,-

Paul Jenkins

PREFACE

The primary purpose of my writing recollections of the Beckerath organ in Elizabeth Hall at Stetson University is to provide a record for the Archives of the University. The story contains items of human interest as well as technical data, much of which will have meaning only to organists and organ builders. It does not purport to be a scholarly document, but rather an informal account of an organ of great beauty and historic significance.

I wish to express my sincere appreciation to my wife, Janice, for her advice in the preparation of this booklet. Her help has been indispensable. I also want to thank Danielle Laprime, director of Publications and Communications Services at Stetson University, for her assistance in preparing this manuscript for publication.

Paul Jenkins, Professor of Organ, Emeritus DeLand, Florida July, 2004 IN MEMORY OF RUDOLF VON B ECKERATH (1907-1976), MASTER ORGAN BUILDER AND PERSONAL FRIEND. THE BECKERATH ORGAN IN ELIZABETH HALL AT STETSON UNIVERSITY: REcoLLECTIONS

he creation of the beautiful Beckerath Organ in distinguished teaching career in Louisville, and from his Elizabeth Hall Chapel at Stetson University reputation I knew that he had not come to Florida to retire. resulted from a dream that I had nourished for These were the two factors that led to my decision to move to some years before I joined the School of Music DeLand- the poor equipment and Dr. Almand's vision. We faculty at Stetson in 1956. It was also the result could only go one way- UP! On the campus at that time there of the faith and support given to the project by were two electronic instruments (a Baldwin in Elizabeth Hall various members of the University administration. housed in the old Cole and Woodberry organ case and an early As an undergraduate organ student at Davidson College in the model Hammond in Allen Hall) and three practice pipe organs: late 1940's I was fortunate to have as my organ professor, Robert a 2-rank "Petit Ensemble" dating from the mid-1930's, a Noehren, who was then at the beginning of his teaching career. 3-rank Wicks purchased in 1954, which was suffer• ing from Unfortunately for me at the time, he accepted the position of various "ailments", and a newly-purchased 4-'tank Moller University Organist and Professor of Organ at the University of ''Artiste" which arrived on campus almost the s! me day that I Michigan as I began my senior year. A year later I enrolled at did. I was to do most of my teaching on the Moller for the next Michigan where I earned a Master of Music in Organ in 1952 five years. (and also met my wife, Janice, who was an undergraduate organ During the summer of 1957 my wife and I visited her parents major). During these years, through Noehren's influence, I in Rockford, Michigan. I had been in contact with Ralph Schultz became fascinated with the resurgence of interest in mechanical in Cleveland to gain information about the Beckerath action (tracker) organs. In the United States this movement was installation, so on our way back to Florida we met two of my barely in its infancy, while in Europe organ builders had been organ students, Conrad Grimes and Charles Woodward, and an spearheading this trend for a number of years as an outgrowth of Orlando organist friend, Jack Bookhardt, in Cleveland. They had the "Orgelbewegung" (). driven from Florida in Jack's very small Renault. Ralph, even From 1952 untill954 I was organist in a church in Charlotte, though he had been besieged by several hundred visiting NC, and from 1954 to 1956 I was an instructor of organ in the organists since the completion of the organ at Trinity, graciously School of Church Music at the Southern Baptist Theological opened the door for us for an entire day, and even into the Seminary in Louisville, KY. During the summer of 1955 I evening. All of us were overcome by the profound beauty of this returned to the University of Michigan to investigate the new extraordinary organ. It had been my experience for so many years Doctor of Musical Arts degree which recently had been to play organs where one might find one or two beautiful introduced to accommodate those musicians who were interested registers, but here at last was an organ where every stop was in a doctorate concentrating in performance. I was accepted into voiced to musical perfection and contributed in a significant way the program, but specific requirements for the degree were not to the tonal palette. I returned to Florida with great enthusiasm yet formulated, and I chose not to enter such an indefinite and with a determination to strive for an organ by this German program. There was another organ student studying with builder, if and when the time came for a new organ for Stetson. Noehren at the University that summer, Ralph Schultz, who was Jack Bookhardt had brought a tape recorder to Cleveland, so we organist and choirmaster of Trinity Evangelical Lutheran Church recorded many of the characteristic colors to give interested in Cleveland. The church had been consulting with Noehren listeners at home some concept of this amazing new sound that about the purchase of a new organ, and he had highly had come to the United States. recommended the organ workshoi? of Rudolf von Beckerath in A few weeks after our return to DeLand tragedy struck: Dean , . The church was in the midst of negotiating Almand was killed in an auto accident in Jacksonville. Naturally, with the firm, and Ralph had in his possesion the blueprint of a the loss was devastating. Aside from the profound personal loss, four-manual and pedal tracker organ of 45 stops that had been none of us knew what direction the School of Music would take, submitted. For that time in American organ history it was an for the Dean's amiable personality and leadership qualities were incredible venture to imagine. The contract was signed shortly such a vital part of the vision that many of us had. So the school after that summer, and the instrument was completed in April year began under these dark circumstances. However, there was 1957. one particularly bright spot, and that was the appointment of I left Louisville and joined the faculty of the School of Music Donald Yaxley, Professor of Brass, as School of Music "Secretary." at Stetson in 1956. Although there were some organ students on After a relatively short time it became obvious that he needed the scene, the equipment and facilities were meagre, but there more authority to.fulfill his duties, and he was named Acting was an impressive Dean of the Music School, Dr. Claude Dean. Almand. Claude had come to Stetson in 1953 following a O ne evening in November our phone rang. It was the Dean of wo uld have been at least one­ the Libe ral Arts School, Dr. Hugh McEniry. He questioned me third more, plus the fact that about the current cost of an electronic organ. I replied it would an organ of this type was not depend upon its use - for his living room, fo r a funeral parlor? being produced by an "No," he replied, "an instrument on which you could teach." My American builder (one heart sank, but I informed him that the price of a concert model possible exception: Charl es Hammond was approximately $5,000. I added that for that Fisk in Massachusetts had just amount of money one could purchase a small begun some initial work with adequate for teaching; in fact, if one were to spend that amount similar com:epts). in Europe it would be possible to secure a large r organ. Cmn'munications involving "In other words," he replied, ' e could purchase two for various details continued $10,000. " He requested that I prepare a prospectus to present to between Hamburg and the administration. A few minutes after this conversation the DeLand for several months. phone rang. It was Don Yaxley. I cannot Some discussion arose about Edmunds print his exact expressive words in this potential problems with story, but Dean McEniry had called him. humidity, but never with any As a result he was elated about this new great consequence. In order to avoid any such problems Mr. von development. I immediately started Beckerath insisted on using American woods in critical parts of working on the prospectus. As I his organs sent to the United States. After Stetson's orga n was contemplated the possibilities, my installed, several years passed before air conditioning was thoughts drifted to the notion that a small introduced, and there were never any problems involving the two-manual organ appropriate for choice of woods. Another matter, which eventually resulted in a Yaxley Elizabeth Hall, purchased in Germany considerable delay in the signing of a contract, was a requirement ($1.00 = 4 DM), might be available for of the Stetson Board of Trustees that some form of performance $15,000. I submitted this as "Proposal!\', bond be secured, particularly since it pertained to a foreign followed by "Proposals Band C" for two practice organs: "B", one company. Dr. J. Ollie Edmunds, President of Stetson, was in for European purchase, and "C", one for U. S. purchase for the contact with the President of the University of Richmond whose purpose of a cost comparison. After presenting these figures I was school was also in the process of arranging a contract with Mr. give n permission to investigate "Proposal A ," and exciting times von Beckerath. Eventually, an arrange ment was made with Mr. were se t in motion. von Beckeratb's bank in Hamburg to receive funds periodically A letter was immediately mailed to Rudolf von Beckerath in from Stetson which in turn would be distributed to the Hamburg, Germany on November 23, 1957 requesting Beckerath workshop as work progressed, but more of this matter information about how large an orga n would be possible with our later. existing funds. A letter dated November 30 arrived fr om Mr. von Of course , the organ at Trinity Lutheran in Cleveland had Beckerath's wif~ , Veronika, informing me that he was in created considerable controversy. Two notable letters from finishing an organ, and that I would hear from him shortly. After Robert Noehren and Ralph Schultz praised the instrument in what seemed an interminable period of time, a letter dated every res pect, but word to Dr. Howard Hopkins, Dean of the January 7 from Mr. von Beckerath arrived with the requested University, from a friend in the Cleveland area was highly information: a beautiful stop-list for a two-manual and pedal critical. Dean Hopkins had an occasion to attend a mee ting in organ. Chicago, so made the decision to come home by way of Cleveland to hear and see for himself. He attended a Sunday Hauptwerk Brustwerk Pedal service at Trinity, after which he was given a tour of the organ by Ralph Schultz. He was overwhelmed! During this period I was Principal 8 · Lieblich 8 Subbass 16 also receiving strong support from Don Yaxley and Dean

Gemshorn 8 ~ Rohrflbte 4 Oktavbass 8 McEniry. As the story unfolded, Mr. von Beckerath made plans Octave 4 ' Principal 2 (lower octave from HW Principal) to come to Canada and the United States in May, arriving in Spielflbte 4 · Sifflote 1 Gedacktbass 8 DeLand on May 17 for several productive mee tings . In a meeting Nasat 2 2/3 Sesquialtera 2 ranks Oktave 4 with President Edmunds be was ass ured that a contract wo uld be Flachflbte 2 ICymbel 3 ranks Nach thorn 2 in his bands within a couple of wee ks, and a joint performance Mixtur 4-5 ranks Krummhorn 8 Rau sch pfei fe 3 ranks bond pl an with the Unive rsity of Richmond seemed imminent; Trompete 8 Fagott 16 two weeks ul timately turned into 14 months. Some years later Mr. von Beckerath told me that be was rather hurt that such an The price of this organ would have been $16, 163 , excluding arrange ment was required since he considered himself to be a shipping costs, room, meals and transportation for the assemblers. person of impeccable integrity. Of course, during those 14 This was an excellent price; the U.S. price for this size organ months I grew extremely anxious and impatient, and looking back I am sure that members of the administration also grew #3 rather impatient coping with this impetuous young 29-year-old Great Swell Positiv Pedal organ teacher who had such unconventional ideas at that Qui ntadena t 6 Qu intadena 8 Gedackt 8 Su bbass 16 particular moment in American organ history. It was a difficult Pri nzipal 8 Gemshorn 8 Rohrfl6te 4 Oktave 8 time, but it all progressed to an exciting outcome that none of us Rohrfl6te 8 Gemshorn Celeste 8 Prinzipal 2 Spitzgedackt 8 had ever thought possible. During the 14-month period there Oktave 4 Prinzipal4 Siffl6te 1 Oktave 4 were several significant developments. Spielf16te 4 Koppelfl6te 4 Sesquialtera 2 ranks Nachthorn 2 O ne day in a chance encounter, Dr. James Stewart, Dean of Nasat 2 2/3 Blockfl6te 2 Cymbel 3 ranks Rauschpfeife 3 the Chapel at Stetson, questioned me about the possible cost for Flachfl6te 2 Nasat 1 1/3 Krummhorn 8 ranks adding a third manual to the proposed organ. I estimated it Mixtur 5-6 ranks Scharf 4 ranks Fagott 16 would be approximately $10,000. He thought that he knew Trompete 8 Schalmei 4 someone of means who would be interested in donating the funds, and subsequently I was told that the person had agreed to I chose specification # 1 with several modifications: an O ktave help. I proceeded to request some ideas from Mr. von Beckerath 2 rather than a Gemshorn 2 on the Great, a Trompete 4 rather which produced the following three specifications: than a Schalmei 4 in the pedal, and a Subbass 16 added in the Pedal. we re also added on the Swell and Positiv. The 1 #1 Metallflote in the Pedal was actually a Prinz i ~a l , so was Hauptwerk Schwellwerk Brustwerk Pedal eventually labeled Oktave 4 on the stop knob. ffhe final price Quintadena t 6 Rohrfl6te 8 Holzgedackt 8 Pri nzipal 16 for the organ was $35,000, an unbelievably small amount, even Prinzipal 8 Gemshorn 8 Prinzipal 4 Oktave 8 in 1961. Spielfl6te 8 Gemshorn Celeste 8 Rohrfl6te 4 Spitzgedackt 8 Sometime after the idea of a larger organ was introduced I was Oktave 4 Blockfl6te 4 Oktave 2 Metallfl6te 4 informed by the person, who supposedly was making additional Koppelfl6te 4 Nasat 2 2/3 Siffl6te 1 Nachthorn 2 money available, that her interest had been diverted to the new Gemshorn 2 Waldfl6te 2 Terzian 2 ranks Rauschpfeife 3 science building. I was heartbroken and shocked, but the Mixtu r 4-6 ranks Terz 1 3/5 Sch arf 4 ranks ranks administration apparently was sufficiently convinced that the Trompete 8 Quinte 1 t/3 Krum mhorn 8 Mixtur 5 ranks project was worthwhile, so deliberations continued. Cymbel 3 ranks Fagot! 16 There were two or three meetings with President Edmunds Oboe 8 Trompete 8 where various matters were discussed. The following account of Schalmei 4 these occasions is in no way intended to reflect on the abilities or #2 sincerity of Dr. Edmunds. He was totally devoted to Stetson, and Hauptwerk Kronpositif Brustwerk Pedal he proved this through his financial contributions during his Quintadena 16 Gedackt 8 Holzgedackt 8 Prinzipal 16 lifetime (e.g., his salary at Stetson was $1.00 a year) and with Prinzipal 8 Quintade 8 Roh rfl6te 4 Oktave 8 even greater generosity after his death. There was one month Rohrfl6te 8 Prinzipal 4 Waldfl6te 2 Spitzgedackt 8 during his tenure as president when there we re insufficient funds Oktave 4 Koppelfl6te 4 Siffl6te 1 Oktave 4 to pay faculty salaries, and he provided personal funds in the Spielfl6te 4 Gemshorn 2 Cymbel 3 ranks Nachthorn 2 form of a loan to cover the defic it. The University finances were Nasal 2 2/3 Nasal 1 1/3 Regal 8 Mixtur 5 ranks always precarious, and during much of this period he was Oktave 2 Sesquialtera 2 ranks Posaune 16 contending with his wife 's battle with cancer. She had been a Mixtur 6 ranks Scharf 4 ranks Trompete 8 musician , and at Dr. Edmund's request I visited her to explain Trompete 8 Du lzian 16 Schalmei 4 what type of organ I was so strongly encouraging the school to Barpfeife 8 purchase. I suppose he thought that she would find it interesting, but I also wonder if he thought she might help him better For purposes of clarity in the remainder of this story, the understand what I was proposing. divisions of the organ will be designated as follows: Dr. Edmunds could be a spellbinding speaker in his memorable Manual 2 - Great (Hauptwerk - German word for "main homespun manner, and once I heard him at a faculty dinner • work") spinning stories about his predecessors. Taking licen'se from those + Manual 1 - Positiv (Brustwe rk - German word for "breast interesting tales I must interj ect a few thoughts about the work", located in the breast of the case in front of the deliberations that took place. Dr. Edmunds frequently took console) considerable time to reach important decisions, a trait that + Manual 3 - Swell (Schwellwerk - an enclosed division with undoubtedly benefited those who appeared before him when he louvres in fro nt to control the egress of sound) served as a judge in an earlier career. However, this could be + The Pedal division, played by the feet, is self-explanatory. frustrating to faculty members who were anxious to have ideas acted upon , but the uncertain financial conditions of the unive rsity could llave been a major factor. After a financial arrange ment had been made for transferring funds to Germany, a meeting was held to determine if a contract listening to the Cleveland instrument that the Great orga n would fin ally be signed. It began in his office, wou ld be a complete tonal entity, and therefore the stops would but as discussions progressed he wished to be more accessible on the left. The original contract did not know the exact placement of the proposed provide for any combination action. Realizing the difficulties that instrument on the chapel stage. We moved would inevitably arise in performances, we decided to have to the stage a'nd proceeded to explain, but electro/pneumatic stop action with an adjustable mechanical periodically he became distracted. At the combination system (2 generals and a cancel on levers above the end of our one-hour appointment his pedalboard and 2 stop knobs on each division controlling the Furlong secretary came to the hall to remind him of respective registers). These details and other similar items his next appointment, and he immediately involved extensive letter-writing. Finally I realized that started to leave. At this point Don• Yaxley came down with both considerable clarification was desirable if all were to evolve in a fists on one of the Steinway grand pianos, shouting, "Now wait satisfactory manner. A face-to-face conversation with Mr. von just a minute! Do we get this organ or not?" Dr. Edmunds Beckerath was in order. turned abruptly and replied, "Well...I suppose so .... Ed (Edward Furlong, Dean of the Business School and Business Manager of the University), you take care of it." This was our long-awaited signal to move ahead. Dean he opportunity came for such a conversation after Mr. Furlong took the contract to Dr. Edmunds and had him sign, and von Beckerath completed the large organ for St. Joseph's I wrote to Mr. von Beckerath informing him that he should T Oratory in Montreal, Canada in the fall of 1960. The receive the contract within a matter of days. A few weeks later I dedicatory concert for the organ was scheduled, fe aturing M. received a letter from Mr. von Beckerath telling me that it had Andre Marchal, organist of St. Eustache, Paris, and M. still not arrived. I quickly notified Dean Furlong who Raymond Daveluy, organist of St. Joseph. Five of my immediately ~ hecked with Dr. Edmunds' office, only to find the adventuresome organ students (Mary Lawson, Tannis Plummer, signed contract in a file drawer. This time Dean Furlong mailed it Judy Williams, Jack Jones and Charles Moore) and I crowded (around the end of July, 1959) . into Mary Lawson's car and drove to Montreal for the occasion, Numerous details remained for resolution in the months prior and this was before Interstate highways. It was a preposterous to delivery. Of course the matter of a case design came into trip, but we were all young and resilient. The first part of the question. I raised the possibility of utilizing the existing Cole and journey was non-stop to New York City where we arrived Woodberry organ case, but Mr. von Beckerath thought that it unannounced at the apartment of Robert and Patti Fort, would be impossible. I am sure that the price for such an requesting showers and recommendations for an inexpensive arrange ment would have been absolutely prohibitive. I had been meal in the big city. Bob had been an organ student of mine favorably impressed with the Cleveland case, so suggested that when I taught in Louisville, was currently pursuing a doctorate at something of the same general concept might work for Stetson. It was a 'simple, straightforward, and relatively inexpensive apprqach, and ~e concern was to use limited funds mainly for tonal resources. It also came at a time when little was known about case design in this country, since most organs in the United States in the twentieth century had been relegated to holes in the wall with a screen in front. Unfortunately, the case evolved into a less-than-attractive utilitarian box and was not as successful as the Cleveland organ which had considerably more height. One feature of the Cleveland organ about which I had reservations was the use of false length pipes'in the fa~ad e; I requested the use of natural length pipes in tke Stetson case. Another matter pertained to the arrangement of tile stops on the console. On various occasions I have been as ked why the Great stop knobs were placed on the left of the console. Most three-manual American organs positioned the Pet:lal and Swell divisions on the left side and the Great and Positiv .on the right. Also, most American organs did not have a complete ensemble available on the Great, and it was necessary to supplement the division mostly with reeds from the Swell and/or the Swell to Great 4 coupler. When adding these registers it was easier to reach with the left hand. The Beckerath design included a Trompete 8 on the Great, and I knew from Walter Lewerenz, Helmut Kleemann and Christoph Linde the School of Sacred he three Germans was ted no time in proceeding to Music at Union organize and begin the construction. A platform for the Theological T organ had been meticulously prepared by the University, Seminary, and several and it passed examination, particularly since it had to be years later was to absolutely level. However, there were no lights on the stage. The become a beloved University electrician had recently completed the rewiring of the music professor at rest of the building, but funds had been exhausted by the time he Stetson. After supper reached the stage, so he refused to hook up the lights with the we continued the trip old wiring. I went seeking help in the emergency, but by the time for several hours, I returned the ingenious Germans had light. They had found a including a stop to piece of electric wire, a 300 watt bulb and some copper tubing replace a worn tire, which they had fashioned into a light socket, and then ran the until we became power to the tip of the bulb. This was typical of the following exhausted and found weeks; there was always a solution to any problem. These three a motel for the incredible young men were perfectionists in their trade, and they remainder of the won our hearts. night. We arrived in A few "human interest" stories involving these three Montreal the wonderful friends are in order. On the second 4ay of work following evening Unloading 56 crates Helmut sustained an ankle injury and was prop€rly treated by a and settled into local doctor. That evening I went to see the men, who had rooms rooms that Mr. von Beckerath had arranged for us at the Oratory. in the rear of Allen Hall, the official Baptist Student Union The next morning he escorted us to the organ ga llery where we building, to see if Helmut was making satisfactory progress. The were given an hour for the six of us to try the amazing fall term at school had not opened, so there were no students on instrument, Mr. von Beckerath's largest. That evening we were campus. I found them comfortably situated in the lounge given complimentary tickets to the dedicatory concert, a watching TV and enjoying a few cans of beer. I was offered a memorable event. Somehow in the midst of all the busy activities round, but reluctantly declined, since any drinking of alcohol by Mr. von Beckerath found time to spend with me to discuss faculty or students was frowned upon during those years, and various matters pertaining to the forthcoming construction of the definitely forbidden on campus. A few days later the semester Stetson organ, so the long trip was productive. I vaguely recall had commenced, and the Baptist Student Union was presenting that the return to DeLand was made non-stop with no problems, a reception for entering freshmen. Earlier in the evening, except for the absence of sleep. Christoph had placed a can of beer in the kitchen's refrigerator, The first of September 1961 came with the arrival of three planning to enjoy it after some letter writing. In the meantime, yo ung German men from the Beckerath workshop (Helmut the reception had assembled. Christoph went to the kitchen, Kleemann, Christoph Linde and Walter Lewerenz) who were to only to find that his beer had disappeared. After questioning spend the next two months erecting the new organ. The organ someone as to its whereabouts, he retrieved it from the tras h can had been shipped from Hamburg to Jacksonville in 56 wooden and paraded through the crowd to his room. The next day there crates of various sizes, but the shipment did not reach DeLand was a knock on Christoph's door by the lady in charge of until two or three days after the three assemblers did. It came via University housing. Helmut, who spoke the best English and who two fl atbed trailers of the Ploof firm of Jacksonville and was usually was the spokesman for the group, came to the door and unloaded at the north end of Elizabeth Hall. Fortunately, it was was told by the lady that this was a religious building, and early enough in the day to avoid the inevitable afternoon consumption of thunderstorm. The University did not own a mechanical hoist, alcoholic but Walker Lumber Co., located three blocks away on Church beverages was Street, kindly provided one with an operator. The crates were absolutely strewn from one end of the building to the other. They were prohibited. numbered, which made it possible to place the boxes in proper Helmut raised sequence for the erection process. Moving the crates was no himself to his full small undertaking; there was a sizable crew assembled for the height and occasion, but it mostly consisted of "supervisors" rather than informed the lady workers. A few of us "workers" fin ally put our brawn to the task that when just in time to beat the summer afternoon rainfall. growing up in Germany, beer was part of a normal diet. His .. father was a Dismantling the old case in Stetson Chapel Baptist minister in division. an organ is an arduous, tedious and time­ East Germany, and consuming job, and the success of this process determines the furthermore, if she ultimate tonal beauty of an instrument. For a successful organ were to come into his this procedure should be in the hands of an artist, one who has church wearing her developed the craft from many years of experimenting and lipstick and rouge, she listening. Mr. von Beckerath was unusually prepared with his would be thrown out. keen ear for sound, and I wish to quote from an article that I The lady was wrote for the organ magazine, The Diapason, in the February, completely undone, 1977 issue after Mr. von Beckerath's untimely death in 1976. turned abruptly and quickly departed. As Rudolf von Beckerath was not a musician , but he was reared in a far as I know, no more family which appreciated and encouraged the arts. His admonitions were grandfather was a personal friend of Brahms, and his father wo.s forthcoming. I am sure an artist and musician . As a young man he heard for the first time that when Mr. von the large organ in St. Jacobi in Hamburg ; he was Beckerath arrived two profoundly moved by what he had heard, and at that moment in months later, wine was his life he resolved to create an organ of equal beauty. Following certainly added to the the end of World War II , he returned to Hamburg and established evening festivities. hi s own organ workshop. Twelve years later, in 1957, after gaining Of course the Germans had heard of Daytona Beach, and widespread recognition as an artist-builder in Germany, he built since Mr. von Beckerath had undoubtedly told them of his "bath his first organ in North America, a large four-manual instrument for in the ocean" when he first came to DeLand, they we re anxious Trinity Evangelical Lutheran Church in Cleveland. With this one to experience' a "bath". It was an annual tradition for the instrument his artistic reputation was established in North University to open the school year with a supper or picnic for the America. Subsequent contracts were forthcoming in Montreal, faculty and staff, and this year it was held on the lawn of a motel Deland, Richmond and Pittsburgh as a result of the Cleveland in Daytona Beach. The Germans decided that they would organ. entertain themselves at the beach while we attended the picnic. As it soon became the custom when we made excursions It is difficult to estimate at close range the ultimate impact that his together, the three Germans, our two children (ages 7 and 5) , work has made and will continue to make, directly and indirectly, Janice and I crowded into our VW beatle, with one child riding on the American organ scene. Certainly the thousands of visitors in the storage compartment behind the back seat, and one to Cleveland, Montreal, Pittsburgh and other instruments have perched on someone's lap. In the middle of the picnic a massive been profoundly influenced. Many of these visitors included organ storm erupted, including two water spouts just off the beach, so builders who went perhaps out of curiosity, but perhaps even more the party quickly ended and we went in search of the Germans. logically as a result of prodding from the organ-playing community. We rode up and down Atlantic Avenue peering through the dowr{pour looking for them in the pre-arranged are a. We were We are all familiar with the impressions that were gathered by about to give up when we passed a phone booth and noticed an American organists journeying to Europe following World War II. arm waving frantically. The three men had sought refuge in this The resulting growth of dissatisfaction began to produce impossibly small structure, and had even managed to change substantive, positive changes. Landmark roles were played in this their clothes inside. We shared many good times together, and as story primarily by two organs: the organ by Beckerath for I recall, we even witnessed a rocket launch at Cape Canaveral on Cleveland and the organ by Flentrop for Mr. Biggs, installed in the one occasion. Any time that the three gave to recreation was Busch-Reisinger Museum in Cambridge. more than deserved, for they were serious, hard-working craftsmen, usually working 12-hour-days, six days a week. Once, when asked if he built a "Baroque" organ, Mr. von Beckerath responded that he built a 'modern' organ. This he accomplished, basing his work upon time-honored and proven principles which embraced the best of various tonal traditions. he constr.uction of the organ was completed by the end These tonal colors he synthesized and used in a manner which of Octobet, and Helmut and Walter left us to go to combined into a unified and well-organized whole. Although he T Richmond, Virginia to install a two-manual organ at the would have confessed that the 17'" and 18'" century North German University of Rich_mond. Christoph remained to assist Mr. von school provided his primary inspiration and the foundation upon Beckerath, who arrived to spend a month voicing, regulating and which he based his concepts, hi s many years in during the tuning each of the 2,548 pipes which had not been voiced prior 1930's had their influence. Such a philosophy of assimilating to their arrival at Stetson. The wind pressure for the manual vari ous tonal traditions has its critics, for too often we have divisions was 70 mm (water column) and 80 mm for the pedal witnessed the less-than-admirable results that have evolved in an "all-purpose" instrument. Nevertheless, Mr. von Beckerath did In relation to these remarks I wish to include an ·e-mail that have considerable success in this endeavor, most noticeably in came to me recently from a 1970 Stetson organ graduate, Karen his larger organs. He had an amazing ear for organ tone and a Hay Willes, who had just read Mr. Whitney's book. considerable knowledge of organ listerature, and it was a "I am really enjoying All the Stops. I skimmed part of it and combination of these factors that afforded him such a keen insight am now starting from the beginning. However, in the skimming into the historical organ. Although historically oriented, one cannot it suddenly hit me that unbeknownst to me, I was living on the listen to a Beckerath organ without recognizing a new and 'cutting edge' of the introduction of European instruments in the distinctive tonal dimension that he succeeded in creating. This is U.S. just a few years before. Is it for real that Biggs really started always evident in his voicing of an 8' Prinzipal, a voice which has it with his trip to Europe in 1954? If so, that really blows me a distinctive individual singing quality, but which also provides the away. I knew that the big Beckerath was very special and that I basis for a completely cohesive and brilliant plenum. Likewise, he have always felt privileged to learn on it, but I had no idea how took pride in exciting and colorful reed voicing. 'new' its sounds were over here. I was reading that part about Biggs and Flentrop and all of a sudden tears started streaming Mr. von Beckerath, together with other European builders, down my face because just then it hit me that, at that time, I was demonstrated that the mechanical-action organ is still a viable one of the few who had the opportunity to study on such an musical instrument, not only providing a new perspective of earlier incredible instrument. I went to the Beck erath, website last night performing practices, but also meeting the musical demands of and read about how the 1957 Cleveland installation was the 2Q'h century. Beyond the realm of tone Mr. von Beckerath set considered a novelty. No kidding, until now, I ~ad no perspective as his goals the creation of a highly responsive and sensitive on how 'unique' our teaching/learning experience was. And, organ action. By using American woods in critical portions of the that's because Noehren taught you! That's right. He should have windchests and modern materials in various parts of the slider and been mentioned, but looks like that it was meant to be a Fox key actions, he achieved unsurpassed results. (organist, Virgil Fox)/Biggs comparison in the book. Noehren may have really started it, too, but Biggs got the news press." The numerous instruments that Mr. von Beckerath built in the United States and Canada are not the only legacy which he leaves us. The various organ builders now working in North America who spent time as apprentices in his Hamburg workshop are now hen the Elizabeth Hall organ was completed, making valuable contributions to the American organ renaissance. W the specification read as follows: Hauptwerk (Great) Brustwerk (Positiv) Quintadena 16 Holzgedackt 8 r. von Beckerath's instrument in Cleveland (1957) was Prinzipal 8 Prinzipal 4 the first modern European organ of any significant size Spielflote 8 Rohrflbte 4 M(4 manuals, 45 stops) to appear in the United States. Oktave 4 Oktave 2 Subsequently, two installations were made in Montreal. The Koppelflote 4 Sifflbte 1 Stetson organ was the second Beckerath organ to arrive in the Oktave 2 Terzian II States. The organ that was built for E. Power Biggs in Cambridge, Mixtur IV-VI Scharf IV Mass., by the Flentrop workshop in Zaandam, The , Trompete 8 Krummhorn 8 1 dated from 1959. A recent book by Craig Whitney, All the Stops , leaves the impression that Mr. Biggs provided the inspiration for the modern renaissance of organ building in America, and Swell (enclosed) Pedal certainly credit is due to him for the influence that he exerted. Rohrflbte 8 Prinzipal 16 However, Biggs' introduction to organs of this type came as a Gemshorn 8 (C-B from Rohrflbte) Subbass 16 result of a tour that Mr. Flentrop gave to him in Europe in 1954. Gemshorn Celeste 8 (c-g3) Oktave 8 Robert Noehren had made his first study of many of these organs Blockflbte 4 Spitzgedackt 8 in 1949, and when Trinity Church in Cleveland was considering Nasal 2 2/3 Metallflbte 4 a new organ, Noehren was chosen as a consultant as I recounted Waldflbte 2 Nachthorn 2 earlier in this article. Noehren is never mentioned in All the Stops Terz 1 3/5 Mixtur V as having been responsible for the Cleveland organ. Mr. Whitney Quinte 1 1/3 Fagot! 16 also writes that the Cambridge organ was the inspiration for the Cymbellll Trompete 8 organ building of two well-known builders now established in our Oboe 8 Trompete 4 country, John Brombaugh and Fritz Noack. Interestingly, these Tremulant two, then young men, apprenticed with the Beckerath firm. Noack had completed his apprenticeship in 1958, but had not come to the United States until1959.

1Craig R. Whitney, All the Stops, published by Public Affairs, 2003. Couplers (located on foot levers to the left of Swell shoe) Michigan, the fourth was given by Professor Paul Langston on SW/HW March 23, and I played the fifth on May 4. BW/HW Paul Langston had joined the faculty. in 1960, but was on leave SW/HW during 1961-1962 in New York City completing a doctorate in BW/HW sacred music at Union Seminary. Shortly after his return to the Compass of manuals: 56 notes University in the fall of 1962 he was named Dean of the School Compass of pedal: 32 notes of Music, a position he held for the next 21 years. During the Mechanically adjustable pistons first nine years of his tenure he was instrumental in the · 2 generals (foot levers located to the right of Swell shoe) acquisition of four additional organs from the Beckerath firm: Ausloser (Cancel) (located to the right of generals) three practice organs (two 3-stop and one 6-stop) and a 16-stop 2 pistons on each division controlled 'by stop knobs studio instrument.

he voicing of the Elizabeth Hall organ began with the 8 he original tonal specification of the organ as it was foot Prinzipal on the Great, literally, the principal register presented earlier in this account has been altered in T:of the instrument and the main rank of pipes displayed in T several respects over a period of many years. The day that the central part of the case. The basic tonal design of the organ Mr. von Beckerath was voicing the Prinzipal 16 I came into the centers around this rank of pipes. The foundation of the Positiv hall and found him complaining about the acoustics not follows with a 4 foot Prinzipal and the Pedal a 16 foot Prinzipal. It supporting the lower notes of the Pedal division. He wished for became customary for me to come to the hall at least once daily more weight, but he refused to make the pipes any louder for fear to observe the progress of the work and to play for a few minutes of ruining the beautiful quality. In subsequent years thought was on any regist~rs that had been completed so that Mr. von given to borrowing from the Subbass 16, adding 12 pipes and Beckerath could go away from the console and critique at a extending it to the 32 foot range. However, such an arrangement distance. After he completed the Prinzipal 8 we went through would not have been possible without overcoming winding this procedure, and when I expressed great satisfaction with the problems presented by the limited ize of the wind channels. beauty of the stop, he announced that we would be able to work After using the organ for many years I found that little use was well together. So the voicing continued six days a week, often made of the Spitzgedackt 8 due to the versatility of the beautiful twelve· or more hours a day for the month of November, Mr. von Oktave 8, so the decision was made to substitute a new Quinte Beckerath at the console giving instructions, and Christoph 10 2/3 for the Spitzgedackt. This was made by the Beckerath inside the organ meticulously and patiently adjusting each pipe. workshop. The 10 2/3, sounding an interval of a fifth above 16 When the organ was completed at the end of November, Mr. foot pitch, combines with 16 foot pitches in the Pedal to produce von Beckerath wished to make a formal presentation to the an "acoustical32 foot." This was a compromise, but the change University, so an assembly was announced. Mr. von Beckerath proved to work well. was iLltroduced) followed by applause, then Christoph, Another major change was made in the Great division. The wher~upon the packed hall erupted into massive applause. He Quintadena 16 also had limited usefulness. It would not blend and his two associates had made a considerable impression on well unless it was incorporated into the full Prinzipal chorus and many of the students. Mr. von Beckerath made appropriate the Trompete 8, and even then it did not provide sufficient remarks, and then I played several pieces, including several weight to the Great plenum. When Hans-Ulrich Erbsloh from compositions by Johannes Brahms, which were some favorites of the Beckerath workshop performed maintenance on the organ Mr. von Beckerath due to his family's relationship with the around 1990 he attempted to revoice the rank as a Gedackt, but composer. During a rendition of a Bach Prelude and Fugue a was only successful working down to tenor c, due to the fact that thoughtless photographer took several flash photos which added the scaling was too narrow in the lower register. It was to the stress, so I had to work hard to maintain my determined to complete the revoicing by adding four new concentration. Indeed it was an exciting time, and how fortunate stopped wooden pipes at C,C#,D and D# and move the I was to have such a magnificent instrument on which to teach remainder of the pipes in the rank up four half steps. This was and perform for over thirty-two years. Little did I realize at the accomplished in 1992 when Mr. Erbsloh cleaned the instrument time how much it. would teach me, as well as my students. at the time the organ case was dramatically altered (read this A series of five dedicatory recitals was presented during the account later). spring semester o£ 1962. I performed a solo recital on January 9 and a program on January 23 with the Stetson Symphony Orchestra, Professor James Perdue, Conductor, and the Stetson Brass Choir, Professor Donald Yaxley, Conductor and Acting Dean of the School of Music. The third program on March 6 featured Professor Robert Noehren from the University of There are six compound registers in the Elizabeth Hall organ. Three other changes should be mentioned. At the last break in The original composition of these stops follows: the Positiv Scharf at c#3, 2 foot pitch was substituted for the 1 1/3 foot. In the Pedal Rauschpfeife the 4 foot rank (a i Great- Mixtur IV-VI Quintadena) was blocked. The top seven notes of the 'Positiv c 1 2/3 1/2 1/3 Sifflote 1 foot were changed to sound 1 1/3 foot pitch. c 2 1 1/3 1 2/3 Between 1961 and 1971 the organ functioned beautifully with c 1 2 2/3 2 1 1/3 the exception of some deterioration of leathers in the pneumatic g 1 4 2 2/3 2 1 1/3 motors which operated the sliders in the windchests and the c2 4 2 2/3 2 2/3 2 2 1/3 leathers in the main bellows and schwimmers (small bellows g2 4 4 2 2/3 2 2/3 2 2 which were incorporated in the bottoms of the windchests). Apparently, due to high levels of Florida humidity, a fungus had Positiv - Scharf IV caused the problem. For the first few years of the organ's c 2/3 1/2 1/3 1/4 existence there had been no air conditioning in the chapel. a 2/3 1/2 1/3 When the studio organ by Beckerath was installed in Presser Hall I# 1 1/3 2/3 1/2 in 1971, funds were also made available to replace leathers in the d#1 2 11/3 1 2/3 bellows with synthetic material and completely f hange the stop c2 2 2/3 2 1 1/3 action to a vacuum-motor system. The syste ~ afforded the g2 4 2 2/3 2 1 1/3 possibility of also installing a capture-type piston setter system which included placing the couplers and tremurants on the stop Positiv- Terzian II jambs and providing six general pistons (duplicate<} by toe c 4/5 2/3 studs) and four toe stud pistons for the Pedal. The previous c 1 3/5 1 1/3 arrangement had had the four couplers, two generals and a cancel on hitch-downs above the pedalboard. Registrants for Pedal- Rauschpfeife Ill performers had been frequently called into service prior to these c 4 2 2/3 2 improvements. The most visibly striking change to the organ came in 1992. Pedal - Mixtur V As many years passed, the idea of "spicing up" the organ case, to c 2 1 1/3 2/3 1/2 make it a bit more compatible with the room, had gone through c 2 2/3 2 1 1/3 2/3 my mind. About the time that plans were being made to renovate the chapel it was my good fortune to receive an Swell- Zimbel Ill unexpected call from Charles Nazarian, a "grandchild", since he c 1/2 1/3 1/4 had studied organ at Harvard University with a former Stetson G 2/3 1/2 1/3 student, Lenora McCroskey, when Lenora was serving as an d 1 2/3 1/2 associate in music at Memorial Church. Charles was visiting his a 1 1/3 2/3 father in south Florida. He had known of the Beckerath organ at e1 2 11/3 1 1/3 Stetson for many years, so wished to come visit the instrument. c2 2 2/3 2 1 1/3 Charles resides in Gloucester, Massachusetts, where he has become a well-known freelance designer and is probably best I never understood the reason for beginning the Great Mixtur known for his handsome case designs for the Fisk Organ at 1 foot at C, and then breaking back a full octave at tenor c. Company in Gloucester. Shortly after we walked into the chapel I The break was quite noticeable, whereas the breaks in the other asked him what thoughts he might have about adding some mixtures of the organ were smooth. Consequently, when work interest to the Beckerath case, and after a brief bit of reluctance I was performed on the organ in 1992 the Beckerath workshop persuaded him to offer a quick drawing. His initial sketch was agreed with my suggestion that th~ lowest rank should begin at exciting, and ultimately it led to an amazing redesign. It also 1 1/3. The revised composition of the Mixtur resulted in the began a valued friendship. I include here an article which following arrangement which solved the problem at tenor c, and Charles wrote for the German magazine Orgel Intem~ tional, with the addition of the 8 and 5 1/3 ranks, breadth of sound was 1999/2 which offers his rationale for the changes that were made increased in the treble range of the ensemble. to the Stetson instrument. I am grateful to him for his permission c 11 /3 1 2/3 1/2 to include this beautifully written account. For those of us who c 2 11/3 1 2/3 have enjoyed the transformation, the rationale speaks for itself. c1 2 2/3 2 11 /3 g1 4 2 2/3 2 2 1 1/3 c2 4 2 2/3 2 2/3 2 2 11/3 g2 8 4 2 2/3 2 2/3 2 2 c#3 8 51/3 4 22/3 22/3 2 AN ORGAN style. Built in 1892 as the TRANSFIGURATION: centerpiece of an already THE BECKERATH AT handsome campus, it was STETSON UNIVERSITY commissioned by John B. Stetson himself at a cost of (orginally published in Orgel International, $45,000 (a generous sum for the April 1999; reprinted by permission of the time) and named in honor of his author, Charles Nazarian) wife. Stetson had made his fortune in the hat business, owned the largest orange groves in Volusia County, and had built a mansion This is an unusual story about the vi sual transfiguration of a in Deland: He engaged his Ph iladelphia architect, George T. contemporary organ in an historic American building. The three­ Pearson, to design Elizabeth Hall as a new rendition of manual Rudolph von Beckerath OFgan , placed in the fine Independence Hall, one of America's most important Georgian acoustical setting of Elizabeth Hall in 1961 , is an example of the buildings, subtly incorporating Spanish Baroque architectural builder's best work. It was the realization a young organ elements appropriate to Florida's landscape and history. Pearson professor's dream: to have a distinguished, mechanical-action was renowned for the design of church buildings near concert instrument, capable of authentically performing a wide Germantown, Pennsylvania which may help to explain the skillful range of organ literature, installed at Stetson University. design of the auditorium's three-sided balconies, handsome Established in 1883, Stetson is located in the quaint central­ plaster and wood detail, stained-glass windows, and very good Florida hamlet of Deland. Formerly the enclave of civic-minded acoustics. millionaires wintering near the aquifer Ponce de Leon had named "The Fountain of Youth ," it seems an unlikely location for a world­ A pipe-organ "ghost" also was worthy of recognition. The original renowned organ. Yet Stetson's visionary professor, Paul Jenkins, Cole & Woodberry organ (circa 1896), part of the architect's achieved this dream and lovingly curated the Beckerath for over Chancel design, was housed in a rather exuberant, quasi-classical th irty years ~ hile training an extraordinary number of fine white case. It had three round towers carrying fretwork decoration musicians. Nearing retirement in 1991 , he also led the effort to and roof crests, flanked by diminutive fau x balustrades. Very completely restore the Hall's interior in cluding a new organ unusual were the two-storey flats, comprised of six single pipes fagade, replacing the 'fifties-style, modernist case with one separated by individual turned balusters (!) , below, and three designed to complement the elegantly detailed, neo-Georgian Schnitger-esque groupings of si x, above. Outside towers were architecture. supported by an engaged fluted column with a capital providing the base for an inverted conical shell-corbel. The center tower had This. assignment was approached with sensitivity to von similar corbel above the console. White raised-paneling below the Beckerath's legacy. The organ had originally cost $35,000, an fagade provided an elegant backdrop for church services, ambitious budget for a controversial project at the time, but hardly concerts, or stage productions while providing doors for discreet enough to have also paid for an ornamented classical case. access. Carved panels above the doors were heraldic in design Therefore the idea of replacing the fagade was not conceived as like the terra-cotta panels on the building's exterior, and provided criticism of the organ-builder's art. Indeed, Paul Jenkins had a proper termination for the fau x balustrade. simultaneously contracted with Hans-Uirich Erbsli:ih of the Beckerath fir ~ to re-install the pipework, tune, and make voicing Little is known about the Cole & Woodberry except for its ad{ustments in the newly brighter acoustics. Everyone was in appearance from old photographs. It had been removed from the agreement that the original design, while handsome enough in auditorium stage and replaced by a Baldwin electronic by the time dramatic pipe-arrangement and quality of execution, did not Professor Jenkins arrived in 1956. Jesse harmonize well with the architectural vocabulary of the Hall. and James Woodberry and James Cole had learned organ-building at The question was whether this was sufficient justification for the Vowles Organ Works in Bristol, altering the organ's appearance. One could argue that the England and had emigrated to Beckerath was representative of its era, evolved from the Massachusetts for employment at aesthetic of the Organ Reform Movement, Bauhaus architecture, Hook & Hastings before setting up their and general cultural fatigue with period designs in the post-World own Boston workshop in 1888. War II "Space A!le." Contrary to the precepts of art conservation, Significantly, they had built a large, three-manual , tubular­ which seek to maintain pneumatic organ , of avant-garde specification , for St. Luke's objects unchanged for later Church, Germantown, Pennsylvania in 1894. It is likely that the generations to judge, were association with the architect, George T. Pearson , was forged we about to deface the work through this project, although no scholarship has established the of an important German connection. What is evident from the Elizabeth Hall photographs organ-builder? is that th e organ fagade was completely integrated into the room design. It showed influences of classical organ-building , On the other hand, Elizabeth rem iniscent of Tannenburg's and other early German immigrant Hall was eminently deserving builders' instruments in Colonial Am erica, with which Pearson of conservation , including certainly would have been familiar. furnishings of sympathetic The idea of a new case for the Beckerath was proposed to me in dentils. The architrave early 1991 by Dr. Lenora McCroskey, organ and harpsichord was created in place of faculty member at the School of Music, University of North Texas. the previous roof She is a Stetson graduate and board member, a former student of molding, resulting in a Paul Jenkins, and was my organ instructor at the Memorial generous frieze. It is Church, Harvard University. The four-manual, 1967 Fisk organ at interesting to note that Harvard was an inspiration for my career change from Law there are original houses in Deland with roof cornices of similar student to apprentice organ-builder in 1975, under the late proportion. A walk in the neighborhood is good preparation for Charles B. Fisk in his Gloucester, Massachusetts workshop. By discovering the organ in the Hall. Like so many historic organs, it 1980 I had specialized in organ-case design and formed a is part of a larger architectural context. separate atelier devoted to the practice of liturgical architecture, while continuing as Fisk's consultant visual designer. After a visit Charles Fisk taught me that variations in form within an organ to Deland to measure the organ and discuss the project with Paul fa <;: ade are more pleasing to the eye than precise repetitions of the Jenkins, I prepared to design and execute the new casework. The same element, like the variations of positive and negative spaces defining sketch was made on May 3rd, 1991 from in a Japanese woodblock print. The tall keystones of the Pedal which scale drawings were derived, a formal arches, for example, are like grandfathers to the diminutive contract was entered into on April 15th, 1992, and keystone on the Positiv arch. Also, the cartouche on the Great installation was completed by August 15th of the arch has mischievously stolen the place of an anticipated same year. keystone, as if to declare its importance with the school motto, "Pro Deo et Veritate. " Enhancing this effect is a three-dentiled It was determined early in the design process that cornice projection, supported by the cartouche, dividing what the "pipe-skeletons" of the Great and Positiv were would otherwise have been too broad an expanse. The result is an not to be altered, except for removal of the engaging variation of carved ornament and cornice widths which smallest pipes, enabling columns of classical proportion to be brings the eye to rest at the top center. used in place of the existing narrow posts. Everyone agreed that the organ should have a new "suit of clothes" but the Beckerath We strove to balance all of the design devices so that when look, evoked by the dramatic "W" of the pipe-tops and reversing viewing the fa<;:ade the eye should naturally return to the planes of the pipe-mouths, was a signature which we did not want centerline of the upper case. This, I believe, is a fundamental law to lose. The conscious use of anthropomorphic terms underscores of good organ-case design. No matter how interesting the my design philosophy that the "king of instruments" should have a decorative forms , such as the variegated tapered plinths, fluted visual persona, in harmony with the architectural context and classical columns, egg & dart motifs, etc. , the greatest visual consonant with the organ 's tonal scheme. This organ, whose tone magnetism should be directed toward the organ's crown . Even is far richer than one would expect from the seemingly "nee­ four-tower French Classical cases can accomplish this by Baroque" stop-list, was simply waiting 'or equally rich attire to seducing the eye into the inevitable charm of a half-occluded match its sonorous capabilities. window.

Conservation of von Beckerath's pipe array would stop in the It is always a challenge to create a new set of organ carvings, Pedal division, however. The Spanish Baroque influence on especially with polychrome. Fortunately, throughout our long Elizabeth Hall was evident in the use of arches, often punctuated association in organ and liturgical commissions, the sculptor with imaginative keystones. The main entrance, for example, has Morgan Faulds Pike has excelled in this discipline. At Stetson we a handsome double-arch treatment which supports the center were particularly perplexed by the tall area above the flats. At first tower and cupola. This suggested that the organ would relate a drapery scheme was considered, but it seemed out of character better to the overall building design if it employed a system of for such a serious instrument. We also had to consider the arches. The center "Christmas tree" pipe-arrays of the manual divisions worked very nicely in this configuration. Note especially the "negative space" (the shape of the dark area created between the pipe-tops and the arched woodwork) which looks almost Venetian. That many organ designs of Johann Sebastian Bach 's period, especially in southern Germany, had been influenced by Italian artisans was also in the back of our minds. With new, matching Pedal pipe-arrays and arches, a striking relationship emerged between the organ's tripartite composition and the triple grouping of arched, stained-glass windows on either side . Although completely different, something of the Cole & Woodberry's three-tower design had also been revived!

Application of classical architectural forms to the existing organ dictated that a grand cornice should surmount the case. Fortunately, the top of the existing case was fully two feet from the ceiling , permitting addition of such a cornice, complete with Transforming the case University's wish to employ the "Stetson Green," to integrate the that the organ "never sounded so beautiful." One can only designs with the cartouche, and to complement the late-Victorian conclude that pleasing the eye simply allows the mind to enjoy stained-glass windows. The solution came aptly from southern holistically that which pleases the ear. • Germany. In 1985 Morgan had created a set of pipe-shades and decorative sculptures for the Fisk organ at the University of The kindest gift which can be bestowed upon any fine musical Michigan at Ann Arbor. This instru(n ent was substantially modeled instrument is longevity. So many organs have been tragically after the Gottfried Silbermann organ in Rotha, but the organ and discarded or inalterably changed due to the vicissitudes of taste, carvings were not intended as a "copy. " Morgan's experience in economic status or neglect. Although nothing can stop the creating original and beautiful intertwining shapes solved the upheavals of human history, I believe that the best defense for an problem. Note also the subtle relationship between the swirling, orga~ is fer its appearance to be of obvious beauty and in such foliate ellipses in the upper corners of the flats and the shape of harmony with its surroundings that it will inspire future generations the cartouche. .. to treasure it in its entirety. Of course , it must also be rewarding to play by virtue of winding, action and timelessly beautiful voicing. The goal in every aspect of the work was to preserve the intrinsic Sadly, the Stetson Cole & Woodberry did not endure these tests . character of the Beckerath , as if the classical case might have We hope that posterity will judge the transfigured Beckerath been executed with the organ in 1961 . A few internal pipes were worthy of preservation. moved or camouflaged, but nothing was altered in the winding, chests, or actions beyond cleaning and overall maintenance. Except for the new Pedal arrays, as noted, the honest "Werkprincip" pipe arrangements were preserved . We cannot know what von Beckerath might have designed as a genuine period case , but like good plastic surgeons, we simply tried to give the existing patient a more beautiful, and appropriate, face.

As in any organ project, one is hard-pressed to thank everyone who deserves mention . We had a fine organ technician, Vernon H. White and his staff, who stored the pipework prior to our arrival and reassembled the organ before Hans Ulrich Erbsloh arrived from Hamburg. The cabinetmakers, Dana and Dean Richards, executed flawless woodwork. The painter, Richard Stenstrom , treated the Beckerath like a vintage Rolls Royce. And the entire mu sic faculty, especially Paul Jenkins and his wife Janice (Music Librarian) , provided support and encouragement at every step. Reunion in 1992

The question remains whether we were justified in altering the The new case was completed in time for an organ class Beckerath at all. An answer may be found in the dynamics of our reunion in January, 1993, a magnificent and memorable time. Americans are now increasingly aware of historic gathering of approximately 50 of my former students . During a preservation , with revived interest in correct architectural styles. recital that I gave for the occasion I was presented with a FO'r example, new homes are often built to look like vernacular examples in adjacent historic neighborhoods. As a culture we are touching gift of $19,000 to the University to assist the project for trying to heal the destruction done to our towns under the guise of "reclothing" the organ, as Charles Nazarian has called it. It is "Urban Renewal" or unbridled economic development. In rare still a mys tery to me how my struggling students were able to places like Deland, where urban sprawl has been kept outside raise such a sum. O ther sizable amounts donated to the work the historic district, there is a strong desire to maintain harmony in came fro m the Chatlos Foundation and the Farbine Project the architectural palette, which includes period interior furnishings. (Barry Goldfarb). In this context, audiences increasingly recognized that the appearance of the Beckerath simply did not "fit in. "

A more tantalizing question is whether the same organ actually major renovation of the chapel occurred during the sounds better to an audience by virtue of an improvement in its appearance. We may discuss this mystery by invoking the esoteric summers of 1990 and 1991. The work included new science of psycho-acoustics, the study of how other senses A flooring on the stage and in the downstairs seating area. interact with hearing, but it is difficult to compile meaningful The treacherous aisle ramps were replaced with appropriate empirical evidence regarding comparative organ cases! I have steps, and the even more dangerous irregular steps to both sides only "re-clothed" one other instrument, the 1972 Austin at the of the stage were replaced by ramps . When the organ case was Trinity College Chapel in Hartford, Connecticut, which suffered a altered in the summer of 1992 the instrument was thoroughly construction-lumber "case" draped with black cloth until 1985. It cleaned by Vernon W hite and Hans-Ulrich Erbsloh, and Vernon now stands in a French Classical oak case with richly carved installed a new 64-channel solid state combination system. It is ornamentation, worthy of the grand rose window above it. appropriate to express sincere thanks, both personally and on Organists and audiences at Stetson , as at Trinity, have exclaimed behalf of the University, to Vernon for his years of outstanding maintenance of the University organs from 1980 until his generous Board members, from proceeds of the Paul and retirement in 1998. He is a man of impeccable character and is Elizabeth Jenkins Organ Fund (established many years ago by my endowed with limitless patience. Prior to his appearance on the parents in gratitude to Stetson for the wonderful opportunities Stetson organ scene reliance for maintenance was a visit, usually given to their son), from the University ge neral fund, and from once a year, by a person from the Hamburg workshop, or by my various other donors. attempts to resolve any problems that occurred. Fortunately, the As I am writing, The Stetson Chapel in Elizabeth Hall is problems were few. It was our good fortune to have Vernon securely locked for the summer while three German craftsmen, return to his home in St. Petersburg from a fiv e-year Hans-Ulrich Erbsloh (Hamburg), Andreas Seul (Lich) and Klaus apprenticeship with the Beckerath workshop in 1979, and shortly Gri.ible (Stuttgart) are diligently at work making all of the after that the Elizabeth Hall organ became his "child." changes that have been mentioned: a handsome new console (by For years the chapel organ was used seven days a week, and Otto Heuss [Lich]) , including a new pedalboard (the original often from 6:00AM untill:OO AM. Until a few years ago there one had been recapped three times due to sand on shoes, in spite was a fire escape on the outside of the east wall of the chapel, of the placement of a doormat by the organ) , new bench, new and my students were known for making certain that one of the trackers, new roller boards, new squares, new pallet springs, new windows next to the stairs remained unlocked to have access to slider motors, new rectifier (by August Laukhuff [Weikersheim]), the organ for practicing after the building was locked for the a new digital combination action by the same fi(m night. If a comparison were made to the average use of a typical (accommodates 8,000 [!] piston settings), aJjd a thorough church organ, then the Elizabeth Hall organ could claim to be cleaning of chests and pipes. Hans-Ulrich has cbmmented that several hundred years old, and it has displayed amazing the 12 years of dust since the las t cleaning equa1s 40 years in durability. In the late 1980's Vernon would mention that the most organs that he has cleaned. The dirt problem, in the room action of the organ was showing wear and that certain certainly must be addressed in the future. A coupler, Great to regulations were becoming impossible. Hans-Ulrich corroborated Pedal, has been included in the new console. The Pedal division Vernon's assessment that the stop-action was in need of is the largest division in the organ, and there had never been a overhauling, the main elements of the key action needed great demand for the inclusion of this assist. However, it was replacing and a new console would be the most logical and added in order to increase fle xibility, particularly for occasions economical route to consider. However, the organ continued to when small hands are unable to make unusual reaches on the function, so it was not until 2002 that serious discussions took Great manual. place to make plans to accomplish these expensive suggestions. Fund raising was put into motion by the Music School Dean, Dr. James Woodward, who has faithfully supported the various projects related to the Elizabeth Hall instrument during his n summation I once again wish to express my deepest tenure. His assistance will always be remembered and gratitude to Stetson University for affording me the privilege appreciated. He has been ably assisted by other members of the Iof teaching and performing on such a musical treasure. I am administration and Earnest Murphy, current Chairman of the particularly indebted to Donald Yaxley who was Acting Dean of School of Music Advisory Board. Funds have been secured from the School of Music when the decision was made to purchase the orga n. He was an incredible friend who gave me his wholehearted support during all of the initial proceedings. Of course I express equal gratitude to my dear, deceased friend, Rudolf von Beckerath, for creating the musical treas ure. I have been retired from my organ teaching at Stetson since 1993, and I am delighted that Dr. Boyd Jones, one of my prize organ students, now occupies the position of Price Professor of Organ. It is gratifying that he loves this organ as much as I do, and I trust that he will be here for many years to continue to give it his loving care. There are numerous others who have had a part in caring for the instrument during the past forty-thre ~ years. I hope that my memory will not fail me when I attempt to name them.

Helmut Kleemann (deceased 2003) Christoph Linde Walter Lewerenz Klaus Schmeckal Tim Skopp Vernon White and Hans-Uirich Erbsloh Malte Hilpert Helmut Hansen Beat Grenacher George Taylor Vernon White Hans-Uirich Erbsliih Charles Nazarian (1992 case designer) Dana Richards (new case builder) Dean Richards (new case builder) Morgan Pike (case carvings) Richard Stenstrom (case painting) Fritz Noack John Shreiner Darwin Klug

In addition to members of the School of Mus ic fac ulty (Paul Langston, Harvey Burge tt [Adjunct Instructor, 1993- 1994], Susan Klotzbach, Boyd Jones and I) who have given concerts on the Beckerath organ, the following list chronicles guest artists and returning organ alumni who have been presented:

Guest Organ Recitalists Alumni Organ Recitalists 1962-2004 1975-2002

Robert Noehren- 3/6/62, 4/5/74, 2/27/79 Robert Acton - 11 /11 /80 Elizabeth Gearhardt Farr- 2/4/75 Fenner Douglass- 2/21 /63 Rick Ross - 10 /9/81 Marion Anderson - 10 /25/77 Betty Louise Lumby- 5/10/63 David Boe- 1/20/81 Boyd Jones- 11 /20/79 , 119/87 Edmund Wright- 10/4/63 Lawrence DeWitt - 3/12/81 Douglas Butler - 10/18/80 Alec Wyton - 2/4/64 Albert Travis- 10/13/81 , 1/19/87 John Scott Bennett- 2/20/88, 4/1183 David Beaty - 4/14/64 Joseph Running- 10/27/81 Lenora McCroskey -10/1/85 Gustav Leonhardt- 4/7/64 Richard Peek- 11 /3/81 Timothy McKee- 1/7/85 John Obetz - 11 /3/64 Murray and Hazel Somerville -11 /7/81 Jack Jones - 1/19/93 E. Power Biggs- 2/9/65 Donald Rolander - 10 /12/82 Mary Beth Bennett- 2/16/93 Philip Malpas - 2/15/66 John Brock- 3/13/84 Wayne Foster - 2/25/95, 2/24/98 Marie-Claire Alain- 11 /28/67 Ernst-Uirich von Kameke- 3/27/84 Florence Jowers - 10 /22/2002 Ronalq Hough - 2A 1/69 Craig Cramer - 10 /11185, 2/18/2003 James Good - 10 /9/70 Ladd Thomas - 3/6/87 Alexander Anderson -11 /12/71 James Russell Brown - 9/18/87 Shirley Smith -1/7172 , 1/24/75 Roberto Micconi - 11 /15/87 Robert Clark- 2/22/72 , 2/12/80 Shayne Doty - 1/12/88 Margaret Sharf - 2/27/72 Daniel Roth - 3/29/88 James Conely - 11 /2/72 Peter Hurford - 2/24/89 William Weaver- 1123/73 Henry Fusner- 9/22/89 Byron Franklin - 5/4/73 Gillian Weir - 3/6/90 Charles Krigbaum- 1/22/74 Matthew Dirst- 1/4/91 Rene Saorgin - 2/19 174 Uwe Gross- 3/10/91 William MacGowan - '9/16/75 Ekkehard Schneck- 10/18/91 Wolfgang Hofmann -1 0/28/75 Gary Davison - 10 /13/94 Jean Rizzo - 117177 Karl Hochreiter - 10 /19/97 Jerry Black- 1/21 /77 ~ Suzanne Chaisemartin- 10/31 /97 Robert King - 1/28177 Robert Parris - 1/25/2000 Christoph Wolff- 1/28/78 David Craighead - 9/19/2000 Schuyler Robinson - 10/22/78 H. Joseph Butler -1 /27/2002 Ford Lallerstedt - 10 /28/78 Martin Jean- 1/25/2004 David Lowry -1/11 /80, 11 /13/84 Karel Paukert - 2/19/89

Beckerath Organ original case- 1961-1992

:SI F~~.TSON~ Florida's First Private Univel'sity Deland, Florida