 Jonas
Nordwall is a rare musician, skilled equally in both classical
and popular music. As a Portland, Oregon native, Nordwall began music
education on the accordion at age 4, with teachers Joe Parente and
Eileen Hagen, and tutoring with two of the most famous accordionists
of the 20th century, Charles Magnante and Anthony Galla-Rini. At age
16, Nordwall played for Sweden's King Gustav Adolph during a tour
of Sweden.
He
began studying piano and organ at the age of ten as a student of Goldie
Pos, and graduated from the University of Portland in 1970, where
he was a student of Arthur Hitchcock. Additionally, he studied with
English/Canadian concert organist Frederick Geoghegan, American virtuoso
organist Richard Ellsasser, and eminent composer-organist of San Francisco's
Grace Cathedral, Richard Purvis.
Nordwall
has served as organist for Portland's First United Methodist Church
since 1971. He is organist for the Oregon Symphony Orchestra, was
a featured soloist for several of their concerts and has recorded
with them on the Delos label. He was the last house organist at both
the Paramount and Oriental Theatres in Portland; he was featured as
the Senior Staff Organist for the Organ Grinder Corporation, and received
the ATOS "Organist of the Year" award in 1987.
His
performances and recordings have created a new interest in the organ
for many people. A recent review stated, " . . .if more organ
concerts were as carefully programmed and excellently performed, the
organ would again be at the forefront of the musical public."
Vollum
Estate in Portland, where he played the former San Francisco Paramount
Wurlitzer, his preparation consisted of regulating tremulants and
pipes and setting his combination pistons. At the last minute this
song was suggested from a conversation about Fanny Brice. This version
is as close as my memory permits.
The closing selection is my version of George’s studio recording
of 76 Trombones. Historically important, this was the opening selection
at his legendary final concerts at the San Francisco Fox Theatre in
1963, just prior to the theatre’s demise. The grandest of all
theatres built, this was George’s musical spiritual home. The
organ, a four manual thirty-six rank Wurlitzer, whom he nicknamed
“Ethyl,” was his favorite instrument. As a child, he was
inspired by his visits to the Fox and especially its organ. His dreams
of success were realized during World War II when he was appointed
the Fox house organist, which launched his phenomenal world famous
career. It’s awesome to think that nearly five thousand people
from around the world attended each of these two final concerts that
began at midnight. No organist had ever before attracted an audience
of this size at this time of the evening, and probably never will
again. George, absolutely definitive!!
While I may have compromised my personal promise not to copy George,
I hope this has created an essence of his musical styles and tastes.
He could likely be remembered as the most important organist of this
century. While his classical counterparts (many were great friends)
were tremendous players, none had the heart, understanding and above
all, the creativity of George Wright. To close with another Wrightism,
“enjoy.”
Jonas Nordwall—2000
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