early 20th century.  One of the two organists at this church is Sebastian Achenbach, our student assistant for the tour, and who demonstrated his talent and musicianship with an impressive performance of the Franck Piéce Heroique to conclude the recital.  

Money to restore, even repair pipe organs in Argentina is difficult to obtain.  Happily, a relatively small group of fine organists in Buenos Aires understand the value of their organ treasures and are doing what they can to preserve and restore.  Among this group of organists are Rafael Ferreya, Enrique Rimoldi, Luis Caparra, Adelma Gomez and Sebastian Achenbach.  The current Roman Catholic Church of Argentina appears to have only minimal interest in pipe organs for worship.  The guitar, piano and other instruments seem to be preferred in a majority of parish churches, and clergy appear to have little interest in organ preservation.  Perhaps in some way, the benign neglect of most of the important organs has actually helped to keep the instruments closer to original condition.  

Although it is long journey to Buenos Aires, the "Paris of the South," the tour experience was highly rewarding and revealing.  Margaret Irwin-Brandon is to be commended for her vision and energy to organize and present this first of its kind organ tour for Americans.  She also took care to include other interesting aspects of Argentine culture, making for an enjoyable balance of daily activity.  Even with a reversed season--it was autumn in Argentina--the weather was pleasantly mild.  With unanimous encouragement from tour members, Meg has been urged to consider another South American organ tour in the near future.

David Dahl

 

 

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