Organist Nathan Laube (’09) on Craft, Curiosity, and Curtis’ New Pipe Organ

Internationally-acclaimed concert organist, pedagogue, and organ consultant Nathan Laube (’09) has built a global reputation for his thoughtful artistry and leadership in the organ world. Currently associate professor of organ at Eastman School of Music, he also enjoys an extensive recital career, performing at celebrated venues such as Vienna Konzerthaus and Berlin Philharmonie—while advising major pipe organ projects around the globe. Read on for our one-on-one with Laube on his formative artistic moments, the magic of historic instruments, and what makes Curtis’ new organ remarkable.

As an internationally-acclaimed concert organist, you’ve performed in some of the world’s most iconic venues—from cathedrals like St. Paul’s in London to Notre Dame in Paris. Looking back, is there a particular performance or milestone that felt especially meaningful in shaping your artistic journey?
An organist’s concert experience is unusually defined by the fact that we don’t tour with our instrument; we encounter a unique organ at each venue. For me, the most meaningful moments are when repertoire, organ, and building come together in expected—or unexpected—ways that touch me to the core. Often, it’s those smaller country churches in Niedersachsen or tiny villages in Provence, where perfectly preserved, humble organs become the catalyst for an unforgettable “tasting menu” of a particular repertoire. These places also have devoted audiences, for whom the organ remains an emblem of centuries-long civic pride—and that’s pure magic.

You’ve played historic organs all over the world. If you could take a student to experience one organ anywhere on the planet, which instrument would it be—and what would you want them to notice about it?
Preserved pipe organs essentially hold up a mirror to nearly 650 years of music history and, I would argue, reflect broader webs of cultural values. They pose challenges by being infinitely diverse and unstandardized by all imaginable rubrics—keys, pedals, variety of stops, temperament. There’s also no fixed interpretive concept which will satisfactorily “unlock” the same work on two vastly different organs—and that is wonderful!

“Access to and curiosity about these instruments is the gateway to true understanding of our repertoire. There’s nothing more satisfying to witness students palpably experience those eureka moments and instantly hear the results in their playing.”

Your work spans performing, teaching and mentoring young musicians around the world. What projects, performances, or collaborations are you especially excited about right now?
I’m honored to have been invited as a visiting fellow at St. John’s College, University of Cambridge (UK) this autumn, during which I’ll have a little time to undertake some long-term research projects. Consulting on new pipe organ projects also aligns naturally with my passion for sound aesthetics and organ design, and I’m thrilled to be involved with major projects for organs across the globe. For me, it’s the ultimate unity of all my greatest loves—architecture, design, and organ sound—all filtered through one’s research, study (theory), and experience performing (praxis).

My students also keep me on my toes in the best of ways. They are inquisitive and diverse in their repertoire interests and career ambitions, and they inspire me to give everything I can to prepare them for our field.

You arrived at Curtis when you were just 16 years old. What was the biggest surprise or adjustment for you during those early years, and what advice would you give a student preparing to make that leap?
I feel as though I both began a new life and had to grow up very quickly in Philadelphia, in equal measure. The sense of expectation was immense, but so was the thrill of searching to realize that potential. I can’t emphasize enough how fortunate I was to have Alan as my mentor during this period—someone who was demanding and exacting, but who also gave me an extraordinarily long leash to experiment, make artistic decisions, and make plenty of mistakes. I was also privileged to have an extraordinary cohort of organist colleagues and friends who taught me just as much—about music, and about myself.

“There was an unspoken understanding that great art also exists in frameworks, and we must search to understand our relationship to those contexts if we really wish to serve the art—not our egos.”

This season marks the unveiling of Curtis’ new pipe organ, whose specifications you helped shape alongside other alumni. For someone new to the organ, what’s one thing they might be surprised to learn about this instrument—and what makes this particular organ special?
One might say that the Dobson Opus 100 represents one possible realization of the eternal puzzle of the eclectic organ. It is not an organ which literally “pulls out all the stops,” much in the same way one wouldn’t use every spice in a kitchen cabinet in a single dish. Rather, it’s an organ designed to help students develop a discerning taste for carefully combing compatible sonorities rooted in clear historical references. Like fine cuisine, it’s a balancing act of salt, sweet, bitter, sour, and umami flavors. When they come together in the right proportions, the result is a feast for the ears.

Learn more about Nathan Laube at nathanlaube.com.

Interested in learning more about Curtis’ new custom-designed pipe organ? Read more and join us at our celebratory dedication recital on Tuesday March 31. Tickets are free, but advance registration is required.