Interview with Charles Higgs
by Karla Castner 

Organist and Clarksville native Charles Higgs returns to St. Louis to perform two movements from Léon Boëllmann’s “Suite Gothique,” part of the program’s tribute to Monsignor Luca. Here Charles talks about the road to becoming an accomplished organist – his early fascination with this complex instrument, the people and experiences that drew him to the organ, and those who helped develop his craft. He next offers some insight into building an organ concert program, including choosing music that showcases the instrument’s full resources and acoustics.

Shifting to his St. Louis experiences, Charles recalls performing at the May 2006 concert that celebrated the new church and the Rodgers pipe/digital organ and explains why he selected “Suite Gothique” for his performance during the June 6 concert.  Not only is Charles an accomplished organist, he’s also a highly entertaining interview subject!

What led you to take up the organ- can you point to an “AHA” moment or event or was your decision a more gradual one?

Great question! I jokingly say that when I was born the doctors told my parents, “We’re sorry Mr. and Mrs. Higgs, he’s going to be an organist and there’s nothing we can do.” The pipe organ has been a major interest and passion as early as I can remember. During childhood, my Grandmother had a small, tabletop electric reed organ in her home. Many hours were spent tinkering around, trying to learn pieces by ear, (and surely driving her crazy in the “artistic process”)! She and I used to attend the 4:00 pm Mass at St. Louis. At the time, Judy Bennett was one of the organists, and during the postlude I would practically drag my grandmother to go watch Judy play. The sights, sounds, and feel of the organ were mesmerizing. Further, the fact that one person could lead an entire assembly of people in the majesty of sacred music was indescribable. From that point on, this boy was going to become a church organist.

Did you grow up in a musical family?

My parents would say the only thing they played was the radio. My grandfather played the accordion and banjo, and we believe that a distant relative may have been a church organist, but in our immediate family the only musician was me. My parents, siblings, and relatives have been extremely supportive of my musical studies and career. Let me tell you, raising an organist earns one a medal of honor. In terms of financial cost, it is not an inexpensive undertaking, however great the rewards may be.  The other “cost” is having to deal with the “dramatic artistic type” personality—organists can be rather intense, shall we say.

What’s the best piece of advice given to you by one of your organ teachers?

There are two teachers in particular that greatly influenced and shaped my development as an organist. My first organ teacher was Mr. Saunders Allen, currently the Chair of Fine Arts at St. Vincent Pallotti High School in Laurel, where I began organ studies sophomore year. He was extremely encouraging and insisted on developing and maintaining a strong piano technique as well. He would say, “the hands should always be able to play what’s required of them.” While pursuing a Master’s Degree at Mercer University in Macon, GA, the late Dr. Robert Parris, Professor of Organ, would say in a rather humorous, yet old-school-football coach-style, “would you just relax and play? Don’t be a hero, focus on the rhythm. Your audience needs something to hang on to!” I owe my musical career to those two gentlemen, and will be forever grateful.

How do you prepare for a recital/concert, especially if you’ll be playing the organ at the concert venue for the first time?

It depends on several aspects: First, what type of venue/occasion? Will the performance be in a concert hall, house of worship, or home? Second, is the performance for a worship service or concert? Third, what is the versatility and size of the organ, as well as the acoustical environment in which it lives? For concerts I generally select repertoire that serves several functions, the primary ones being: (1) “audience friendly,” such as a “Trumpet Voluntary” or Bach Prelude and Fugue, (2) something quieter to “cleanse the pallet,” and (3) something that showcases the instrument’s full resources and acoustic, such as a fiery French toccata.

You performed at the inaugural program (May 7, 2006) of the Concert Series, which also featured noted Baltimore organist Henry Lowe.  (Do you remember) what selection(s) you played? Any particular memories stand out from that concert?

What a great afternoon for St. Louis Church! I was filled with unbridled joy to be in our new grand, state-of-the-art, gorgeous sanctuary, to celebrate the occasion with our parish family, brilliant artists, and to perform on our new, magnificent Rodgers organ. That evening I played the Finale from Widor’s Seventh Symphony in A minor. Among my favorite memories: (1) hearing Henry Lowe and Jay Dausch play/accompany on the organ, (2) the excitement of the historic occasion amongst the St. Louis Parishioners, (3) a well-deserved tribute and deep thanks to Msgr. Luca for his vision, leadership and love of the St. Louis community.

You’ll be playing selections from Léon Boëllmann’s Suite Gothique as part of the program’s tribute to Monsignor Luca. Why did you select these particular pieces? T

hese two pieces were selected for several reasons: First, because of the “French Connection” with the parish’s patron saint. The second reason is the two pieces showcase the vast, colorful resources of the Rodgers organ. The lyrical “Prière à Notre-Dame'' uses the softer, orchestral and soloistic stops of organ. The piece in itself is truly “a prayer to Our Lady.” The “Toccata” showcases the dramatic, fiery reeds and grander stops of the organ, ending with the full resources of the instrument. And honestly, it’s a thrill to play!

If you could add one more selection to play for Monsignor Luca, what would it be and why?

It would be the final movement “Dialogue sur les Grands Jeux” from Nicholas de Grigny’s Veni Creator Spiritus. De Grigny (1572-1656) was a composer during the French Classical period. His music is synonymous with the great Louis XIV. The music of this particular era was grand, noble, full of musical pomp, and invigorating. The reason for selecting this specific piece is rather simple--many moons ago while I was practicing this movement,  Msgr. Luca walked into the church and commented on how much he loved it. I'll just need to hold that piece in reserve for the next time!