The Legendary First Aston Magna Group Photo

Aston Magna, June 1973 (click pic for larger image)

Courtesy of Anthony Martin, who writes:

Dear Paul, this might be worthy of posting, so that we can get corrective ID’s on the folks I have misremembered or misrepresented. This is from June 1973 after the two-week debauch that was the beginning of Aston Magna. Missing from the photo, among others, Michael McCraw.

[Editor's note: if you have an ID correction, please email me at paulfesta at gmail dot com and I'll update this post.]

Seated in front, left to right:
Deborah Robin
Frances Fitch
Ross Keiser
(?)
Jane McMahan

Next row, standing:
Nina Stern
James Wyly
Mary Wyly
Ray Erickson
David Behnke
Hannah Rose
Paula Stone
Judy Linsenberg
Anne Hornbostel
(?)
Jane Eston
Randee Berman

Next row, standing
Anthony Martin
Stanley Ritchie
Jay Bernfeld
Leland Tolo
Jaap Schroeder
Albert Fuller
Bernard Krainis
Robert Dunbar

Standing in doorway:
Edward Parmentier
Emily Romney
John Metz

The young Albert Fuller in the Washington National Cathedral

Albert Fuller as the angel with flaming feet in John de Rosen's mural 

in the Washington National Cathedral's Chapel of St. Joseph of Arimathea:

"The Entombment of Christ" (photo credit: Moon)

Oct. 31 brought the Washington, DC premiere of Apparition of the Eternal Church, the Messiaen film of which Albert is both star and muse. The following day, I played, with pianist Jerome Lowenthal, the DC premiere of Messiaen's newly published violin and piano Fantaisie along with the other two Messiaen violin pieces - and since all three are short, Jerry and I filled out our hour in the Coolidge Auditorium with ten minutes of his giving a kind of Peter and the Wolf lecture-performance of "The Loriod" from the Bird Catalogue, and my reading from my book based on the film (thus also starring Albert) OH MY GOD: Messiaen in the Ear of the Unbeliever. 

Because I played the recital on a Library of Congress violin (the "Betts" Stradivarius), I needed to be in DC a few days before the concert to get to know the instrument. I had enough spare time to tour around the city with friends who live there, and the three of us spent one afternoon at the Washington National Cathedral. That's where Albert was a boy soprano and discovered the organ, his "first instrument," within whose swell box he would have, as a young boy, the formative erotic experience he describes so gracefully both in the movie and in his memoir Alice Tully: An Intimate Portrait. The Bishop's Garden of the cathedral is where Albert's ashes are scattered, and so my visit was more of a religious experience than I usually associate with going to church. 

What I'd forgotten about until we got to the cathedral was the presence there of a mural Albert modeled for when he was in high school. Described on page 48 of OH MY GOD, the mural is called "The Entombment of Christ" and features an angel with flaming feet, for whom Albert was the 16 year-old model (an irony he later noted, given his struggle with peripheral neuropathy). The library had sent me xerox images of the mural, but my friend Moon took the above picture, which gives a much better idea of the work. 

Also wonderful to see St. Alban's School, the setting of so many Albert stories, and the Church of the Ascension and St. Agnes, where Albert got fired from his last organ job for playing "oriental and barbaric music" during a service (Bach's chorale prelude "Oh man, now weep for thy great sin").

Albert Fuller in the Washington National Cathedral

The executors of Albert's estate generously gave me Albert's framed program from his 1950 organ recital in the Washington National Cathedral, in which he gave one of the very first US performances of Messiaen's Ascension Suite. Below find an image of that program, preceded (above this text and below it) by some illustrated background from the just completed second edition of my book OH MY GOD: Messiaen in the Ear of the Unbeliever, which is based on my film Apparition of the Eternal Church, of which Albert is both star and muse.

As usual, remember to click on these images to get a larger and more legible version. Also, the director's commentary at the bottom of page 39, above, continues onto page 40, which isn't included in this blog post. Last, if you're in Dallas, Chicago, Sackville (New Brunswick), Austin, Concord, Washington D.C., Phoenix or London, check this page for screenings between now and the December 10th Messiaen centenary.

Albert's movie at Library of Congress, the Barbican and beyond

Albert onscreen in New York, accompanied by Bill Trafka at the organ, at St. Bartholomew's Church in February

Apparition of the Eternal Church, the Messiaen film of which Albert is both muse and star, will screen throughout the U.S and twice in Europe between now and what would have been Messiaen's 100th birthday, on December 10th. I'll be attending most of these shows, so if you catch one please be sure to introduce yourself - one of the best things about touring with this film has been meeting other friends and former students of Albert's.

I'm especially excited about this tour because it will take the film to Washington, D.C. That's where Albert gave his early Messiaen premieres in 1950, at the National Cathedral, and it was in the National Cathedral that he had the formative musical and erotic experiences that contribute so vividly both to the film and to his Alice Tully book. I was grateful Albert lived to see the film's New York premiere at St. Bart's in November 2006, but boy do I wish he could have seen it screen at the Library of Congress. Hot shit on toast, honey. That's really wild.

Friday, September 5, 2008, 9 p.m.
Rome premiere of Apparition of the Eternal Church
Rome International Film Festival (one of the finest emerging film festivals in the southeastern United States)
The Clocktower, 2 Government Plaza
Rome, GA
$7.50 general admission
NB - I will not be attending this screening

Friday, September 26, 2008, time TBA
Norway premiere of Apparition of the Eternal Church
With live organ accompaniment
Cinemateket Trondheim
Vår Frue Kirke (The Church of Our Lady)
Free admission

Friday, September 26, 2008, 1 - 3 p.m.
Texas premiere of Apparition of the Eternal Church, with Q&A/reading/remarks
Southern Methodist University symposium "Olivier Messiaen: The Musician as Theologian"
Smith Auditorium, Meadows Museum, 5900 Bishop Blvd.
Dallas
$15 general admission or $5 for students (contact linhn@smu.edu or 214-768-3515 for more information)

October (dates, times and admission TBA)
Loyola University Museum of Art
820 North Michigan Avenue
Chicago

Monday, October 4, 2008, 11:15 a.m.
Illinois premiere of Apparition of the Eternal Church, with Q&A
University of Chicago Presents 2008 Messiaen Festival
The Franke Institute for the Humanities
1100 East 57th Street, JRL S-102
Chicago
Free admission

Friday, October 8, 2008, 7 p.m.
Screening of Apparition of the Eternal Church
With live organ accompaniment, Q&A/reading/remarks
Saint James Cathedral
Wabash and Huron
Chicago
Free admission

Monday, October 20, 2008, time TBA
Austin premiere of Apparition of the Eternal Church, Q&A/reading/remarks
Texas premiere of Messiaen's Fantaisie for violin and piano (pianist TBA)
University of Texas at Austin
Venue and admission TBA

Friday, October 31, 2008, 8 p.m.
Washington, D.C., premiere of Apparition of the Eternal Church
Library of Congress
Mary Pickford Theater
James Madison Building, 3rd floor
Independence Ave SE, between 1st & 2nd Streets
Free admission; reservations required

NB: (from the LOC website) RESERVATIONS may be made by phone, beginning one week before any given show. Call (202) 707-5677 during business hours (Monday-Friday, 9:00 am to 4:00 pm). Reserved seats must be claimed at least 10 minutes before showtime, after which standbys will be admitted to unclaimed seats. All programs are free, but seating is limited to 60 seats.

Saturday, November 1, 2008, 6 p.m.
Washington, D.C., premiere of Messiaen's Fantaisie for violin and piano, with Jerome Lowenthal, piano
Remarks about the Fantaisie, Messiaen, and Apparition of the Eternal Church; reading from OH MY GOD: Messiaen in the Ear of the Unbeliever
Fantaisie performed on a violin from the Collections of Musical Instruments
Library of Congress
The Coolidge Auditorium
10 1st St, SE
Washington, DC
Free admission

Monday, November 10, 2008, 7:30 p.m.
Arizona premiere of Apparition of the Eternal Church
Beyond Messiaen
Arizona State University
Frank Lloyd Wright's Grady Gammage Memorial Auditorium
1200 S Forest Ave
Tempe, Arizona
Free admission

Monday, December 8, 2008, 5:45 p.m.
U.K. premiere of Apparition of the Eternal Church
In conjunction with the Barbican Centre's 7:30 p.m. BBC Symphony Orchestra concert featuring Messiaen's rarely performed Un sourire
The Barbican Centre
Cinema Three
Silk Street
London
NB: My appearance at this appearance is uncertain.

Aston Magna tribute to AF

Aston Magna, the music festival in the Berkshires that Albert founded, posted this tribute to him along with the photograph above (with Jaap Schroeder, Fortunato Arico, and Stanley Ritchie).

Trombones in Dido and Aeneas? Remembering Albert Fuller - a reminiscence by Larry Palmer

Larry Palmer (photo credit: Southern Methodist University)

Trombones in Dido and Aeneas? Remembering Albert Fuller
The September 22, 2007 death of Albert Fuller brought back warm memories of several visits the fine American harpsichordist and educator made to Dallas. Perhaps the most memorable, amusing, and culinarily satisfying one occurred during the rehearsal period for the Dallas Opera’s production of Purcell’s Dido and Aeneas in 1972. Although I had recently played harpsichord continuo for a Dido performance in Norfolk, the Opera in those days disdained local artists if they could import someone at great expense from Milan or New York. The management did, however, deign to rent my Dowd harpsichord since neither Opera nor Symphony owned such an “off-beat” instrument.

Albert had called me from New York to ask “why [the hell] they would bother to fly him such a distance when I was already there?” but I assured him that the discrimination was general, not personal, and that he should just enjoy the production (which turned out to be costumed in futuristic, space-age costumes), and charge them a high fee.

One evening Albert arrived at the Fair Park opera theater to tune the harpsichord, but became alarmed when two trombonists entered the pit and began warming up. Perhaps, he thought, the scoring has been altered to match the costumes? But when a tuba player joined in he decided it was time to ask the musicians what was going on.

The brass players informed him that it was not Dido that was to be rehearsed that evening, but its companion work, Leoncavallo’s I Pagliacci (nearly as strange a coupling as the costumes and staging). Albert was quite incensed that the management had changed the rehearsal schedule without informing him, thus resulting in his flying (first class) from New York when he would not be needed.

I received a telephone call relating this sequence of events, concluding with “Well, I’m here, so before I fly back home let’s have dinner at the best restaurant in Dallas – and charge it to the Opera!”

I had dined only once previously at The Old Warsaw, then considered one of the finest culinary experiences available in the city, so that’s where we had our leisurely and memorable meal. I don’t know if this was a prime example of “turning annoyance into pleasure” or simply the best way to ignore a scheduling snafu, but it was certainly a civilized way to deal with the matter, and remembering it reminds of a happy conversation with a distinguished fellow musician. Ave Albert, et vale.

Comments welcome. Please address them to Dr. Larry Palmer, Division of Music, Southern Methodist University, Dallas, TX 75275
lpalmer@smu.edu

Originally published in The Diapason (Chicago), February 2008

Albert Fuller photos by Paul Festa

Rummaging through old hard drives, I came across these photographs of Albert and friends:












In June, 2002, Albert and I were in Switzerland at Hugues Cuenod's summer chateau for his 100th birthday. I took a slew of pictures of him and Huguie and these are probably the best. We were on Huguie's lawn behind the chateau and Albert was reading Huguie something - what I don't remember.

Actually, I didn't take this photo - it was taken by my friend Anthony Lazarus over drinks at the bar I set up in my apartment - the Bar Nothing - which was modeled on Albert's Positive Bar. In the background is the portrait of me by Frank Yamrus, which would subliminally inspire the film I would later make starring Albert.

This picture was taken at Nick & Tony's, the restaurant down the block from Albert's place on 67th Street where he ate dinner more often than not in his last years. Albert and I had gone there for a bite after a few hours at the Positive Bar, and when we were finishing up, in walked friends. From left to right, above Albert: Paul Festa, Lowell Liebermann, Bobby White.

When my film Apparition of the Eternal Church screened in New York in February, Bill Trafka accompanied it live on the organ. The credits are set to Messiaen's Banquet Celeste, and the final chord sounds on this slow-motion clip of Albert at the moment he remembers the name of the work he's been listening to (Apparition de L'Eglise Eternelle). I got this shot of Albert and Bill during the dress rehearsal.