Buzard Opus 29

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Because this is a large instrument, we had the opportunity to include a wealth of soft stops to increase the organ’s accompanimental flexibility and dynamic range.  We were able to include an entire chorus of soft Diapason-toned Dulcianas in the Choir Organ, along with lyric cantabile reeds and two celeste stops in the Solo Organ.  In the Chapel Organ, besides a pair of 8’ and 4’ Principals for hymn-singing, we included a pair of very soft string-toned stops, an Aeoline and Vox Angelica, the likes of which haven’t been seen in organ specifications for many years.   We were able to re-introduce a Harmonic Mixture to the Great Organ, whose primary function is to reinforce the higher harmonics of the flue work when the relatively dark Trombas are used, by virtue of the inclusion of the tierce and flat-seventh ranks.  We have come to find, through its musically sensitive scaling and voicing, the Harmonic Mixture also adds an ancient Continental flavor to the Great plenum without the Trombas.

The visual design of the organ was a very crucial element to its success.  We were challenged to design and build an organ of about three times the size as the former instrument – and make it look as though it had always been at home in the Church.  I enjoyed working with Hugh Latta, a parishioner and respected interior designer, concerning the stain colors and the Chapel Organ’s design.  We were all privileged to work with architects Jim Chapman and Jim Macht on the platforms used to support the organ cases, and with parishioner and then Senior Warden Paul Elliott in his role of coordinating our efforts with those of local contractors and woodworkers.

It’s an honor for us that Ray Chenault has chosen to record his favorite organ pieces on this instrument.  The fact that this organ can musically render French and Belgian repertoire, then accompany the choral repertoire of the Anglican Musical Tradition on a Sunday points to the special nature of our work in which science and craft always serve the musical ideal.  In this way we hope that our instruments are seen as works of functional art by those who enjoy them.

– John-Paul Buzard

Review of Concert Favorites by Raymond Chenault

This collection of mostly French and Belgian organ repertoire (the Dutch Hendrik Andriessen being the lone exception), primarily drawn from the 20th century, is one of those marvelous, unexpected delights that lights up a music reviewer’s life. First, it intelligently brings together 18 shorter works by 14 composers (Dupré, Dubois, Langlais, and Messiaen have two selections apiece; in addition, Duruflé appears indirectly, as an arranger of the piece by Tournemire), most abstracted from larger sets, into a varied and yet stylistically unified and aesthetically satisfying program that provides a first-rate entry into and overview of a broad swath of important but mostly seldom recorded repertoire. Second, the performances by Raymond Chenault—organist and choirmaster of All Saints’ Episcopal Church in Atlanta since 1975—are simply magnificent, perfectly gauged down to even the smallest details for absolute rightness of tempos, rhythmic precision, sculpting of phrases, an unerring and vibrant sense of timbres in use of registrations and stops, and interpretive voice for each and every composer. (Chenault is so good that he actually had me enjoying the two pieces of Messiaen, whose music I normally detest.) Third, there is the instrument itself, the James G. Kenan Memorial Organ that is the op. 29 of John-Paul Buzard Pipe Organ Builders. Completed in 2003, this massive instrument—63 stops, 87 ranks, and 5,143 pipes, including five 32-foot pipes for the pedal division—replaced one only about one-third its size and is exceptional for both its power, range of tonal colors, and adaptability to widely varying types of repertoire, and is ideally adapted to its acoustical environment. Fourth, there is the rich, full-bodied, yet absolutely clear recorded sound secured by Gothic for this release. Fifth and last but hardly least, there are the extremely wellwritten booklet notes by Chenault about the music and Buzard about the organ, accompanied by an array of color photographs. The fold-out digipak houses the two CDs in opposing wings and slips the booklet into a cardboard sleeve rather than a plastic tray in the center, all adorned with yet more color photos. This is a model release of the highest quality on every level, in every way; recommended with unqualified enthusiasm!

– James A. Altena

Stoplists

63 stops, 87 ranks, four manuals and pedal