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“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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Views from the Choir Loft

The Pipe Organ in Survival Mode

Richard J. Clark · May 2, 2014

HERE IS NO NEWS to report that organists and pipe organs have long been in “survival mode.” It is not news that organ departments in certain conservatories have been dispensed with and many churches are opting out of the use of the organ altogether. This is boring old news, the domain of no one denomination or institution. We’ve all seen it.

While there is decline in some places, there is rebirth in others. Why is this? A recent article in the New York Times, A Harmonic Drone Subsides in Britain: “Once Top Musicians, Organists See Loss of Relevance.” Reporter Michael White begins by discussing the general demise of the once magnificent, powerful and influential Royal College of Organists in London upon its 150th anniversary. Yet it optimistically and creatively forges on.

Creativity is the key. So is tenacity when it comes to the survival of the organ. In this article James O’Donnell, organist of Westminster Abbey and past president of the Royal College of Organists, first speaks of the economic state of being an organist:

“I’m not aware of any crisis in finding the next generation of organists,” Mr. O’Donnell said. “The problem is that there are so few jobs to enable them to do it professionally.”

Mr. O’Donnell continues:

“The important thing for us is to have a sense of ourselves not as organists — a breed apart — but as musicians who happen to the play the organ,” he said. “That’s the task, after 150 years. We need to reinvent ourselves.”

Even when it comes to liturgy, organists can no longer take for granted the dominant use—or for that matter, any use of the organ. It is no longer presumed a given, despite anything Sacrosanctum Concilium states—even this:

120. In the Latin Church the pipe organ is to be held in high esteem, for it is the traditional musical instrument which adds a wonderful splendor to the Church’s ceremonies and powerfully lifts up man’s mind to God and to higher things.

HEREFORE, IN LITURGY, TAKE NOTHING for granted. No one owes the pipe organ anything, for the liturgy does not exist to serve the organ. The organ exists solely to serve the liturgy. (A news flash for some: playing the service music well is actually more important than the organ prelude and postlude.)

What about the Vatican II Liturgy Documents? To be honest, “to be held in high esteem” can be interpreted in myriad ways especially by those uninterested in the instrument.

So there are times when our art is tested. In music, take nothing for granted. Be grateful for your art and defend it like a mother or father protects their child. There are always times when the integrity of the liturgy (and beauty) is tested. When the pipe organ and organist – even great ones – are optioned for other instruments or styles, then one has choices:

    A • Find a new job. Often this is the only viable choice and may entail moving around the country as many church musicians do. The organ and music program one leaves behind will likely suffer great decay until leadership changes. It could be a long, intolerable wait.
      B • Enter “survival mode, stick it out, and positively influence the future.

If taking choice B, then what? Here are some creative thoughts to keeping the organ alive and rebuilding with the future in mind. You may have additional ideas to suggest:

1 • You may have to accept a potentially diminished role of the organ in the liturgy. E.g., the organ does not play on every single piece of music. The upside is that when the organ does play, it has the potential to become more special (not unlike the limited orchestral use of certain instruments to provide emphasis or color). Using the organ relatively less may in fact increase appreciation of the instrument by its supporters and increase excitement for its music. Very importantly, It keeps the organ in the consciousness of the congregation when the alternative is silence. Make it count when it is heard—not in volume but in beauty.

2 • Be open to using the organ as an ensemble instrument. Whether as a continuo instrument, or in chamber music or even with guitars—(yes this can work quote well! I’ve done it—a lot, even at an AGO event), get creative and keep the wind going through those pipes! Remember, it is not all about the organist but about God. Wait—something wonderful might come of this! Cultivating other instrumentalists is always a good thing for your congregation and music program, is it not?

3 • Keep concerts alive. Retain this creative outlet. Keep yourself and the instrument accessible to your audience afterwards.

4 • Children are always fascinated with pipe organs and their consoles. Invite families with children to sit in on your postludes – or give an organ tour or “Organ crawl” for your parish. Parents appreciate fun and educational experiences for their children.

5 • Do your job with integrity. Having integrity wards off those who wish to sabotage good work. Furthermore, likable and trustworthy people tend to attract more donors and funding, making the political waters relatively less turbulent.

6 • Pray unceasingly for wise judgement.

ETER KRASINSKI, IS ONE OF THE FINEST and most creative musicians in the United States. Thinking outside of the box, he brings new audiences around the world to the pipe organ in unconventional ways and venues. On the subject of organists moving forward, he stated: “All the great music makers I have known are almost always very comfortable with themselves and their art, at the same time open to new ideas and striving to improve THEMSELVES, not someone else.”

Maybe that’s the key to not only surviving, but thriving! While doing so, think creatively and unconventionally to keep alive not only the organ, but prayer and beauty in the liturgy. What lives might you change in the process?

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Pipe Organ Last Updated: January 1, 2020

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About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —Jeff Ostrowski
    Music Director Job • $80,000 per year
    Our readers will be interested in this job offering for Music Director at Saint Adalbert’s Basilica, located 40 minutes from where I live. My pastor was recently elevated to this basilica. He is offering $80,000 per year, plus benefits. I’m told Saint Adalbert’s Basilica is utterly gorgeous and contains one of America’s most magnificent pipe organs. It would be fantastic to have a colleague nearby!
    —Jeff Ostrowski
    Simplest “Agnus Dei” Ever Published
    Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“Always remember: God opposes the proud.” (leaning into the microphone) “…even when they’re right!”

— ‘Scott Hahn, speaking in Plano, TX’

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