Exactly What Is an Organ…and How Does it Work?

[Before Tuesday, August 18th's organ concert, we offer a repeat of organist Bruce Barber's excellent "behind the scenes" tour of the organ. If you're attending Tuesday's concert, don't miss the live tour immediately following the concert! - Julie Hutchison, Managing Director]

Organists are often asked these two simple questions . . . the answer, however, is both simple and complicated! I offer you my best shot at answering clearly and simply!

What is an organ? The very first organs were winded through the use of moving water and were popular in Greek civilization to provide a “drone” (like the drones of the bagpipe) as background for entertainment instruments and singing. In settings more closely associated with organs (i.e. churches), the instrument is thought to have made its first appearance as early as the 6th century. By that time, it had grown from its humble, water-winded system into a much larger instrument (still small by today’s standards) which was raucous in nature and whose function was principally to play during formal processions and, to a lesser extent, to accompany singing.

Towards the 13th century, the organ took on a much greater liturgical (sacred) role – offering support for chant and presenting specific music written for it (albeit geared towards the Mass). Because of the increasing importance being placed upon it, the organ also grew in size! It was winded by multiple bellows (often worked by multiple individuals); its palette of stops (collections of pipes of varying timbre and pitches) increased; and it became an increasingly important work of art in the life of both church and community.

By the 15th century in Germany, organs were being built with separate stops and keys for the feet – the pedalboard was born. The organ continued to develop into styles that reflected the national identity of the builder: e.g. Dutch organs sounded different from English organs, which sounded different from American organs, etc. These nationalistic styles were also heavily informed by composers for the organ as they pressed builders to create new and innovative sounds for the organ. Additionally, the organ began to appear in town halls, orchestra halls, and opera houses as composers included parts for it in their works: think of the heroic Symphony No. 3 of Camille Saint-Saëns or the stunning Concerto for Organ by Francis Poulenc, to name but a few.

How does it work? Well, first of all, an organ is basically a collection of very expensive whistles (pipes) of varying tonal colors that speak (make sound) when air blows through them. How the pipes are controlled from the keyboards (console) varies from builder to builder, but there are basically two ways for that “connection” to be made. Some organs are called “tracker organs” as they have an actual physical connection through levers, cables, and joints — all making up the tracker mechanism — which runs from each key to the base of each pipe, while other organs are called “electro-pneumatic organs” because that key to pipe connection is made NOT with trackers, but rather through electronic signal transmitted through a wiring system (and in some cases, involving a computer!)

For example, in Chicago, the organ in the balcony at Holy Name Cathedral is a tracker organ built by a Dutch builder (Flentrop), while the St. James’ organ is an electro-pneumatic organ built by American builders (Austin and E.M. Skinner — and a few others!) St. James has had an organ since the church was first built in 1837; over the years, it has been rebuilt and enlarged many times and currently consists of 99 ranks (collections of pipes) and over 5800 individual speaking pipes. Most notably, it incorporates the historic 1929 E.M. Skinner Organ originally built and installed in Chicago’s Lyric Opera House.

- Bruce J. Barber II
Director of Cathedral Music, St. James Cathedral

Thoughts from the Managing Director: Introducing the 2009 Summer Interns

2009 marks the fourth summer of our internship program, which gives college students hands-on participation in operations, decision-making, and the continued evolution of Rush Hour in its mission. We are fortunate to have three intelligent and energetic young women with a passion for live music and community building with us this summer, thanks to generous funding from the James S. Kemper Foundation.

In the spirit of our “bullet point” artist bios, here is a brief introduction to our 2009 summer intern team.

Maggie Mendenhall

• Recently graduated from Barnard College in New York City and will be attending Loyola Law School in Chicago in the fall
• Previously interned with Linda Gaunt’s P.R. firm in New York City and for Congressman Jesse Jackson, Jr. (IL) and Congresswoman Julia Carson (IN)
• Loves shopping online and watching the NewsHour with Jim Lehrer, Sunday morning news talk shows, and any VH1 dating show
• “Rush Hour’s mission to make quality classic performances accessible to all appealed to me. I like interacting with the artists and having the opportunity to contribute substantively to Rush Hour’s success.”

Ariela Rotenberg

• A rising senior majoring in French Studies and Theater at Wesleyan University, she is currently beginning research for her thesis in Theater: a study of Irish oral performance
• Last summer, she had the pleasure of performing at a Rush Hour concert for the “Impromptu Interplay” poetry recitation concert
• She enjoys reading anything by Dave Eggers or Italo Calvino
• “Rush Hour does a great thing for the Chicago community in supplying the city with free music in such a friendly way. I love the program, and the people, and the snacks.”

Eliza K. Warren

• A rising senior at Smith College in Northampton, MA, she is pursuing a degree in Sociology
• Musical Director/President of the Smith College Noteables, an all-female a cappella group, as well as a member of Smith’s Gold Key Society of tour guides
• Enjoys photography, traveling, arranging music, and being in her hometown of Portland, ME
• “I wanted to get involved with Rush Hour because it seemed like an organization that really puts its audience first. You don’t have to be a classical music buff to go and enjoy a Rush Hour concert and every time I see a new concert or meet a new artist, I feel like I have learned something and experienced music in a way I never have before.”

- Julie Hutchison
Managing Director

4 Easy Ways to Make a Difference

No matter your age, time availability, or income level, you can be a supporter of Rush Hour:

Attend
Social and professional networking in a casual setting
- Come by yourself or bring friends to summer concerts
- Meet new people at Fanfare post-concert happy hours & special events
- Share your feedback on our website

Promote
Spread the word about the Rush Hour experience
- Join our Facebook group or fan page
- Distribute brochures to your friends, family and colleagues
- Add a tagline link to your email

Donate
Any contribution makes an impact
- Join either the Board of Directors OR Under-40 fundraising challenge (read more here)
- Get a matching gift from your company
- Encourage your friends to contribute

Volunteer
Behind-the-scenes access to a Chicago cultural institution
- Assist at weekly summer concerts
- Share your special talents and skills with the organization
- Help plan special Fanfare events

For more information about participation in any of these areas, please contact me at 773.338.9480 or julie AT rushhour.org.

- Julie Hutchison
Managing Director

Rush Hour @ 10: Community Partnerships

Community partners have been an integral part of Rush Hour since its inception ten years ago. This year, we have joined forces with the largest and most diverse group of partners yet.

We are pleased to announce that we have expanded our roster of dining partners to give you even more affordable options to extend your summer evening downtown. Participating restaurants currently include:

* Argo Tea
* Bijan’s Bistro
* Bistrot Zinc
* Cyrano’s Bistrot and Wine Bar
* Cyrano’s Cafe & Wine Bar on the Riverwalk
* Devon Seafood Grill
* Quartino

Stay tuned for details about the special discounts available through these dining partners starting this spring and continuing throughout the entire summer season.

We are also partnering with the Consulates General of France, Germany, and Switzerland as well as the Alliance Francaise de Chicago to continue to present concerts highlighting each country’s music and cuisine. In addition, our partnership with the Poetry Foundation continues this year with a program celebrating the lives of Chicago’s citizens, past and present, featuring the poetry of Kevin Coval and the music of George Gershwin and Charles Ives.

We thank our partners for their support in creating a rich and varied experience for you, our community of audience members. We hope you will take full advantage of every aspect of the Rush Hour experience!

- Julie Hutchison
Managing Director

Rush Hour Internships

Rush Hour welcomed 4 bright and gifted students to its staff over the summer for the ultimate “behind the scenes” experience: an internship.

Our four interns had hands-on participation in operations, decision-making, and the continued evolution of Rush Hour in its mission. At the end of their 15 weeks together, they were inspired to make a short movie about their experiences. I’m proud to share it with all of you – please watch below.

We are already looking for talented students for next summer’s season: if you know of anyone who might be interested in an internship in 2009, please forward them a link to this post. Interested candidates should contact me at julie@rushhour.org or 773.338.9480.

- Julie Hutchison

Thoughts from the Managing Director: Introducing the 2008 Summer Interns

2008 marks the third summer of our internship program, which gives college students hands-on participation in operations, decision-making, and the continued evolution of Rush Hour in its mission. We are fortunate to have four intelligent and energetic young people with a passion for live music and community building with us this summer, thanks to generous funding from the James S. Kemper Foundation.

I’ve asked them to respond directly to a few questions, and now I’d like to introduce them to you here, via their own words and thoughts.

Nick Feder, rising sophomore at Sarah Lawrence College
Ian Ford, rising senior at the University of Chicago
Louise Geraghty, rising senior at Connecticut College
Megan Kingsbury, rising sophomore at the University of Chicago

On any given RH work day, what is someone most likely to find you doing?

Nick: I’m generally sitting in front of my computer working on the website, editing podcasts, editing photos from the concerts, and making posters. And eating.

Ian: I mainly help out with the financial aspect of Rush Hour. The organization has many expenses and revenues, and part of my job is to help keep track of them all. I track all of our wonderful donors, and make sure to help thank them at the end of the process (Because it can’t be said enough: Thank You!) On concert days, you probably won’t find me at the reception with the other interns, because I’m “hiding” in the back making sure the artists have everything they need.

Louise: I am most likely engaged in a battle with Microsoft Word or e-mailing someone about information for the program.

Megan: Well, I’m rarely sitting at the intern round table! I’m usually out and about-spreading the word about Rush Hour with brochures, shopping for supplies or meeting with sponsors and volunteers.

What are your other hobbies and interests?

Ian: I have been playing music for most of my life, and still find time to practice my two instruments, bass and piano. I also play chess and do a lot of biking. I like the bike more than the CTA, so on most mornings you can find me on the lake path heading out for another day at Rush Hour.

Louise: I like clothes, singing, playing violin, and ethnomusicology.

Megan: I’m always practicing and performing with “Off-Off Campus,” an improv and sketch comedy group. I also enjoy dancing, running and cupcakes.

Nick: I suppose my biggest hobby and interest is food. (Ask anyone in the office- they can attest to that.) During the summer, my TV (among other things) becomes my main hobby and interest. During the school year, I’m the musical director of Sarah Lawrence’s all-male a cappella group, “Vocal Minority.”

What is your favorite thing about Rush Hour?

Louise: The music! I love that all of my work goes toward hearing a great concert every Tuesday.

Megan: I love standing at the back of St. James during a concert and watching the audience react to the music-some people bob their heads with the beat, some people have their eyes closed and these perfectly serene smiles on their faces-each person becomes involved with the music in their own way, which is great to witness.

Nick: My favorite and, in my mind, the most pervasive aspect of RH is its accessibility-even in the office! The senior staff has included the interns in a lot of the decision making for this season. To have that kind of access, even as an intern, is really exciting and challenging.

Ian: I have been very impressed by the music. Before I applied, I had no idea it would be this good. Rush Hour brings in world-class musicians on a weekly basis, for free! This is something I am usually happy to pay good money for. This organization is truly committed to an extremely high standard-only the best.

Why did you get involved with Rush Hour?

Megan: Rush Hour seemed like the perfect way to gain hands-on experience with an arts organization-and it really is!

Louise: Rush Hour’s approach to the concert experience in emphasizing their accessibility seemed quite unique and something in which I would like to partake.

Ian: A job in the music world was too good to turn down. I’m a music lover, and the opportunity to explore this as a possible career path was very exciting. When I interviewed with Rush Hour in April, and I easily recognized the worth of the organization. They do an amazing job of making great music accessible to all, in a day and age when it really isn’t.

Nick: I’ve never been on the administrative side of an organization like this. Having been to many classical concert series around the city, I was only granted access to the performance and nothing else. I was really interested in how things worked and what it took to put on a series of this kind.

Why is classical music important to you, and why do you think it is important for people to have access to it?

Ian: I grew up playing classical music; it is a part of me. More than that, though, classical music is an important piece of musical history and culture. We should all listen to and even study the works of the great geniuses in music, and many of these greats came from the era of “classical” music.

Nick: Classical music stimulates the brain in a very specific way that many people are not used to. It’s an experience that many ought to have but don’t either because it’s not immediately accessible to them or because it often carries the notion of being “intimidating.” Accessibility is important because the experience can change those previously conceived ideals of what classical music is all about. So in that sense, it’s a two-way street: the performers have to make it accessible and those listening should be open to a new experience.

Megan: When I think of my earliest exposure to classical music, I think of Wagner and Looney Tunes and how perfectly the music fit to the cartoon struggles. With further access to the music and educational resources, people can discover that maybe Wagner’s feelings and experiences may not be so far from Bugs Bunny’s. Classical music can communicate shared emotions without the frames of a language or time period; it ties us all together.

Louise: Classical music is important to me because I really like listening to it and playing it. It’s important that everyone should be able to access it simply because I think it’s great music: something that everyone can enjoy if they are given a way to listen.

What’s next?

Nick: I was just writing a friend from school saying, “The future is so sublime!” I can’t really tell you what’s next but I can tell you music will, of course, be a part of it. I’m chuggin’ along just fine. So, we’ll see!

Megan: I’ll be starting my second year at the University of Chicago…so my future plans include studying.

Ian: In the future, I hope to graduate from college. Other than that, my only real long-term goal is to someday have enough money saved to buy a big, beautiful Steinway piano.

Louise: I am entering my senior year at Connecticut College, where I will (hopefully) graduate in May with a double major in music (concentration in ethnomusicology) and art history. I am currently investigating funds and programs to travel after graduation to do research on hip-hop and Islam.

We are currently searching for interns for fall 2008, winter/spring 2009, and summer 2009. If you are interested with an internship with Rush Hour, please contact me for more information at julie@rushhour.org or 773.338.9480.

- Julie Hutchison

Behind the Scenes with the Managing Director: Breaking Boundaries

Time, admission, education, culture, age, pre-conceived notions, listening experience: as you’ll read below, these are just a few of the boundaries that we are working to break down at Rush Hour each week.

Common boundaries and barriers that people have shared with me about coming to Rush Hour appear below, paired with Rush Hour’s approach to addressing them.

Please share your thoughts with us about barriers to attending classical music concerts – and what you think of our approach to breaking them down – in the comments.

– Julie Hutchison, Managing Director

1. I don’t have time.
Known as “Great Music for Busy Lives,” Rush Hour was designed with your busy lifestyle in mind. With a thirty-minute reception and thirty-minute concert offered at a convenient after-work time, you can get a burst of culture and refreshment in an hour or less every Tuesday throughout the summer.

2. I can’t afford to go to concerts.
Rush Hour is FREE. We work to fundraise year-round so that the Rush Hour experience is accessible to everyone. We hope you will take advantage of one of the best values in the city each week during the summer!

3. A free concert? That must mean it’s not very good.
Actually, some of the best musicians from Chicago (from the Chicago Chamber Musicians, the Chicago Symphony Orchestra, the Lyric Opera, and Music of the Baroque, to name a few) and around the world perform at Rush Hour. Rush Hour’s artists are committed to the mission and philosophy of Rush Hour and work to make every concert sensational.

4. I’ll be too hungry/thirsty to listen.
Our pre-concert reception offers sweet and savory bites and refreshing drinks every week from 5:15 to 5:45 p.m. to tide you over from the end of your workday through the concert. After the concert, you can head out for drinks or dinner. (We highly recommend our community sponsors Argo Tea, who offers 10% off by mentioning Rush Hour, and Bijan’s Bistro, who offers 20% off with a coupon from the day’s program).

5a. I don’t know enough about classical music… I’m afraid I won’t enjoy it.
- OR –
5b. I attend concerts all the time – this sounds like it might be “dumbed-down” to try to appeal to new people.

Rush Hour was designed to be accessible and relevant to all audiences – new and experienced listeners alike. We strive to provide useful information that enrich your listening experience, regardless of your classical music experience level. We’ve heard from:

• seasoned concertgoers who make time in their weekly schedule for Rush Hour, telling us they learn something new each week;
• attendees who haven’t had much experience with classical music for two to three decades (since their college years), for whom Rush Hour lets them pick up their classical music listening journey;
• twenty- and thirty-something audience members who discover that Rush Hour is so fun and welcoming that – much to their surprise – they’re hooked and coming back each week.

Enrichment materials are available here, on our website and blog; in our weekly email alerts; and in our program booklets available at the concert. The musicians also share their insights and discuss the music before the concert, at the pre-concert reception; on stage, during the performance; and after the concert.

6. Chamber music? That sounds boring…
We’re not entirely sure how chamber music acquired its “stuffy and boring” reputation among some people, but we do know that sentiment is out there. We invite you to read Artistic Director Deborah Sobol’s excellent explanation of chamber music and come experience the intimacy, vibrancy, and excitement of live music at Rush Hour.

7. I’m not sure if I’m going to like the music.
RH offers many opportunities for discovery. We’re confident that you will find something to like about the concert. If not, please keep in mind that it’s only a 30-minute concert, and it’s free. While Rush Hour offers the same format throughout the summer, each week is a completely new and different experience. We hope you will be adventurous and try listening to music outside of your usual tastes, whether it’s a different pairing of instruments, a different style, or classical music in general.

8. People are noisy and disrespectful at free concerts. I want to be able to relax and really listen.
People frequently remark about how engaged Rush Hour’s audience is, commenting that they can “hear a pin drop” during the concert. You will leave refreshed, relaxed, inspired, and ready for the rest of your evening.

9. I won’t fit in with the audience at Rush Hour.

People of wildly different ages and backgrounds meet each other each week at the pre-concert reception, fostering a sense of community. Someone who is new to classical music sits next to someone who has been listening to classical music for decades during the concert. Regardless of your age, culture, or listening experience level, you will play an important role in the powerful shared listening experience.

10. I’m not religious / I am of a different faith, and the concert takes place in a cathedral. I’m not sure if I am welcome.
Though Rush Hour takes place at and is presented in partnership with St. James Cathedral, it is a completely secular event and everyone is welcome. There are no special customs that you need to follow – please simply come and be yourself.