About Music for a Great Space
The Music for a Great Space series originated as an organ series to feature the Fisk Op. 82 organ which resides at Christ United Methodist Church. Charles Fisk spoke to the congregation at CUMC after the installation of the organ saying that it should be shared with the community because of the special qualities of the instrument and the acoustic in which it is housed. MGS founders Henry & Lucy Ingram decided to begin the series and sought advice from Joseph and Dorothy Kitchen (parents of famed Borromeo First Violinist Nicholas Kitchen). 1992 was the inaugural season of MGS. After a few years of successful concerts, Henry and Lucy decided to branch out and invite other genres of artists and ensembles to perform on the series as well, but have kept two of the concerts as organ concerts remaining true to the history of the series.
The Mission of Music for a Great Space is to present a series of inspiring musical performances and educational offerings, opening doors to the diverse cultural interests of the Piedmont Triad Community.
To hear more about the history of MGS, click on the video of Lucy recounting the start of the series.
CVNC Factory Seconds Review Sept 13, 2019
CVNC Valitutto Review March 1, 2019
Go Triad 2019 Arts Events Jan 8, 2019
Guilford Woman Cover Story April 2018
Music for a Great Space presents Sidney Outlaw Jan 1, 2016
Music for a Great Space exceeds fundraising goals Aug 27, 2015
Love, Marriage, and Music Oct 4, 2001
ED Rebecca Willie & AD Lucy Ingram
Photo by aesthetic images photography
MGS Mini-Interview Series
Members of the MGS community who receive our email newsletter get a behind the scenes interview with our performers before they arrive. To sign up for the email newsletter, click here.
Marya Fancey - President
2019-20 Board of Directors
C.B. FISK, INC., OPUS 82, 1982
Statement by Charles Fisk October 1982
Opus 82, the organ we have just completed for Christ United Methodist Church in Greensboro, like all our instruments, is singular in its concept and execution. This church is larger and loftier than churches we are normally privileged to work in; such spaciousness suggested to us that a tall instrument standing clear and free in the right front corner would be a welcome center of attention matching existing centers of worship table and pulpit. The usefulness and closely knit character of the congregation suggested, too, that the organ should speak its mind with vigor.
Tonally, we have built an organ that has no great number of stops but that makes exceptionally efficient use of those it has. The breadth of knowledge about organ and organ music that currently pervades North Carolina’s rich musical life has led us to provide the broadest historical palette of colors available resources would allow. Among these are a complete Grand Jeu and Petit Jeu for classical French music, complete flute and reed chorus in the classical German style, a Swell division typical of nineteenth-century French organs of moderate size, flutes of all kinds, and—perhaps most important of all—the gravity and nobility that comes from open 8' pipes on the Positive, open 16' pipes on the Great, and stopped 32' pipes on the Pedal. Polished copper was chosen for the largest open pipes as much for its musical excellence as for the warm visual quality it lends to the church’s lovely brick interior.