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• #GREAT LAKES MEDIEVAL FAIRE BAGPIPE BAND FULL#

I was thinking that I needed to explore the repertoire for which these beautiful instruments would be perfect vehicles. I really loved their sounds, but I didn't have much music to play on them besides some Couperin and Grigny. I had the opportunity to play some baroque organs during my time in France. I became interested in early music because of historical instruments. The 1880 Cavaillé-Coll organ at Saint François-de-Sales in Lyon, France. I performed Franck and Widor, Liszt’s Ad nos and Messiaen’s Transports de joie on the Lyon Cavaillé-Coll. This instrument taught me a great deal about romantic music. He made the Cavaillé-Coll organ at Saint François-de-Sales in Lyon available to me, the instrument that Widor’s father played. He was an inspiring teacher, and I was fortunate to be his first American student. He was (and still is) a leading interpreter of the symphonic repertoire, and he also improvised brilliantly in the symphonic style. I chose to study with Louis Robilliard in Lyon. I focused on the major nineteenth and twentieth century works, and I was a great Francophile so naturally I made the pilgrimage to France. Like most teenagers, I wanted to play big romantic pieces.

I was not at all interested in early music. It is rather amusing now to think of myself playing Franck’s third chorale on that Flentop organ with the regal as the trompette/hautbois! Later I had the chance to play it on Cavaillé-Coll organs, so in a way, the Salem College Flentrop organ provided my training wheels.

I was mainly interested in French Romantic literature at that time and played a lot of Franck. The Romantic was inclined towards French, although there were some in the studio who tackled the chorale fantasias of Reger.

#GREAT LAKES MEDIEVAL FAIRE BAGPIPE BAND FULL#

John Mueller was adamant that his students play the full repertoire, which at that time meant some pre-Bach (for example Buxtehude/Pachelbel and French classical repertoire), then Bach, Romantic, and Contemporary music. Winston-Salem was the perfect place to be an organist because of these instruments and the Muellers, who worked together to foster an incredibly vibrant organ culture. after the one at Harvard’s Busch-Reisinger Museum. Mueller’s studio was from 1958, the second Flentrop in the U.S. These were some of the earliest mechanical action organs in the United States. People often have a preconceived image of the organ, sometimes with negative associations, but that quickly changes once one starts learning about it and exploring the repertoire, especially if you have access to fine instruments, which I did. I actually didn’t know much about organ playing before I started studying, and I think that’s true of a lot of my students. It was a wonderful situation for study, and of course I got hooked on the organ because it is such an interesting instrument. (This was before the Fisk organ was built in Crawford Hall at the School of the Arts.) I also had a small Fisk practice organ almost to myself at the School of the Arts. John Mueller was a brilliant teacher, and he gave me access to the marvelous Flentrop organs at Salem College. He was a highly respected musician in my home town of Winston Salem, NC, so I felt obliged to say yes, but I also remember thinking “I really don’t want to play the organ! I want to focus on the piano.” Nevertheless, I thought I would give it a try, and I’m so glad that I did. He came to one of my piano recitals and afterwards asked if I would like to study organ. My piano teacher in middle school was Margaret Mueller her husband John Mueller was the organ professor at the North Carolina School for the Arts (now the University of NCSA).

I was first drawn to the piano, not to the organ. To begin, could you talk about your musical training? Did you study piano from an early age? When did you take up the organ, and what attracted you to it? Professor Marshall, many thanks for agreeing to this interview. Kimberly Marshall, Professor of Organ at Arizona State University, discusses medieval organ literature, instrument reconstructions, and ornamentation and improvisation practice with Vox Humana Associate Editor Guy Whatley. A page from Robertsbridge Codex, the earliest known pieces of keyboard music (c.