The Tracker Journal of the Organ Historical Society Skinner Organ Company, Op

Home , Organ Historical Society, Rodin Studios, Telharmonium

Volume 62, Number 1, January 2018 THE TRACKER JOURNAL OF THE ORGAN HISTORICAL SOCIETY SKINNER ORGAN COMPANY, OP. 711 (1928) HOOK & HASTINGS, NO. 1573 (1893) PAUL FRITTS & COMPANY, OP. 26 (2008) THE RUDOLPH WURLITZER COMPANY (1929) LEN LEVASSEUR LEN photos

C.B. FISK, INC., OP. 83 (1983) ORTLOFF ORGAN COMPANY, LLC, OP. 1 (2016) C.E. MOREY, NO. 248 (1907) HENRY ERBEN (1845)

JOIN THE OHS IN ROCHESTER IN COLLABORATION WITH THE EASTMAN ROCHESTER ORGAN INITIATIVE FESTIVAL IN OCTOBER THE 2018 CONVENTION of the Organ Historical Society will celebrate the rich array of instruments in Rochester, New York. Home to an expansive collection of organs representing diverse musical styles and performance practices, Rochester is a hub for organ performance and education. Convention attendees will experience an eighteenth-century Italian Baroque organ housed in the beautiful Memorial Art Gallery, a tour of the George Eastman Museum—home of the world’s largest residence organ—and everything in between. Visit the website below for the latest updates! WWW.ORGANHISTORICALSOCIETY.ORG/2018 AEOLIAN COMPANY, NO. 947 AND NO. 1345

GOART/YOKOTA (2008) HOPE-JONES ORGAN COMPANY, OP. 2 (1908) 2018 E. POWER BIGGS FELLOWSHIP

HONORING A NOTABLE ADVOCATE FOR DEADLINE FOR APPLICATIONS examining and understanding the pipe or- is February 28, 2018. Open to all gan, the E. Power Biggs Fellows will attend the OHS 63rd Convention in Rochester, persons who never have attended an July 29 – August 3, 2018, with headquar- OHS Convention. To apply, go to: ters in outer Rochester. Hear and experi- HTTP: // BIGGS.ORGANHISTORICALSOCIETY.ORG ence a wide variety of pipe organs in the company of organbuilders, professional musicians, and enthusiasts. The Fellowship includes a two-year member- 2018 COMMITTEE ship in the OHS and covers these convention SAMUEL BAKER CHAIR PAUL FRITTS costs: GREGORY CROWELL CLARA GERDES ♦ Travel ♦ Meals ♦ Hotel ♦ Registration SCOTT DETTRA CHRISTA RAKICH

ORGAN HISTORICAL SOCIETY ORGANHISTORICALSOCIETY.ORG ANONYMOUS ITALIAN BAROQUE ORGAN (ca. 1770) An International Monthly Devoted to the Organ, Harpsichord, Carillon and Church Music

Now in Our Second Century

Each Issue Includes:

Feature articles by noted contributors. Monthly calendar of events. Reviews of organ, choral and handbell Extensive classified advertising music, books and recordings. section. Stoplists and photos of organ News of people and events, installations. appointments, organ recital programs.

TH E DIA PA SON Visit Our Website At: JUNE 2016 www.TheDiapason.com

One-Year Subscription: $40

TH E DIA PA SON Request a AUGUST 2016 FREE SAMPLE COPY

Marble Collegiate Church New York, New York Cover feature on pages 26–27

3030 W. Salt Creek Lane, Suite 201 Arlington Heights, IL 60005-5025 Phone: 608-634-6253 Christ Church in Short Hills Short Hills, New Jersey Cover feature on pages 26–27 Fax: 847-390-0408 E-mail: [email protected] MICHAEL THE TRACKER QUIMBY From the Chair Volume 62, Number 1 ~ JANUARY 2018

ifteen months ago, Bill Czelusniak, vice CONTENTS Fchair of the OHS From the Chair 5 board of directors inquired MICHAEL QUIMBY about my interest in being a nominee to serve as a mem- From the CEO 8 ber of the board. After con- JAMES WEAVER siderable contemplation, and The 2017 OHS Convention Report 12 with Bill’s gentle coaxing, BARBARA OWEN AND BRUCE STEVENS I agreed to place my name in nomination. I never ex- OHS Meets EROI in Rochester 26 pected to be elected, but NATHAN LAUBE much to my surprise, I was. Belles lettres 34 Then, last August there were A Musical Journey in Spain, Part II further surprises! The new CLARENCE AND HELEN A. DICKINSON board of directors elected me as their chairman. This is a daunting task during this significant and challenging period Archives Corner 40 of growth and development as the OHS moves firmly into BYNUM PETTY the 21st century. In the Tracker 50 Years Ago 42 Personally, I was aware of the numerous activities of the SCOT L. HUNTINGTON organization through The Tracker, and from respected col- leagues, but not until I became an active participant on the News 44 board of directors, and carefully reviewed our financial state- John G. Marklove 46 ments, did I come to realize many of the complexities of OHS English-American Organbuilder operations. Utica, New York, 1858–1891, Part I The OHS is no longer just a group of enthusiastic indi- STEPHEN L. PINEL viduals interested in historic tracker-action pipe organs. It a serious, thriving organization with international connections Ex Libris 55 that in many ways is equal to, or more significant than, the Organbuilders 56 American Guild of Organists in promoting the pipe organ as Wangerin, Weickhardt, and Wirsching part of our future and of our culture. The Three Ws of Milwaukee The board of directors and support staff that I have en- STEPHEN HALL countered are zealous about the pipe organ, but they are woe- fully underpaid. They give incredible amounts of their time Reviews 62 to the organization. Having realized this, I would suggest that Obituary 64 we seriously reconsider the wages of our CEO and staff when our financial conditions are in a more favorable place. Index 65 The future of the OHS certainly will be defined by the selection of the next CEO and by prudent fiscal responsibil- Endnotes 67 ity. The OHS has matured to the point at which it must be run as a business. Without significant contributions beyond the routine revenue from dues, our goals will not be attain- able. We should seek increased membership growth, financial gifts from foundations that support the goals of the OHS, un- restricted gifts from corporations, and bequests from members who include the OHS in their estate planning. Other options toward long-term financial stability are through giving generously to the OHS Endowment Fund, helping to in- ON THE COVER troduce deserving individuals to annual conventions through The 1865 Marklove organ in Botschaft “Grubbs” Lutheran Church, E. Power Biggs Fellowships, helping to support the operating Mount Pleasant Mills, Pa.

PHOTO WILLIAM T. VAN PELT JANUARY 2018 5 From the Chair CONTINUED

expenses of the OHS programs and services through the An- the wise counsel of the future CEO and the attentive guid- nual Fund, and giving in one form or another to the Society’s ance of the board of directors to steer through the rapids and unparalleled research collections in the Library and Archives. bring the OHS to the next level that will fulfill our collec- The move from Richmond to Stoneleigh has been an as- tive mission. tronomical leap towards accomplishing the long-term goals I find myself excited and motivated by the new position I of the organization. From this point forward, we must give hold and hope to contribute my best abilities toward the ad- our greatest attention to fulfilling financial obligations and vancement of this esteemed organization. My fervent hope is achieving fiscal sustainability. that OHS members share this vision, the present excitement, Stoneleigh is the stepping-stone for increased professional and the personal commitment to help the Society grow to visibility of the OHS, which will allow for expansion of col- the leadership level that it has earned and deserves. Are you lections of all types, encouragement of scholarly research, and with me? the display of models of pipe-organ actions created over the last 150 or more years. Yes, the annual conventions will continue to be a grand time to enjoy notable historic pipe organs and their music across the United States, and an opportunity to renew our acquaintances with others. However, it will take

OHS CEO SEARCH THE ORGAN HISTORICAL SOCIETY (founded 1956) seeks a Chief Executive Officer to assume office July 1, 2018. Under the CEO’s innovative leadership, OHS, the premier national organization dedicated to the pipe organ, aspires to bring transformational change to the pipe organ community, through new programs, events, and educational offerings, all centered at its new home at Stoneleigh Estate, Villanova, Pennsylvania. Interested persons should send a confidential resume and a letter of interest that responds to the leadership statement and job description found on the web site to:

FRED HAAS, CEO SEARCH COMMITTEE CHAIR Wyncote Foundation 1717 Arch St., 14th Fl. Philadelphia, PA 19103 ➤ [email protected] ➤ 215.557.9577 Review of applications begins October 1, 2017, with interviews this fall, and announcement in January 2018. h t t p : //c e o s e a r c h .organhistoricalsociety.o r g

6 The Tracker ORGAN HISTORICAL SOCIETY 330 North Spring Mill Road ~ Villanova, PA 19085-1737 • 804-353-9226 • FAX: 804-353-9266 E-MAIL: [email protected] • WEB: www.organhistoricalsociety.org

OHS MISSION STATEMENT CONVENTIONS The Organ Historical Society celebrates, preserves, and studies ROCHESTER, NEW YORK • July 29–August 3, 2018 In collaboration with the the pipe organ in America in all its historic styles, through re- Eastman Rochester Organ Initiative Festival in October search, education, advocacy, and music. Nathan Laube and myles boothroyd (co-chairs) [email protected]

DALLAS, TEXAS • July 14–18, 2019 THE BOARD OF DIRECTORS In Collaboration with The Hymn Society Jan Kraybill, Executive Director Board Term Expires Christopher Anderson, Benjamin Kolodziej, Michael Quimby . . [email protected] ...... Chair. . . . 2021 and James L. Wallmann (co-chairs) [email protected] William F. Czelusniak [email protected] . . . . .Vice Chair. . 2019 Craig Cramer . . . [email protected] ...... Secretary . . 2019 Gregory Crowell . . [email protected]. . . . . DIRECTOR. . .2021 ORGAN HISTORICAL SOCIETY LIBRARY AND ARCHIVES Anne Laver . . . . [email protected]...... DIRECTOR. . .2021 330 North Spring Mill Road Willis Bridegam . . [email protected]. . . . .Treasurer. . 2018 Villanova, PA 19085-1737 James Weaver . . . [email protected]. CEO. . . ex officio Bynum Petty ~ archivist 804.353.9226 ~ [email protected]

OHS HEADQUARTERS HONORARY MEMBERS Marcia Sommers . [email protected] . .Manager †E. Power Biggs; †Joseph E. Blanton; †E.A. Boadway †Alan Laufman; Robert C. Newton; Barbara Owen THE TRACKER Orpha Ochse; †John Ogasapian; Stephen L. Pinel †Albert Robinson; †Albert Schweitzer; William T. Van Pelt Rollin Smith . . . [email protected] ��editor †Martin Vente; Randall E. Wagner; †F.R.Webber Len Levasseur . . . [email protected] ��pre-press Marcia Sommers . . [email protected] �� ADVERTISING ADVERTISING IN THE TRACKER The Tracker, Journal of the Organ Historical Society, is published four times a COMMITTEE CHAIRS year. It is read by over 4,000 people who shape the course of the art and the science of the pipe organ. For nominal cost, you can support the publication of The endowment fund advisory committee Tracker and keep your name before these influential readers by advertising. For Willis Bridegam �� [email protected] additional information, contact us at [email protected].

libr ary and archives advisory committee James L. Wallmann �� [email protected] NOTICE REGARDING our MOVE TO STONELEIGH publications advisory committee vacant pro tem The OHS HEADQUARTERS and the ORGAN HISTORICAL SOCI- membership and development committee ETY LIBRARY AND ARCHIVES William F. Czelusniak ��[email protected] have moved to their new home at distinguished service awar ds committee Stoneleigh Estate: Dan Clayton ��[email protected] pipe organ database committee ORGAN HISTORICAL SOCIETY Jeremy Wance �� [email protected] 330 North Spring Mill Road e. power biggs fellowship committee Villanova, PA 19085-1737 Samuel Baker �� [email protected] histor ic organ awar ds committee Please visit our new website for updated Steuart Goodwin ��[email protected] contact information. fr iends of the ohs libr ary and archives www.organhistoricalsociety.org Nathan Laube �� [email protected]

THE TRACKER (a quarterly) is published by ANNUAL MEMBERSHIP DUES (includes BACK ISSUES of The Tracker are available at ADVERTISEMENTS are paid and do not the Organ Historical Society, a non-profit, The Tracker: Regular Member $60; Age 65 or $5 each, $18 per volume. Back issues of the imply OHS endorsement. Advertising is not educational organization. 330 North Spring over $50; Age 25 or under $20; Additional annual Organ Atlas are $15.00 (2006-13). The accepted for electronic substitutes for the organ. Mill Road, Villanova, PA 19085-1737. 804- Member in household $45; Contributor annual Organ Handbook (28 issues through 353-9226. www.organhistoricalsociety.org. $100; Donor $250; Sponsor $500; Patron 2005) are $5.00 each. Index to Volumes THE ORGAN HISTORICAL SOCIETY $1,000; Benefactor $2,500. Payment over $33 1-33 is $7.50. Order at www.ohscatalog.org/ is not obligated to any commercial interest. EDITORIAL CORRESPONDENCE is deductible as charitable contribution. Institu- ohspress.html. The Society will prevent or prosecute: 1) any may be addressed to the editor at tracker@ tions and businesses may be members with use of its material to imply endorsement or organhistoricalsociety.org. Responsibility for no vote at the same rates. Add $15 for post- THE OPINIONS expressed in signed articles, discredit; 2) misuse of the name The Tracker; facts and opinions expressed in articles rests age to Canada or Mexico; $30 for delivery reviews, or letters are those of the writers and do 3) misuse of the name ORGAN HISTORI- with the authors and not with the Organ outside North America; $10 for First Class not necessarily represent the views of the Organ CAL SOCIETY. The Tracker is a registered Historical Society. Material accepted for US delivery. Historical Society or the editor of this journal. trademark. publication in The Tracker becomes the property of the Organ Historical Society, and may not be reproduced in whole or in part in any form without permission from the editor. COPYRIGHT © 2018, Organ Historical Society, The Tracker ISSN: 0041-0330. From the CEO JA MES WEAVER

Dear Friends, as we enter the new year, I am overwhelmed with grati- history to all Americans. The tude. The Organ Historical Society is blessed with a wonder- Endowment accomplishes this ful history in its 60-plus years, and as we settle into our new mission by awarding grants for headquarters at Stoneleigh, it is extraordinary that we have top-rated proposals examined the opportunity to work in this grand space. The business of by panels of independent, ex- establishing ourselves in a new state required quite a number ternal reviewers.” Next step: of actions, but I believe we are now in pretty good shape. I we will apply for an implemen- can’t wait for the early months of the move to lead us into the tation grant with the hope that welcoming community that has already embraced us. we can take the several steps Installation of the 1931 Aeolian-Skinner residence organ necessary to launch the first- was greatly compromised for a time by the discovery of schist, rate care and dissemination a rock formation that filled the excavation space of the organ that our collections deserve. chamber beneath the living room location of the console. I’ve I will take a break from the discipline of our resettle- included some pictures that show at-a-glance what a great ment to make a quick trip to Rochester, New York, to meet chore it presented. Finally, the big dig was completed and with our 2018 Convention Committee. The 63rd Annual a foundation and walls poured to contain the Great, Choir, OHS Convention is almost fully planned and we hope you Swell, and Solo divisions. Have a look at the photo with the will join us this coming August, 5–10. By now, you should organ chamber now—with its shiny white walls, and the ini- have in hand the 2018 Calendar, which offers a great taste of tial steps of the installation. Yay! The Echo will be located what’s to come, with Nathan Laube’s outline of convention under the grand staircase in the great hall. By the time you and geographic highlights, and with those sumptuous organ read this, much of the installation will be far along and playing. photographs that Len Levasseur provides. I’m hoping that This week we are sending a report to the National En- Rollin Smith will create a New York Hymn Book along the dowment for the Humanities, having completed work sup- lines of that which he provided for the Philadelphia Conven- ported by the Planning Grant we were awarded earlier by the tion. And this year, an absolute first, the Woodcliff Hotel and NEH Division of Preservation and Access. This idea was fos- Spa includes amenities unlike we’ve experienced in the past, tered and nurtured by our Treasurer, Will Bridegam (Librar- with excellent reviews of the beautiful location, the food, the ian Emeritus of Amherst College). It was timely because the beds—and the service. I expect we will launch the completed goal was to prepare us for the momentous opportunity of set- registration website by late January or early February. Watch ting up shop at Stoneleigh with plans to examine and develop for it, because I believe there will be an early run to get on the best program for preserving, digitizing, and sharing the board for the available spaces. riches of the OHS Library and Archives. The NEH is one Before signing off I want to say how pleased I am to have of the largest funders of humanities programs in the United served the Organ Historical Society during these past years. States. In its own words, “Because democracy demands wis- I’m astonished by the goodness of the people within the or- dom, NEH serves and strengthens our republic by promot- ganization, and by all those who have joined together to offer ing excellence in the humanities and conveying the lessons of us astonishing opportunities with which to plan for the future. The family of John and Chara Haas chose the OHS to flour- ish within the walls of their family home, a grand gesture that offers untold room for growth and unique programmatic development. Natural Lands owns the property and it is an honor to join with them in pursuit of our respective conserva- tion goals. We had the luxury to develop plans with splendid support group—an interior design firm to help consider the initial layout, splendid architects, owner’s reps, and first-rate builders and construction managers. And now, it is up to the OHS to live up to the responsibility of stewardship that is afforded us. I believe we will do this, and I invite you to help us seize the day! Happy New Year!

8 The Tracker MAJOR CONTRIBUTORS TO THE ORGAN HISTORICAL SOCIETY The Legacy Society Because of our many generous supporters, • this list will be revised in the April issue. Herbert D. Abbott † Frank Graboski † Anonymous Belmon H. Hall American Institute of William Judd Rachel W. Archibald † William L. Huber † Organbuilders Thomas Kenan Freeman Bell Dana J. Hull Eric A. Anderson Justin Kielty Paul A. Bender Scot L. Huntington Mrs. E. Power Biggs † Terry Anderson Peter Krasinski Mark Jameson Paul Birckner David L. Junchen † Vicki Anderson Judy Langord † Brian Buehler Preston J. Kauffman† J. Michael Barone J.O. Love Randell Franklyn Busby † † Forrest C. Mack Jack Bethards John Rice Churchill † Gary H. Loughrey † Earl L. Miller Stephen B. Black John E. Courter, FAGO Michael LuBrant David P. Dahl Dennis E. Northway Willis Bridegam Christopher Marks and Richard Ditewig Barbara Owen David L. Brown Jessica Freeman A. Graham Down † Stephen L. Pinel † Catherine J. Bruno Charles Eberline Clark H. Rice Marian Ruhl Metson † Michael A. Rowe † Casavant Frères James A. Fenimore, MD Charles and Roberta Morkin Linda P. Fulton James A. Tharp Lynn R. Clock Rosalind Mohnsen Thomas Garbrick Richard E. Willson James H. Cook Thomas Murray John J. Geller Charles P. Wirsching, Jr. Chester W. Cooke National Endowment for the The Legacy Society honors members who have included the Gregory F. Crowell Humanities OHS in their wills or other estate plans. We are extremely grate- William F. Czelusniak Chris C. Nichols ful to these generous OHS members for their confidence in the fu- Robert C. Davey ture of the Society. Please consider supporting the OHS in this Dennis Northway Mary Lou Davis way, and if the OHS is already in your will, please contact us so Sean O’Donnell that we can add you as a member of the OHS Legacy Society. Allen G. Dreyfuss Larry G. Palmer [email protected] Claudia and Bruce Dersch Bynum Petty Wesley C. Dudley Richard Roeckelein Charles N. Eberline John R. Ruch Thom Ehlen The editor acknowledges Quimby Pipe Organs, Inc. Jim D. Ferguson with thanks the advice and counsel of Allen Sever Foley-Baker, Inc. Samuel Baker, Thomas Brown, Paul Fritts Martin Stempien Nils Halker, and Bynum Petty. Kristin Garey Dave and Jane Stettler John J. Geller Michael J. Timinski Will Headlee Terry and Cindy Tobias Hendrickson Organ Company Kenneth W. Usher PUBLICATION DEADLINES Kent B. Hickman Randall E. Wagner EDITORIAL ADVERTISING Hilbus OHS Chapter William A. Weary THE EDITORIAL DEADLINE IS CLOSING DATE FOR ALL ADVERTISING THE FIRST OF THE MATERIAL IS THE 15TH OF THE David Hildner James Weaver SECOND PRECEDING MONTH SECOND PRECEDING MONTH Ole Jacobsen Wicks Organ Company April issue closes �� February 1 February 15 �� for April issue July issue closes ��May 1 May 15 �� for July issue Daniel J. Jaeckel Richard E. Willson August issue closes �� August 1 August 15 ��for October issue Charles Johnson Wyncote Foundation January issue closes ��November 1 November 15 �� for January issue

JANUARY 2018 9 The Aeolian Pipe Organ And Its Music

ROLLIN SMITH

NEWLY REVISED AND EXPANDED EDITION SUBSCRIPTION AVAILABLE NOW

t will soon be 20 years since The Aeolian Pipe Or- I gan And Its Music was published by the Organ His- torical Society. This landmark volume has been out of print for so long that copies now sell for more than $500. A second edition, revised and greatly expanded, is now in publication and, in addition to emendations and many new photographs, the annotated opus list of over 900 organs (with contract dates, prices, additions, and alterations) has been updated to reflect subsequent activity. The Aeolian Pipe Organ And Its Music is the story of America’s oldest, largest, and longest-lived residence organ company, whose instruments provided music in the home in the era before the wide-spread use of the pho- nograph and radio. A list of Aeolian patrons is a veritable Who’s Who in American business, industry, and finance. This book not only documents the organs, but also the music they were programmed to reproduce, Aeolian’s commissions from Saint-Saëns, Stravinsky, Stokowski, and Humperdinck, and their reproduction of performances of renowned artists. A special section features a wealth of unpublished photographs of Aeolian installations. In addition to a study of the 54 recording organists, dozens of stoplists are included and complete catalogues of Aeolian organ rolls. As a companion volume to Rollin Smith’s Pipe Organs of the Rich and Famous, this notable publication makes for reading as fascinating as it is entertaining.

ORGANHISTORICALSOCIETY.ORG Carl PhiliPP EmanuEl BaCh he omplete orks    nOW aVailaBlE Organ Works Wq 70, Wq 119, h 336 Edited by annette richards and David Yearsley isbn 978-1-933280-33-2 (139 pp.) $20

Organists may also be interested in the Passions and Cantatas in Series IV, V, and VI. Please see website for a complete list of available and forthcoming volumes. All are cloth-bound and contain introductions and critical commentaries. An inexpensive study score, Organ Sonatas and Prelude, is available through Amazon.com (search “CPEB:CW offprints”). Phone orders: (800) 243-0193 Web orders: www.cpebach.org Email: [email protected]

Andover www.andoverorgan.com Dobson Preserving the Past pipe organ builders, ltd. 200 North Illinois Street Enhancing the Present new pipe organs Lake City, Iowa 51449 Inspiring the Future design consultation Phone: 712 . 464 . 8065 restorations St. Mary-St. Catherine of Siena Parish Fax: 712 . 464 . 3098 Like Us on Facebook Charlestown, Massachusetts maintenance www.dobsonorgan.com Woodberry & Harris, Opus 100, 1892 ecclesiastical furniture Restored 2016 [email protected]

untington & S.L. H Co. TRACKER ORGAN BUILDERS

New Instruments Preservation Restoration

401.348.8298

PO BOX 56 STONINGTON, CT 06378

WWW.SLHORGANS.COM WM. A JOHNSON OPUS 16 RESTORED 2013

JANUARY 2018 11 The 2017 OHS Convention Report

BARBARA OWEN AND BRUCE STEVENS

PHOTOS WILLIAM T. VAN PELT

Chapel of Our Lady of Good Council, Mankato photo len levasseur

BARBAR A OWEN 2013). Happily, they all work together Beelzebub’s Laugh was followed by the in an instrument designed to combine Fuge, Kanzone und Epilog, one of three OHS MINNESOTA REFLECTIONS their salient features, which Cowan uti- pieces by Karg-Elert that included four he major emphasis of the lized in his very eclectic program. Be- singers and a violin (the Lumina Wom- 2016 OHS Convention—Sun- ginning with a really splashy version en’s Ensemble, Linda Kachelmeier, ar- Tday night through Thursday of Berlioz’s Rákóczi March that rolled tistic director, and Linda Shihoten, vio- night—was the 20th century. Nine- around the very reverberant space, he lin)—possibly inside the swellbox of the teenth century organs made brief show- segued into Britain with a Whitlock division hidden behind the altar, from ings on these days, although a bit more work and the singing of a Vaughan which they emerged to take their bows prominent in the pre-convention Wis- Williams hymn, followed by a bold and at the end. A nicely registered perfor- consin leg and the post-convention Du- dramatic Prelude and Fugue by Henry mance of Dupré’s well-loved Noël vari- luth-area day. Martin, commissioned by Pipedreams. ations closed a program that was a vir- A Sunday nonstop flight brought Then came what may well be most tual model of how to show off the many me to Saint Paul in time for the opening splendid transcription performance facets of a large and colorful organ, and performance by Ken Cowan in the re- of the week: “Wotan’s Farewell and a great start to an interesting week. verberant Cathedral of Saint Paul, on an Magic Fire Music” from Wagner’s Die Monday was Minneapolis day, and organ which, interestingly, combined Walküre, as transcribed by Lemare; no- morning began with a virtual trib- the work of three important 20th-cen- table was the way in which Cowan un- ute to the “neo-Baroque” period at tury periods: the “symphonic” (Skinner, failingly brought out Wagner’s distinc- Mount Olive Lutheran Church, where 1927), “American Classic” (Aeolian- tive leit motifs where they occurred in iconic Lutheran composer Paul Manz Skinner, 1963), and “eclectic” (Quimby, the score. Rachel Laurin’s light-hearted was music director for many years, and

12 The Tracker THE 2017 OHS CONVENTION REPORT

With no stops above 4ʹ pitch (but with sub and super couplers), it combined elements of the late 19th century with some early 20th century strings and flutes, and a rather unique labial Sax- ophone stop. Daniel Schwandt utilized these resources creatively in Mendels- sohn’s Fifth Sonata and three colorful contemporary pieces from Daniel Gawthrop’s 2004 Sketchbook. But the real highlight was two pieces (Abendlied and Gigue) from Rheinberger’s 1887 Six Pieces for organ and violin, with violinist Cara Wilson. The blend and interplay was a delight and the two instruments worked perfectly together. Any organist who has a good violinist handy should check out Rheinberger’s works. Ken Cowan Noteworthy too was the closing hymn, “O Blessed Spring,” with words and music by Twin Cities residents Susan also designer of the 1966 organ by Her- the singing of a hymn. We tend to play Cherwein and Robert Farlee. man Schlicker, recently restored. John these hymn-preludes just as free-stand- The afternoon began at Holy Cross Schwandt’s program began with the ing service and recital pieces; perhaps Lutheran Church, where the sight of singing of “Praise to the Lord” pre- we should use them more often as true “flower box” upperwork in the chan- ceded by a Manz introduction, and fol- hymn introductions, especially on fes- cel on entry confirmed the 1954 mid- lowed by two 17th-century works by tive occasions. century date. The organ was a Kilgen, Cornet and Loeillet featuring Clas- The two-manual 1927 Hinners but with an “American Classic” stoplist, sic period registrations. Franck’s B-mi- organ in the Prospect Park Method- and it proved a good vehicle for a pro- nor Choral came next, and although ist Church, which followed, could not gram by Greg Zelek, who showed it off Schwandt’s elegant interpretation did have been more different in character, by beginning with John Weaver’s virtu- the best to bring out its romantic char- but it, too, was a definite “period piece.” osic Fantasia of 1977 and moving to two acter, it was somewhat compromised in places by the organ’s chiffy flutes and snarly reeds. Back in its more relevant period, this organ showed its true colors impressively in three of Manz’s classic hymn improvisations, each followed by the singing of a single verse. Two Ger- man works of the period, a chorale prelude by Franz Schmidt and a sprightly Toccata by Monnikendam continued to exercise the real strengths of this organ, and the program closed with another Manz introduction and the enthusiastic singing of “God of Grace and God of Glory.” And here we must recog- nize one of Manz’s most salient contributions to 20th-century church music: the reinstatement of the hymn-prelude to the place it held in Bach’s day, as a through-composed introduction to John Schwandt Daniel Schwandt

JANUARY 2018 13 THE 2017 OHS CONVENTION REPORT

gan’s resources. Contemporary composers followed the singing of “King of Glory, King of Peace,” George Bak- er’s Deux Evocations forming another pair of contrasts, the one memorializing Vierne flowing on strings and flutes, and that for Cochereau dashing forward with expert pedal work. Olivier Latry’s set of seven verses to the Salve Regina was performed in the classic style, each verse prefaced by the appropriate chant serenely sung from the rear gallery by members of the Basilica of Saint Mary Schola Cantorum, Christopher Stroh, conductor. Sacred changed to secular as Laube closed his program with another excellent Wagner transcription, sending Greg Zelek the bold theme of the Tannhäuser over- Jonathan Gregroire ture rolling around the room. City-based conventions often ven- effective transcriptions. The first, Liszt’s ture into the countryside on the second bright chorus, and followed by a neo- Liebesträum No. 3, almost made one for- day, where smaller organs of excep- Baroque rendering of a Walcha chorale get that it was actually a piano work, and tional interest are often encountered, prelude, a gentle setting of a Christ- the second, of two Lecuona orchestral again mostly in Lutheran and Catho- mas carol by Manz, and Henry Mar- works (transcribed by the player), cap- lic churches. Tuesday morning found tin’s dancing Prelude and Fugue in A-flat. tured their Hispanic flavor satisfyingly. us at the First Lutheran Church in Saint Following a hymn came the real pièce From there, we progressed to the mas- Peter, a contemporary building with a de resistance of the program, August G. sive Central Lutheran Church with its good-sized two-manual organ by the Ritter’s Sonata No. 3 in A Minor. Rit- equally large 1963 Casavant from the local Hendrickson firm, played by Jon- ter, although hardly known today, was Phelps era, where John Ferguson dem- athan Gregoire. His opening Prelude in a noted cathedral organist and recital- onstrated its considerable versatility in D Major by Buxtehude began quietly ist in mid-19th-century Germany, some seven succinct hymn and chant-based on flutes, eventually working up to a of whose works were brought back and pieces by a variety of German, French, and American composers from the 18th, 19th, and 20th centuries. After the enthusiastic singing of “Shall we gather at the river,” Ferguson closed with Reger’s demanding Toccata and Fugue in D, showing off the full resources of the organ. Evening brought us to another immense and reverberant space, the Basil- ica of Saint Mary, where the large four- manual Wicks organ, dating from 1949, when Vincent Willis briefly worked for the firm, was put through its paces by Nathan Laube. Opening with two Widor works, the Allegro from the Sixth Symphony splashed around the space, and was followed by the contemplative Mystique. Two contrasting works from Jeanne Demessieux’s Twelve Chorale Pre- ludes displayed further aspects of the or- Nathan Laube

14 The Tracker THE 2017 OHS CONVENTION REPORT played by American organists such as east of the Connecticut River Val- Buck and Paine after studying there. ley, and perhaps even Johnson’s answer I’d wondered what they were like, and to E. & G.G. Hook & Hastings’s epic now I know. This substantial sonata, Holy Cross Cathedral organ of 1875— of almost Wagnerian drama, skillfully was at risk. Thankfully, it found a home explores the colors and moods of the in the spacious Chapel of Our Lady of organ, and Gregoire did full justice to Good Council in Mankato. It had al- its complexity. ready been electrified in the 1920s, this Following lunch, we made the ac- action being retained due to spatial rea- quaintance of two interesting turn- sons, with a new console in “period” of-the-century two-manual organs by style provided on the ground floor dur- the Minnesota firm of Vogelpohl & ing its otherwise thorough and respect- Spaeth. The first, in Bernadotte Lu- ful 1995 restoration by Dobson. theran Church of Lafayette, was built It was thus in excellent condition for in 1898 and played by Peter Crisafulli, Chelsea Chen’s impressive demonstra- who began with two Rheinberger tion of its resources, beginning with her works from Opus 162, the first on the exuberant performance of the challeng- strong and slightly gritty full organ, the Isaac Drewes ing Sinfonietta of contemporary Nor- second featuring a rather sweet flute wegian Ola Gjeilo, displaying the full stop. Krebs’s Fugue on B-A-C-H dis- organ. Then came Duruflé’s Veni Cre- played stronger flutes and probably erable versatility. Imre Sulyok’s Fantasy ator with a contrasting display of the or- the Gamba. The two final works were put the full organ in a different light, gan’s varied flute, string, and reed stops, American—a Proulx hymn prelude and Rachel Laurin’s Scherzo proved that and Langlais’s quietly lyrical Cantilène and a strong Postlude by Horatio Parker, its flutes could dance. One of Bolcom’s followed. Two movements from Chen’s who had studied in Germany. The sec- Gospel Preludes tossed in hints of jazz, own folk-inspired Taiwanese Suite fur- ond Vogelpohl & Spaeth organ, dating and Libby Larsen’s Veni Creator Spiritus ther explored the colorful capabilities of from 1904 and of similar size, was heard provided some varied colors. Drewes this organ, and were followed by two next in Saint George’s R.C. Church concluded with the contrasting moods impressionistic hymn preludes by an- of West Newton Township, played by of Healey Willan’s Epilogue. Both of other contemporary composer, Teddy Isaac Drewes, who chose a program these organs displayed surprising ver- Niedermeier. Following the singing of mostly of late 20th-century composers satility in the literature, but when it a hymn came the real challenge to both that showed the organ to be of consid- came to our hymn-singing, there was organ and performer—David Briggs’s no question what their main purpose was. The strong and harmonically rich plenum of both organs fully supported (and indeed seemed to almost vocally blend with) our lusty singing of hymns in both churches. Vogelpohl & Spaeth knew what Minnesota’s Germanic and Scandinavian congregations wanted. The evening recital was another of the convention’s major highlights. Boston lost a significant organ in 1975 when Saint Mary’s R.C. Church in the North End was closed, due in part to structural problems in its large Victo- rian building, but probably also because two other Catholic churches were within a few blocks of it. The building was thus scheduled for demolition, and its imposing 1877 organ—the only ex- Peter Crisafulli ample of Johnson’s larger instruments Chelsea Chen

JANUARY 2018 15 THE 2017 OHS CONVENTION REPORT

conventions just how much music one 4ʹ couplers, and it still has its original can get out of such organs, and he did tubular-pneumatic action. Christopher not disappoint. A two-part Voluntary Stroh wisely selected “period” works by George Berg and an Andantino by that utilized, rather than conflicted Volckmar made lyrical use of the flute with, this organ’s quite foundational re- stops, and Crowell’s own transcription sources, opening with Bossi’s bold full- of Prayer by Grieg was surprisingly con- organ Entrée Pontificale that included a vincing. Wardie’s Dump, a tongue-in- clear reed solo, and Lemaigre’s Capriccio, cheek “take” on an early British dance which made excellent use of some of the form by James Woodman, was followed more colorful quieter stops. The singing by a hymn and two Baroque keyboard of “Come, labor on” was followed by works, a delightful Canzona by Krieger what might be called a tribute to a lead- and the pleasing variations of Byrd’s My ing Catholic organist of the organ’s pe- Ladye Nevels Grownde. riod, Pietro Yon, whose student, Mary The exterior of Saint John’s Abbey Elizabeth Downey, composed the pleas- Church in Collegeville is well known ingly melodic Florete Flores and Pastorale as an eye-catching icon of mid-20th- that preceded Stroh’s exuberant clos- Gregory Crowell century “sculptural” architecture, and ing performance of Yon’s Concert Study, so—considering Walter Holtkamp Sr.’s with its brash Trumpet solos and busy creative pipes-in-the-open designs of pedal-work. A recital by Mark Anthony formidable transcription of the final the period—it was a bit disappoint- Rodriguez followed in SS. Peter & Paul movement of Saint-Saëns’s well-known ing to find a major 1961 example of his Church in Richmond, on a recently re- Third (“Organ”) Symphony. From the late work hidden behind a huge bor- stored 1888 organ by Saint Paul builder famous opening C-Major chord, Chen ing grillework screen in the reverber- Joseph Lorenz with a more traditional did an amazing job of highlighting the ant interior. Joseph Ripka made excel- stoplist, an attractive case, and a pow- contrasts between traditional diapason lent use of both organ and acoustics, erful 16ʹ Pedal Open. Bach’s Prelude and reed sound and the effective use of beginning with a work full of sonic in C Major opened cleanly with a dis- flutes and strings in the alternating or- contrasts, Flor Peeters’s Toccata, Fugue, play of the full organ, followed by Ar- chestral parts, working toward a smash- and Hymn on Ave Maris Stella, followed thur Foote’s flowing Cantilena, which ing conclusion. Here, as in certain other by a Buxtehude Praeludium in C, open- made good use of the quieter stops. large organs of the 1870s, is convincing ing rather strangely on a soft and distant Four selections from Hugo Distler’s 30 proof that the popularity of transcrip- registration before gradually building Spielstücke provided a taste of the “neo- tions in recitals of that era did not go up. A fine and well worked-out inter- unnoticed by organbuilders of the day. pretation of two movements of Messi- And the increasing additions of color- aen’s L’Ascension was followed by How- ful imitative stops to the still tonally ells’s gentler Master Tallis’s Testament, traditional large organs that they built and after the hymn came two inter- then are proof that the orchestral influ- esting excerpts from Stephen Paulus’s ence predated by a few decades its ulti- Baronian Suite and Three Temperaments, mate (if temporary) overcoming of tra- which seemed ideally suited to this ditional aspects during the early 20th organ, showing off both its softer voices century. and stronger solo stops. Wednesday morning we were on Two different Midwestern voices the road again, rolling past vast acres of greeted us after lunch, the first in Sa- sunny cornfields to the town of Lux- cred Heart Church of Freeport. Said to emburg, and Saint Wendelin Catholic have been designed by the influential Church. Here was a classic small pre- Swiss-born John Singenberger, founder 1850 one-manual G-compass organ of the Saint Cecilia Society and editor by an unknown builder, most likely a of its monthly journal, the stoplist of transplant from the east acquired when this 1913 Wangerin-Weickhardt features the church was built in the 1880s. Greg- a plethora of 8ʹ stops and a few 4ʹ stops, ory Crowell has proven at previous although well supplied with 16ʹ, 8ʹ, and Joseph Ripka

16 The Tracker THE 2017 OHS CONVENTION REPORT

Baroque” era, and the program closed with Mendelssohn’s 1841 Prelude and 1834 Prelude and Fugue, both in C minor, which seemed to suit this organ particularly well. A recent (2013) sizable tracker- action three-manual organ by local builder K.C. Marrin in Saint Boniface Church of Cold Spring was featured in an evening concert by Monica Czausz that can only be described as brilliant. John Weaver’s neo-classic Passacaglia on a Theme by Dunstable was a splendid opener, and Rachel Laurin’s Dialogue of the Mockingbirds featured some dazzling interplay between all three manuals and pedals, followed by Paulus’s Blithely Breezing Along, which did exactly that Monica Czausz at a brisk tempo. Two works of a more traditional stripe showed a different side of both organ and player; Vierne’s Thursday morning we were back organ almost exactly a century older, contemplative Stèle pour un enfant dé- in an urban environment, this time in an interesting two-manual instrument funt led into Mendelssohn’s classical Al- Saint Paul, and in the stately House of by the French builder Merklin, im- legro, Chorale, and Fugue in D, bringing Hope Presbyterian Church, home of ported in 1987. The church’s organist, us back to more familiar territory. The the ground-breaking 1979 organ that Aaron David Miller, was the ideal re- singing of the Wachet Auf chorale was was the largest yet built by the C.B. citalist to show off the Fisk organ, be- followed by a drivingly virtuosic per- Fisk firm during Charles Fisk’s lifetime. ginning with two of his own composi- formance of Max Reger’s demanding Imposingly situated in classic casework tions, Jump, a strong and busy piece that Phantasie on that chorale which dis- in the rear gallery, it is consciously gave us a good introduction to the reed played the full resources of this sub- eclectic in its tonal scope, and has me- stops, and the hymn-based Aberystwyth, stantial organ, and was greeted by a re- chanical action throughout. The chan- described as a “Parody in the style of sounding ovation at the conclusion. cel of the church is also the home of an Sweelinck” in variation style, making creative use of flutes and strings. The Merklin was then soloed by Robert Vickery in two works which, though by contemporary composer Denis Bédard, nicely reflected its Romantic voice: strings and solo flute in Andantino and full organ in a Grand Jeu. Then followed a duet between the two organs in works by Vierne, featuring an arrangement of the Kyrie from the Messe Solen- nelle, in which the instrumental parts were played by the Fisk and answered by the choral parts on the Merklin— as it might have been heard in a French church. The Fisk returned solo with “Still be my Vision” from Stephen Pau- lus’s recent Triptych, followed by a hymn by Paulus. One might have liked to have heard a full-fledged Prelude and Aaron David Miller Fugue by Bach in conclusion, but the

JANUARY 2018 17 THE 2017 OHS CONVENTION REPORT

an early electrification, enlargement by Möller in 1958, and two subsequent rebuilds. Grant Wareham’s afternoon program brought out the complex color of the plenum in Paulus’s opening Tryptych III, following it with a colorful use of flutes and reeds in André Fleury’s Noël Bourguignon variations, which closed with a dancing fugue. In Bairstow’s Evening Song he captured the British flavor with its gentle strings and singing flute solo and, following a hymn, came the real tour de force, two movements from Rheinberger’s Sonata No. 11, that moved demandingly along on full-to- medium plenun to a flashy conclusion. Across the street was Saint Mary’s Grant Wareham R.C. Church, where Rosalind Mohn- Bill Chouinard sen, a perennial favorite of OHS convention-goers, brought out the salient Contrapunctus 14 of The Art of Fugue characteristics of a rather heavily foun- Following a hymn, Langlais’s Ave Maris (the final B-A-C-H one, with comple- dational 1927 Reuter in a varied af- Stella sang out with a flute solo work- tion by Michael Ferguson) still proved ternoon program consisting (with one ing toward an almost bell-like ending. a satisfyingly Baroque ending to a pro- exception) of American composers, In closing, Mohnsen made this organ gram that displayed many facets of this the first three of which were based on fairly dance in Bingham’s colorful Rou- iconic organ. chant themes. Everett Titcomb’s ener- lade, and in Dudley Buck’s A-B-A Tri- Only four years after the Fisk, getic “Salve Regina” Toccata opened on umphal March she brought out the in- in 1983, local builder Jan van Daalen a full-bodied plenum building forward strument’s robust voices in the martial built a smaller but still good-sized to a reedy final climax, followed by opening and closing, as well as in the three-manual organ for Jehovah Lu- Gerald Near’s meditative Divinum Mys- contrasting serene interlude, all with a theran Church, combining charac- terium, with its subdued solo line sing- purposeful sense of direction. teristics of the “neo-Baroque” with ing on an almost vocal Diapason stop. The evening brought us to the “American Classic” elements. Nicole vast contemporary Saint Andrew’s Lu- Simental opened on a full and bright theran Church in nearby Mahtomedi, registration with Buxthude’s Toccata in home of what surely must be the larg- F Major, followed by Bach’s Jesus Chris- est organ in the state, and certainly the tus unser Heiland, making it dance joy- most challenging transplant anywhere, fully on a nicely balanced tonal pal- which was carried out successfully in ette. The melody of Brahms’s Schmücke 2001 by the Schantz Organ Co. Here dich was brought out clearly on a mel- was a four-manual 1927 Casavant with low registration, and followed by the a surely checkered history. Originally singing of that chorale. Flute and Cor- built for a large hall in a private school net solos enhanced the French flavor of in Andover, Mass., it was later (and un- Alain’s “Jannequin” variations that fol- successfully) crammed into a much lowed, and Gerald Near’s splashy Toc- smaller space in the school’s chapel. cata on a reedy plenum made a satisfy- After several years it was removed to ing conclusion. make way for a smaller but more suit- Saint Paul’s Victorian First Bap- able organ, and put in storage in Michi- tist Church is home to a three-man- gan, for future use in a concert hall that ual organ of multiple antecedents, still never materialized. Eventually it came boasting casework and many stops from Minnesota, purchased for a specially- the original 1875 Steere & Turner after Rosalind Mohnsen designed location in Saint Andrew’s

18 The Tracker Saint Andrew’s Lutheran Church, Mahtomedi photo len levasseur new building, and rebuilt mechanically teresting Ricercar upon Three Ancient cally decrescendo down to a whisper at with many contemporary features such Chorales, the first two of which indeed the end of a piece. as MIDI, although remaining largely introduced some of the organ’s quieter There were many interesting as- tonally intact. and interesting registrations, although pects of this convention, including the Considering this organ’s truly con- the third, based on “O Jesu, mi dulcis- fact that it was so well planned logis- siderable amount of tonal material, we sime” was anything but dulcet. Some- tically that we unfailingly arrived in might have expected a rich variety of what of a surprise was a slightly jazzed good time at every one of our destina- sonic delights from recitalist Bill Ch- up but relatively mezzo forte Buxte- tions, had sufficient time for meals and ouinard, the church’s organist. We hude prelude on Ein feste Burg, played socialization, and even had perfect mild were instead almost continually bom- at a comfortable tempo and revealing weather—something not always relied barded by an overwhelmingly power- some more moderate principal sounds, upon in Twin Cities during the sum- ful full organ, right down to the 32ʹ followed by the chorale itself, sung by mer. Minnesota hospitality was evident Pedal stops. Opening with a rather bi- a fine soprano whose truly Wagnerian in all the churches, where members zarre arrangement of Bach’s D Minor vocal capability was able to keep her were around to assist us in many ways— Chromatic Fantasy and Fugue, full of from being drowned out. Following even, in a couple of cases, providing us fleeting registration changes and end- this, Healey Willan’s Introduction, Passa- with refreshments. Variety seems to ing fortissimo, this was followed by an caglia, and Fugue opened with another have been the criterion for the choice of “empty bench” MIDI playback perfor- fortissimo blast, followed assertively instruments, and impressive too was the mance by Charles Echols of James H. by the strong passacaglia theme and a creative and varied choice of the music Rogers’s Concert Overture, which did fugue building up to a fortissimo conclu- by truly excellent performers, some of in fact display some of the organ’s var- sion. After all of this almost continual them young and gifted “rising stars.” ied colors here and there, even though Sturm und Drang, the final hymn, “Dear A number of works programmed were also ending fortissimo. Again hoping for Lord and Father of Mankind” (to the by contemporary composers, many of some variety, we were instead bom- Repton tune) might have seemed ei- them American and several of them barded by a very loud transcription of ther appropriate or inappropriate, de- women, but there was a good smatter- Saint-Saëns’s Danse Macabre. But surely pending on how one interpreted it, but ing of Baroque and Romantic classics Robert Hebble’s version of the “Lon- it surely left many of us longing for a too, and some impressive transcriptions donderry Air” might promise some “still, small voice of calm,” which this as well. The planners of this convention contrast; what we got, though, was organ surely possesses among its myriad can congratulate themselves on their a powerful melody line over a heavy resources, but which we only briefly success—and will have hopefully found background. A small amount of relief encountered in a few odd instances a little time to relax before sliding back did arrive with Michael Ferguson’s in- where a fortissimo was made to dramati- on their organ benches in the fall.

JANUARY 2018 19 THE 2017 OHS CONVENTION REPORT

BRUCE STEVENS throbbing on all manuals, it assumed a a substantial distance and speaks into a believable theater-organ persona, and thick acoustical fog; hence, an organist rriving a day late for the organist Greg Zelek played up this as- must labor mightily to hear and control convention, due to a church- pect of its personality in a spirited, en- what he is playing. Laube surmounted Aplaying obligation on Sun- tertainment-oriented program per- these challenges with seeming ease to day, meant missing some early events, formed from memory. deliver a perfectly performed recital of which were reported by others to be We then bused to Central Lutheran considerable difficulty. As always, his most enjoyable. Nonetheless, a profu- Church, where John Ferguson showed tempi, rhythms, and phrasing were ex- sion of terrific events lay ahead. Upon off the huge 1963 Casavant (IV+P/79). emplary, and his virtuosity at manipu- reaching Prospect Park United Meth- This instrument is so dominated by ag- lating the problematic tonal resources odist Church in Minneapolis at noon gressive high pitches and comparatively in unorthodox ways to satisfying ef- on Monday, Daniel Schwandt dem- modest 8ʹ tone that it causes the “listen- fect was astonishing. The seven versets onstrated the church’s 1927 Hinners ing at 4ʹ level” effect. At the time the of Salve Regina by Olivier Latry, played (II+P/13), a pleasant instrument that organ was built, this aural impression with great expression and imagination, generously filled the room with smooth was enjoyed by many, including this preceded a glorious rendition of Wag- yet bright tone—one of those fine little writer, as an exciting new thing, but ner’s Tannhäuser overture derived from work-horse church organs that knows the charm of this sensation has waned transcription concepts by Samuel P. its job and does it beautifully. Schwandt in recent decades. (Perhaps younger Warren, Edwin H. Lemare, and Laube played a varied program with expres- ears still find it attractive?) Ferguson’s himself. Given such stunning perfor- sion, sensitive to the harmonic tensions aristocratic, no-nonsense playing of mances, it was tempting to believe that in the music. A highlight were two of many short pieces in contrasting styles this organ stands among the first rank. Rheinberger’s Six Pieces for Violin and was bookended by fine examples of his Tuesday was spent in the Minnesota Organ, Op. 150 with violinist Cara Wil- signature hymn treatments, no doubt River Valley, where we visited four or- son. The duo performed the wistfully stimulated by the OHS crowd’s tradi- gans in four towns. The surprise organ melodic “Abendlied” and the energetic tionally robust singing. of the convention for this writer was “Gigue” to great effect, during which The incomparable Nathan Laube, the 1979 Charles Hendrickson tracker the Hinners shone as an ideal accom- a great favorite at OHS conventions as (II+P/30) in the First Lutheran Church panimental instrument. The afternoon well as everywhere else these days, was of Saint Peter. This instrument stands continued with a demonstration of a assigned a difficult organ this year. The among the very best of the Orgelbewe- somewhat stringy-sounding 1954 Kil- much amended 1949 Wicks (IV+P/94), gung instruments, bearing a remark- gen (III+P/39) in Holy Cross Lutheran in the magnificent Basilica of Saint able resemblance to those famous ones Church. With its fast, deep tremolos Mary, is separated from the console by by Marcussen from their golden period of the mid 1940s through the early ’70s. Speaking from on high, directly toward the congregation, its relaxed, singing principals (including the mixtures!), lovely liquid flutes, characterful yet roundly pleasing reeds, and suave strings all come together to make various refined ensembles that are commanding and clear yet never too loud or intense. This is an organ that does not tire the ear, yet is not in the least bland. Charles Hendrickson was in the audience for Jonathan Gregoire’s engaging recital, and the applause for the organbuilder was as warm and genuine as it was for the performer. Highlighting the program was August Gottfried Ritter’s So- nata No. 3 in A Minor, which Gregoire played with unfailing energy, drive, and John Ferguson expression. Its especially compelling

20 The Tracker concluding fugue suggested that this piece deserves wider hearing. The OHS Annual Meeting is never the most highly anticipated event at a convention, but this year it was a paradigm of decorum and efficiency. De- parting Chairman Christopher Marks spoke eloquently about the current state of affairs, which has become much more positive in recent years. An inspiring group of 23 E. Power Biggs Fel- lows was introduced. These young men and women from far and wide not only energized the convention (and lowered the median age of the attendees considerably) but also will be leaders in the organ world in the future. Enabling such young people to participate in the OHS is of inestimable value on several fronts. The afternoon was occupied by demonstrations of two Vogelpohl & Spaeth organs, both worthy examples of locally created, high-quality instruments by builders of German extrac- tion. In Lafayette, we heard Peter Cri- safulli demonstrate an 1898 Vogelpohl & Spaeth (II+P/16) in Bernadotte Lu- theran Church; and in Saint George’s Catholic Church in West Newton Township, Isaac Drewes played a 1904 Vogelpohl & Spaeth (II+P/15). Both instruments displayed the polished voicing and bold, honest tone so preva- lent in American church organs of the time. Drewes’s expressive gifts came to the fore particularly in Healey Willan’s Epilogue, a captivating work that moves Basilica of Saint Mary, Minneapolis photo len levasseur from energetic to peaceful to grandiose and back to energetic with completely has gained a distinguished reputation gation and hears the organ exactly as satisfying results. since its move to Mankato in 1975 and they do. This close-up visual experi- Tuesday evening’s recital by Chel- “restorative rebuild” by Dobson Pipe ence was enhanced for the audience sea Chen in the Chapel of Our Lady Organ Builders in 1995, and it did not by a sophisticated, permanent deploy- of Good Counsel in Mankato was one in the least disappoint. The exquisite ment of multiple remote-controlled of those too rare occasions when a sounds of this largest surviving John- cameras, making possible the projec- top-notch organist engages a-top-of- son now speak with confidence in an tion of many zooming views from the line organ in an especially alluring ideal second home. While the organ various angles as well as split-screen program, further enhanced by a superb is well situated in the high rear gal- effects showing closeups of hands and acoustic and a very special setting. In lery of the Romanesque-style church, feet. Chen’s brilliant program, played short, it was unforgettable! The ma- the console is located in the center of from memory, amply demonstrated jestic 1877 Johnson & Son (III+P/45), the nave, off to one side; thus, the or- this stupendous instrument as well originally built for a Boston church, ganist is quite visible to the congre- as her own awesome virtuosity and

JANUARY 2018 21 THE 2017 OHS CONVENTION REPORT

House of Hope Presbyterian Church, Saint Paul towering rhythmic and interpreta- Byrd brought the program to a dazzling a quite bold Dolce Cornet III in the tive gifts. The closing transcription of conclusion. Swell, this organ has no stops above Saint-Saëns’s “Organ Symphony” Fi- Next, we alighted on the beautiful four-foot pitch; however, the power- nale caused the audience to erupt in campus of Saint John’s Abbey in Col- ful, bright voices and judicious use of a frenzy of ovations. For this writer, legeville to hear the 1961 Holtkamp the original super couplers make for this transcription for solo organ by (III+P/46) in architect Marcel Breuer’s successful ensembles. Especially notable David Briggs, as played by Chen, was awesome abbey church seating 1,400. was a gorgeous Doppel Floete 8ʹ, voiced more engrossing than the original for The organ is voiced gently to suit its at fortissimo volume. In Saints Peter and orchestra and organ! primary purpose of accompanying Paul Catholic Church in Richmond, On Wednesday, the convention chant for the Mass and Offices. From we heard a demonstration of an 1888 traveled to central Minnesota, where the center of the vast worship space, it Joseph Lorenz organ (II+P/21). Lorenz our first venue was Saint Wendelin sounds remote; thus in recital, it suc- was another local German organbuilder Catholic Church in Luxemburg. Here ceeds best in soft, slow atmospheric who made sturdy instruments in the we found a charming one-manual organ works. Joseph Ripka’s eloquent and area. Although this organ was restored (I+P/7) of unknown origin. Thought to faultless performances of Messiaen’s Al- by K.C. Marrin in 2000, the Swell stops date from about 1845, it features a bot- léluias sereins and Howells’ Master Tallis’s and the Great Mixture were so out of tom octave extension down to GG and Testament succeeded completely in this tune, the Oboe out of regulation, and a hitch-down swell. Gregory Crowell, vast, extremely reverberant space. the wind so quivering during Mark the go-to organist for making musical In Sacred Heart Catholic Church Anthony Rodriguez’s measured perfor- magic on such a small instrument, once in Freeport, Christopher Stroh began mance, that its potential was difficult to again accomplished the task admira- his recital with Bossi’s Entrée Pontificale, discern. bly in a varied program of works span- a grandiose work perfectly suited to the In the evening, we settled into ning four centuries. His stylish, lickety- church’s equally grandiose 1913 Wan- Saint Boniface Catholic Church in Cold split passagework in a piece by William gerin-Weickhardt (II+P/24). Except for Spring, where Monica Czausz, another

22 The Tracker THE 2017 OHS CONVENTION REPORT young American organ-star of prodi- handling of the 1983 Jan van Daalen mysterious Ave Maria Stella and Bing- gious talent, put a large 2013 K.C. Mar- organ (III+P/41) in Jehovah Lutheran ham’s captivating Roulade were note- rin tracker (III+P/43) though its paces. Church had many high points, which worthy for their establishment of just This organ, too, was plagued by tuning included her imaginative and expressive the right tempi and moods. problems, in this case mainly caused by stylus fantasticus in Buxtehude’s Toc- Thursday evening was spent in electrically operated sliders not mov- cata in F Major, a work well matched nearby Mahtomedi at Saint Andrew’s ing fully into the “on” position. Nev- to this somewhat glassy-sounding neo- Lutheran Church. This modern edifice ertheless, the characterful, warm, clear Baroque organ, her exquisite rubato contains an enormous 1927 Casavant sounds of the instrument shone through in Brahms’ Schmüke dich, and her no- (IV+P/105) built for the Phillips Acad- in Czausz’s outstanding program. Her holds-barred rendition of Gerald Near’s emy in Andover, Mass. Keyboard vir- performance of the concluding fugue of dazzling Toccata. Next, we discovered tuoso Bill Chouinard, the organist of Reger’s monumental Fantasy on “Wa- that an altered 1875 Steere & Turner the church, played an ambitious pro- chet auf” was gangbusters! (III+P/43) in First Baptist Church still gram, but unfortunately the instrument After the long bus rides of the past has much of its original bold, cohesive was simply too loud to tolerate much two days, we welcomed staying in Saint character following its “renovation and of the time. The provided story of this Paul on Thursday. First up were the two restoration” in 2014, although an overly organ being bottled up “behind walls famous organs in House of Hope Pres- aggressive Great Mixture and several and facade woodwork” in a second lo- byterian Church. The assertive 1979 other stops betray the hands of the in- cation at Phillips Academy in 1932 does C.B. Fisk (IV+P/63) in the rear gallery terventionists. Grant Wareham’s var- not make clear whether it was so fe- is justifiably renowned and respected, ied program did justice to this modi- rociously loud originally. Suffice it to but an equally noteworthy 1878 Josef fied yet interesting old instrument. say that when it was relocated to Saint Merklin (II+P/18) brought from France When Rosalind Mohnsen embarked Andrew’s in 2001 and placed behind a in 1987 to function as a front-and-cen- on her recital on the 1927 Reuter organ broad, open pipe facade directly in front ter choir organ fills the large room (III+P/32) in the Catholic Church of of the congregation, nothing was done with elegant, suave, warmly-balanced Saint Mary, it was immediately clear to domesticate the many ranks of reeds sound that in some ways works bet- that she fully understood this fine, pe- on 10ʺ and 20ʺ pressures, nor were the ter with the rather dry acoustics. Con- riod instrument. Despite some tubby extremely loud flue stops disciplined sidering that the sounds of the Merk- diapasons, the overall effect of this into civilized behavior. The forced and lin are genuinely akin to the sounds of 8ʹ and 4ʹ organ is pleasing and distin- ugly sounds from all this super loud Cavaillé-Coll organs of the same time, guished. An especially beautiful clari- pipework obliterated the good impres- the significance of this instrument in a net spoke to its first-rate tonal qualities. sion that the many soft or reasonably prominent American venue is obvious. Mohnsen’s performances of Langlais’s loud stops might have left. Aaron David Miller played the Fisk and Robert Vickery the Merklin in a fascinating, shared program highlighted by Vickery’s performance of “Grand Jeu” by Denis Bédard, a fast, jolly, minor- key march, and Miller’s performance of his own French-style toccata Jump, featuring furiously repeated notes. The only disappointment was that the Merklin was not heard more than in two short Bédard pieces and the opening movement of Vierne’s Messe Solen- nelle for two organs in alternation. Following the lofty heights of the House of Hope organs and performances, the next recital was no let down thanks to the remarkable Ni- cole Simental, an organist in possession of impeccable rhythmic control and informed good taste. Her expert Saint Andrew’s Lutheran Church, Mahtomedi

JANUARY 2018 23 THE 2017 OHS CONVENTION REPORT

On the last day of the convention, num. Located in Sacred Heart Music the crowd had dwindled to about half Center (formerly the Catholic cathedral the maximum of the week, but this re- of Duluth), it speaks in a large, rever- duced group was treated to another berant space to good effect and is fre- amazing lineup of organs and recital- quently used for recitals. Bruce Bengs- ists. We traveled to Duluth, where we ton displayed fine control throughout were blessed with performances by an- his substantial recital, and the organ other superstar of the organ world, Is- served music in multiple styles with abelle Demers. Sharing a recital with distinction. her talented student, Jillian Gardner, Aside from the many excellent or- who played first and with much assur- gans, organists, and recitals we expe- ance, Demers displayed her astonishing rienced, other aspects of this conven- technique and interpretive gifts at the tion made it an all-around resounding large 2010 Jaeckel tracker (III+P/55) in success. The hotel proved to be first- First Lutheran Church. Although this rate, the catered food and food service instrument possesses abundant 16ʹ and in all venues were uniformly fine, and 8ʹ stops, the voicing is extremely bright the buses and drivers earned an A+. We and glassy, allowing for minimal en- were on schedule throughout and had semble blend. Nevertheless, Demers Jillian Gardner ample time between recitals to relax played with such musical perfection a little. The attractive, user-friendly and elegance that the tonal and tuning Handbook, prepared by Nils Halker, shortcomings of the organ were forgot- hall, lives a 1908 Kimball (II+P/19), and the nicest-ever Hymnlet, pro- ten. It was pure delight to hear again a somewhat modified in 1937. In addi- duced by Robert Vickery and beauti- Bach trio sonata registered to make the tion, hanging in the fly space above fully engraved by Bruce Dersch, made three parts tonally distinct and paced the stage is a collection of 80 beautiful for easy participation. Everything so that speed and gracefulness were on hand-painted theatrical scenic back- seemed to go smoothly and as planned. equal footing. drops from the 1910s — the largest col- Hearty kudos go to the convention co- The most unusual event of the lection in Minnesota that remains op- chairmen Michael Barone and Robert convention followed when the re- erable and in use. While Ms. Demers Vickery and to every member of their doubtable Ms. Demers joined in the played appropriate selections by Boëll- numerous committees and subcom- creation of a unique audiovisual ex- mann, Mendelssohn, Grieg, and others mittees for producing a model OHS perience at the Duluth Masonic Cen- on the mellow Kimball, a number of convention. ter. Here, in the ornate 1904 theater/ these drops were displayed with atmospheric lighting—surely a memorable experience for many. In 1906, Saint Mary Star of the Sea Catholic Church ordered an organ from a catalogue—a small Lyon & Healy tracker (II+P/14) with a clear and pretty sound. David Tryggestad played a solid program to demonstrate the versatility of this lovely little instrument, a highlight being Gerald Near’s appeal- ing Variations on Adoro te devote in alternation with the audience singing the stanzas of the plainsong hymn “Hum- bly I adore thee” a cappella. The last organ heard on the convention was one of the best 19th-century instruments visited—a powerful 1898 Felgemaker (II+P/21) that boasts Isabelle Demers beautiful stops and a very clear ple- Bruce Bengston

24 The Tracker             

PATRICK J. MURPHY & ASSOCIATES, INC.

ORGANBUILDERS 300 Old Reading Pike, Suite 1D, Stowe, PA 19464 Voice: (610) 970-9817 • Fax: (610) 970-9297 Email: [email protected] Website: www.pjmorgans.com

Jane Errera Give the gift St. Anne’s Church Bethlehem, Pennsylvania of Membership! WWW.organhistoricalsociety.org

MaryAnn Crugher Balduf Organist • Recitalist • Accompanist Ypsilanti, MI (734) 485-0411

JANUARY 2018 25 OHS Meets EROI in Rochester

NATHAN LAUBE

here are some matches made in heaven—meaning- Eastman Rochester Organ Initiative is assembling a collec- ful relationships, cuisine and libation, performers and tion of new and historic organs unparalleled in North Amer- Torgans—all of which we hope to bring together at the ica. An incomparable teaching resource, this collection offers 2018 Convention of the Organ Historical Society in Roches- talented young musicians from around the world access to or- ter this summer. But another comes to mind: the Organ His- gans of diverse styles and traditions. Tourists, scholars, and torical Society and the Eastman Rochester Organ Initiative music lovers are drawn to Rochester to experience the sounds (EROI) by virtue of a shared vision for the preservation, ad- of these extraordinary instruments. vocacy, and study of the organ and its history. Collaboration Since 2001, EROI has completed an initial phase that has between the OHS and EROI is not unprecedented: the OHS included the placement of four magnificent instruments in co-sponsored the 2008 EROI Festival to celebrate the inau- downtown Rochester. A historic Italian Baroque organ was guration of the installation of the Craighead-Saunders organ installed in the University of Rochester’s Memorial Art Gal- at Christ Church Episcopal in Rochester. A decade later, and lery in 2005. The Craighead-Saunders organ, closely modeled now with several new instruments that have subsequently en- after a Lithuanian organ built by Adam Gottlob Casparini in riched both organ study at the Eastman School of Music and 1776, was installed in Christ Church in 2008, in cooperation the Rochester cultural landscape at large, we look forward to with the Episcopal Diocese of Rochester. Eastman also owns sharing these riches—including many new discoveries also for two vintage 19th-century American instruments, an 1896 us—with you this summer and at our EROI Festival in Oc- Hook & Hastings housed in Saint Mary’s Catholic Church, tober 2018. and an 1893 Hook & Hastings restored and installed in the chancel organ chamber of Christ Church in the summer of THE EASTMAN ROCHESTER 2012. The EROI Project continues to work towards expand- ORGAN INITIATIVE ing the collection of high-quality organs in the Rochester When the Eastman School of Music opened its doors in 1921, area. The next phase of the project includes the renovation of it housed the largest and most lavish organ collection in the the historic four-manual 1921 Skinner Organ Company, Op. nation, befitting the interests of its founder, George Eastman. 325 housed in the Eastman School’s Kilbourn Hall, and the Eastman provided the school with opulent facilities and stel- restoration or replacement of the 14 practice organs, all lo- lar faculty, creating an expansive vision for organ art and ed- cated in the main building at 26 Gibbs Street. EROI extends ucation in the 20th century. In keeping with this tradition, beyond instruments owned by the Eastman School: strong the Eastman School of Music embarked on a long-range plan, collaboration between Eastman and several churches in Roch- the Eastman Rochester Organ Initiative (EROI), which is ex- ester has allowed significant, regular weekly student access to tending George Eastman’s vision into the 21st century. many of the organs featured during this convention, namely With the aim of making Rochester a global center for Third Presbyterian Church, Saint Paul’s Episcopal Church, organ performance, research, building, and preservation, the Sacred Heart Cathedral, Downtown United Presbyterian

26 The Tracker OHS MEETS EROI IN ROCHESTER

Church, Asbury United Methodist Church, First Universalist den—a process-reconstruction of the 1699 Arp Schnitger Church, and the Wurlitzer organ at the Auditorium Theatre. organ that adorned the rear gallery of the Lübeck Dom until The EROI committee has also been involved in the design of its destruction in 1942—revealed a successful model for what two new organs in the First Presbyterian Church of Pittsford such an organ project could be, in which process figured as (2008 Taylor & Boody, Op. 57) and at Sacred Heart Cathedral importantly as product. This model cements in an unprec- (2008 Paul Fritts & Company, Op. 26). edented way the relationship between the design of the in- A central component of the EROI Project is outreach strument itself and the music we play, concurrently enrich- and education. In the autumn of even-numbered years, EROI ing our understanding of organbuilding traditions, its values, presents the EROI Festival, an international academic confer- aesthetics, and techniques, as well as the resultant implications ence that features the collection of instruments in Rochester. for the performance of the associated corpus of organ rep- The event has grown into one of the premier organ confer- ertoire, from both the musical perspective, and the perspec- ences in the world. tive of playing technique. The Christ Church project had the potential, therefore, to reach beyond creating a historically- AN EROI CASE STUDY: inspired instrument, but in the process of re-creating an ac- CHRIST CHURCH AND ITS ORGANS tual historic organ, begin to address some of the mysteries or- Christ Church has become a focal point of Rochester cul- biting the organbuilding craft, namely: how were the organs tural life, and thanks to its two superlative and historically- of Bach’s time built and why and how does that affect their diverse organs, it represents a sort of “ground zero” for many sound and behavior? Furthermore, the North German instru- of EROI’s activities. The present edifice, constructed in 1892, ments have been in many ways the locus of the Orgelbewe- which absorbed the previous mid-29th-century church into gung since the 1920s—the golden exemplar for so many of the its Gothic Revival architectural fabric, has functioned both historically-inspired organs of the 1960s, and later C.B. Fisk, as a parish church and cathedral in the diocese of Rochester. John Brombaugh, and many of their disciples who continue The Hook & Hastings organ that served the church after its to build today. Replete with plentiful 16ʹ and 8ʹ manual stops installation in 1891 suffered numerous unsuccessful rebuilds designed to be combined in fanciful ways, undulants, percus- that eventually rendered it unplayable and artistically com- sions, rosin-dripping strings at 16ʹ, 8ʹ and 4ʹ, and even occa- promised by the 1990s. Several temporary solutions main- sionally animated casework, the more elusive Central Ger- tained some variety of organ presence within the sanctuary man organ—seemingly “decadent” if judged by the rubric until 2008, including the 1896 E. & G.G. Hook & Hastings, of the appealingly architectural, forthright sonic plan of their Op. 1697 now situated in the transept of Saint Mary’s Catho- Northern German neighbors—was yet to have its moment in lic Church in Rochester, and an organ on loan by Paul Fritts. the spotlight on this side of the Atlantic. It was clear, however, that a long-term solution and an instrument commensurate to the space was necessary. THE CR AIGHEAD-SAUNDERS ORGAN Christ Church’s proximity to the Eastman School and After eight years of research and study, the resultant Craig- its sympathetic acoustic inspired Eastman organ faculty, both head-Saunders Organ is a scientific process-reconstruction of past and current, to envision a significant instrument in a new the historical organ in the Dominican Church of the Holy rear gallery. It posed an attractive opportunity for collabora- Spirit in Vilnius, Lithuania, built in 1776 by Adam Got- tion: one that would not only furnish the sanctuary and mu- tlob Casparini (1715–1788). Casparini worked as a journey- sic-loving congregation with an instrument capable of sup- man under the celebrated Bach-circle organbuilder Heinrich porting and shaping a growing music program under the Gottfried Trost (1680–1759), builder of the luxurious Walter- leadership of Stephen Kennedy, but also provide an additional shausen and Altenburg Castle instruments famous for their venue for organ teaching, performance, and practice to East- vivid imitative registers (Viol di gamba, Vox humana, Flauto man faculty and students without the competition for access travers, etc.), crunchy, tierce-saturated plenos, and Pedal divi- from other departments within the school. sions of tremendous gravitas so desired by J.S. Bach as organ With the establishment of the Eastman Rochester Organ consultant and examiner. It is possible, though it remains un- Initiative in 2001, the identity of the new organ became certain, that J.S. Bach and A.G. Casparini could have been clearer. A natural priority emerged to procure an instrument acquainted. The Vilnius instrument provided an ideal case that would provide a meaningful and authentic experience for for study and reproduction by virtue of the fact that it re- the performance of 18th-century music, namely the music of mained nearly entirely intact—unlike so many of its German Johann Sebastian Bach and his successors. The pivotal North compatriots irrevocably changed by war, poor restorations, or German Baroque Organ (2000) by Munetaka Yokota, Mats changing tastes. At the time of the extensive documentation Arvidsson, Henk van Eeken and GOArt (Gothenburg Organ of the instrument carried out by Niclas Fredriksson of the Na- Art Center) in the Ögryte New Church in Gothenburg, Swe- tional Board of Antiquities in Sweden that was published in

JANUARY 2018 27 THIS IS PLACEHOLDER TEXT ONLY

PHOTO LEN LEVASSEUR

THE CR AIGHEAD-SAUNDERS ORGAN

GOART/YOKOTA GOTHENBURG, SWEDEN, 2008

MODELED AFTER THE 1776 ADAM GOTTLOB CASPARINI ORGAN IN VILNIUS, LITHUANIA

CLAVIATURA PRIMA CLAVIATURA SECUNDA PEDAL ACCESSORIES 16 Bourdun 8 Principal Amalel 16 Principal Bass Ventil ad Claviaturam Primam 8 Principal 8 Iula 16 Violon Bass Ventil ad Claviaturam Secundum 8 Hohlflaut 8 Flaut Major 12 Full Bass Ventil Pedall 8 Qvintathon 8 Unda Maris 8 Octava Bass Two tremulants 4 Octava Principal 4 Principal 8 Flaut & Quint Bass Bebny (drum stop) 4 Flaut Travers 4 Spiel Flet 4 Super Octava Bass Vox Campanarum (Glockenspiel) 3 Qvinta 4 Flaut Minor 16 Posaun Bass Gwiazdy (Cymbelstern) 2 Super Octava 2 Octava 8 Trompet Bass Kalilujactgo. (bellows signal) 2 Flasch Flot 2 Wald Flot Manual Coupler (shove coupler) 13/5 Tertia Mixtura IV Claviatura Prima to Pedal (drawstop) Mixtura V 16 Choris Dulcian Trompet 8 Vox Humana

28 The Tracker OHS MEETS EROI IN ROCHESTER

2000, the instrument was mostly unplayable, and yet it may be mand the transparent and prompt 16ʹ Borduna, and the addi- that its very silence and inconspicuousness preserved it from tion of either the 13/5ʹ Tertia or 8ʹ Trompet color and clarify modification under the watchful eye of its curator, the Lithu- particular musical textures when deemed appropriate. anian organbuilder Rimantas Gucas. In the Claviatura Secunda, the gently transparent 8ʹ Prin- The project to create the process-reconstruction in Roch- cipal Amalel (ostensibly a bastardization of Amabile) evokes ester was led by the organbuilders and researchers at GOArt the characteristic speech and animated/active sound of string (Mats Arvidsson, Johann Norrback, Joel Speerstra, Paul Pe- stops, whereas the 4ʹ facade Principal relates more directly to ters, and Munetaka Yokota) with the participation of a refer- the ensemble of the Claviatura Prima in its calmer sustained ence group of five leading American organbuilders (Steven vowel after an animated onset of tone. The unusual 8ʹ Iula Dieck, Paul Fritts, Bruce Fowkes, Martin Pasi, and George register remains both an enigma and one of the unique poetic Taylor), the Eastman Organ Faculty (Hans Davidsson, David effects of the instrument. A relatively wide-scaled 8ʹ Princi- Higgs, Stephen Kennedy, William Porter, and Kerala Sny- pal constructed out of wood with a decidedly slower and soft der), and consultant, Harald Vogel. The instrument is a di- onset of tone, it is among the best-suited stops for continuo rect copy with the following exceptions: a second tremulant playing, recalling the Holzprinzipal stops found in Northern was added; the empty slider at the back on the Claviatura Se- German Brustwerk divisions. It is not too much to say that it cunda windchest was supplied with a 16ʹ Dulcian; a manual bears a certain kinship to the 8ʹ Melodia on the Hook & Hast- to pedal coupler was added; and the compass was extended ings. The Unda Maris, recalling the Voce Umana stops in by two notes in the manuals and in the pedal. All parts were many southern European instruments, reminds us that Adam manufactured by GOArt at the University of Gothenburg in Gottlob’s forbearers, namely Eugenio Casparini, were active Sweden with the exception of the bells for the Glockenspiel as organbuilders in northern Italy in the 17th-century. While and Cymbelstern, which were cast by the Whitechapel Bell inclined towards the Iula for the most other-worldly effect, Foundry in England, and the case carvings, which were doc- the Unda Maris is also compatible with the 8ʹ Flaut Major for umented and reproduced by New Energy Works, Farming- a less intense, gallant effect, or the 8ʹ Principal Amalel to sug- ton, N.Y., the same firm that also built the new timberframe gest the vivid chiaroscuro shadings in durreze ligature music as a balcony for the organ. There is not a manufactured screw in Voce umana. the organ—each one is hand-forged of iron. Digital 3-D scans The 8ʹ Trompet of the Claviatura Prima in a study in sur- were used to recreate the statue of King David with a lyre prising inter-and-intra-manual balances: rather than acting as that adorns the very center of the case, partially obscuring the a “crown” to the division, it is merely another spice in the Vox Campanarum, the glockenspiel stop oft-requested by J.S. cabinet, not unlike the Tertia or Quintathon. The addition Bach. The case was decorated and painted by Monika May of the 8ʹ Quintathon or 4ʹ Flaut Travers, for example, mark- following 18th-century traditions of paint making and appli- edly changes the character and accent of the Trompet. The cation. The instrument arrived in Rochester in 2007 and after Vox Humana fulfills its ubiquitous role as 8ʹ reed soloist of the a year of assembly and voicing, it was inaugurated in October organ, whether combined with the 8ʹ Principal Amalel and 2008 during the EROI Festival in four days of performances, 4ʹ Flaut minor, or almost any combinations of eight and/or lectures, and workshops. four-foot stops. J.S. Bach’s fondness for the 16ʹ Fagott or Dul- Sonically the instrument reflects the prevailing aesthet- cian is well known, as is easily illustrated by one of his rare ics of late-18th-century Central German organbuilding: notated registrations for the chorale prelude Ein’ feste Burg ist a strong 16ʹ center of gravity with 32ʹ presence by way of a unser Gott, BWV 720, and even earlier to the North in Ham- 102/3ʹ Full-Bass, a proliferation of 8ʹ stops in both manual divi- burg by the so-called “sonata registration” that called upon a sions, many instrumental colors of a highly imitative nature, 16ʹ Trompet to play elaborate passages in the left-hand. Given a 16ʹ-based, repeating tierce-mixture in the Claviatura Prima, the frequency of bicinia and trio textures in 17th- and 18th- and an 8ʹ-based, repeating quint-mixture in the Claviatura century music, it was chosen to add this 16ʹ register where Secunda. The entire instrument is contained within one in- space afforded the opportunity. In other contexts, such as a tegrated, massive casework; the Pedal in the farthest towers massed Volles Werk in the music of Mendelssohn or Liszt, it with the facade 16ʹ Principal; the Claviatura Prima (Haupt- lends texture to, and reinforces the 16ʹ line, and with a little werk) in the middle with the facade 8ʹ Principal; and the Cla- imagination, conjures the spirit of a 16ʹ Aeoline free-reed reg- viatura Secunda (Positiv) crowning the case with its facade 4ʹ ister in well-chosen mid-19th-century compositions. Principal. The Organo Pleno of the each manual demands the Even many modest two-manual Silbermann instruments doubling of the Principal with an 8ʹ wide-scaled stop (Hohl- boasted two 4ʹ flute registers in the second manual, and the flaut or Flaut Major), as Silbermann prescribed by adding the Craighead-Saunders organ honors this tradition with both an 8ʹ Rohrflöte to the Principal in building vertical registrations. open and stopped flute in the Claviatura Secunda. The liques- The presence of a 51/3ʹ quint and 31/5ʹ tierce in the Mixtura de- cent 4ʹ Flaut Travers of the Claviatura Prima reminds us of

JANUARY 2018 29 OHS MEETS EROI IN ROCHESTER the immense popularity of its namesake instrument in gallant anced weight of the arm, a structured, but malleable wrist, Germany; the Quintathon confirms the worth of spice and and a firm, active finger. Momentum provided by larger mus- vinegar in both taste and sound. cle groups (upper body and arm) ensures that the player can The Orgelbewegung defined itself by the ubiquitous 16ʹ always break through the pluck (and coupler when engaged), Subbass, but the 16ʹ Violon-Bass and Principal-Bass, such as and control the nuances of articulation through smaller ones are found in A.G. Casparini’s design were admired when (fingers). Similarly, the large, flat, straight pedalboard requires space allowed. What the facade 16ʹ Principal-Bass achieves the player to treat the leg much in the way one treats the arm in presence, and malleability of onset and offset of tone, the in order to develop a full, rounded tone with a controlled re- 16ʹ Violon-Bass, a paradoxically neutral and very fundamen- lease. It is clear when these physical motions come together tal color more akin to an Open Wood than a Hildebrandt or as a well-coordinated choreography of movements: the organ Trost Violon-Bass, contributes in gravitas and perspective as a sounds sonorous, rich, alive, and full; without this well-bal- foil to the facade Principal-Bass. One also wonders whether anced, efficient technique, it can sound anemic, asthmatic, and this 16ʹ Violon-Bass is related to the Italian 16ʹ Contrabasso, brittle. The relationship of the mass of the action to the resul- bearing in mind the generations of Casparinis who worked tant sound as experienced through a well-balanced technique in Northern Italy. Interesting, too, is the interdivisional rela- has important implications for how we experience the “com- tionship of fundamental color and comparatively slow speech mon touch” or “ordinary proceeding”—the ordentliches fortge- of the 16ʹ Violon-Bass and the 8ʹ Iula, which are staggeringly hen—described by F.W. Marpurg in his 1765 Anleitung zum similar when complimentary notes are compared in their re- Clavierspielen, written just a decade before the construction of spective octaves. J.S. Bach’s Orgelbüchlein chorale, Gottes Sohn the Vilnius organ: “with the notes that are to be performed ist Kommen, BWV 600, prescribes the unlikely registration of in the usual manner, that is, neither struck nor slurred, one 8ʹ Principal in the manual and 8ʹ Trompet in the Pedal—un- lifts the finger a little earlier from the key than the length of likely, indeed, but entirely functional (and beautiful) given the note requires.” Daniel Gottlob Türk similarly reminds us these relationships. The equilibrium is achieved when speech, in his 1789 Klavierschule, “one hears each note with its due presence (i.e. exposed pipework), and sound activity in the strength separated in a round and clear way from the other.” In Principal is balanced by smoothness, and distance (interior a time in which we still often hear Bach performed with po- pipework) of the Trompet-Bass. It is similarly perfectly pos- larized articulations (i.e., legato/staccato), half-value repeated sible to use all of the stops of the Pedal (16-16-12-8-6-4-16-8) notes, and this very sort of “key striking” discouraged by under the foundation stops of the coupled manuals (I: 16-8- Marpurg, the Craighead-Saunders organ issues a warning to 8-4 + II: 8-8-4). The relatively dark pedal reeds function more its player by its very behavior when such a playing technique is as a textural agent that delineates the bass voice by color and used. The instrument encourages the player, furthermore, to depth rather than strength. As in so many Central German or- consider the time occupied by pipe speech and the following gans without a Pedal mixture, in which the division primarily sustained vowel within the duration of each played note—one functions as a basso continuo or an 8ʹ or 4ʹ cantus firmus, clarity perceives a clear beginning, middle, and end of each tone, not for pedal solos, for example, is achieved by the addition of the unlike the messa di voce (crescendo–diminuendo profile within manual-to-pedal coupler—in the case of the Craighead-Saun- a sung note) so central to singing traditions before the 20th- ders Organ, a “pull-down” coupler rather than a windkoppel. century. The defined, but rounded touch advocated by Türk The tonal properties of the organ are as interesting as the is experienced aurally by the cantabile and response of the in- unique physical experience had by the organists who play it— strument and physically through well-coordinated movements perhaps the single most significant determining factor of the resulting in an ergonomic ease in performance. instrument’s impact as a pedagogical instrument. One some- The wind system of the Craighead-Saunders organ repre- times speaks about the behavior of an instrument: the way in sents one of its most important expressive parameters for con- which the wind system, key and pedal action, console dimen- sideration and manipulation. An instrument that encourages sions, and pipe speech corporately send physical and sound the use of multiple 16ʹ and 8ʹ stops and many large open 16ʹ stimuli to the player that encourage or discourage certain ways (and indeed 32ʹ) registers in the pedal at once requires a great of playing. The particular action of a Central German organ deal of care to prevent exaggerated shaking or the prover- encourages, and in fact truly demands a balanced technique in bial exposed soprano “wiggles” that can so often mar other- order to produce a good, rounded, and clearly defined sound wise fine performances. In molding sounds, one is reminded (i.e. the “common touch” so associated with sound aesthet- of the original definition of the word Baroque—a misshapen ics of the Baroque, and early Classical periods). The action pearl—in which curvaceousness and fluidity are virtues. One is not “idealized”—i.e., “feather-light” to play—but rather thinks of the highly evocative manuscripts of Froberger or commensurate to the massiveness of the instrument without J.S. Bach in which hardly a straight line can be seen superim- ever being unduly difficult or cumbersome. It requires bal- posed upon the organizing, geometric structure, the printed

30 The Tracker OHS MEETS EROI IN ROCHESTER staves. In this way the notes represent, even just visually, an Mark Austin, selected David E. Wallace & Associates, LLC, alluring inegalité rather than a geometric uniformity. “Playing to install the 1893 Hook & Hastings, Op. 1573, with the Choir the wind” on an 18th-century instrument follows suit. Note division of the 1862 E. & G.G. Hook, Op. 308, in the chancel values are manipulated in order to stabilize the wind, cre- of Christ Church in 2012. ating almost a secondary set of articulation concerns aimed E. & G.G. Hook, Op. 308, originally graced the interior not at expressing good grammar and syntax, but rather aimed of Emmanuel Church’s impressive 1862 building on New- at good sound production itself. An obvious example is the berry Street in Boston, positioned in the south side of the gently arpeggiated release towards the bass voice (the “down- chancel. It arrived on the scene at an interesting moment in ward release” described in Dudley Buck’s Illustrations in Choir organological history: in the same year as Cavaillé-Coll’s Accompaniment)—but with a different musical goal—in order 100-stop organ in Saint-Sulpice in Paris, and one year be- to ensure that the largest, most-wind-displacing pipes are re- fore the installation of another game-changing instrument in leased last to avoid the surge of wind into the smaller pipes American organ history, the 1863 E.F. Walcker organ for the played in higher voices. It also dispels the late 19th- and early Boston Music Hall, and E. & G.G. Hook’s now-silenced mas- 20th-century paradigm that all voices should be articulated terpiece for Immaculate Conception Church, Op. 322. Em- the same way—i.e., that a Piccolo and a Trombone should manuel’s fairly typical three-manual, 31-stop instrument was be expected to play with exactly the same degree of articula- moved in 1891 by Woodberry & Harris to Christ Church tion and agility. To bring this equalizing set of values to such Episcopal in Rochester, having been replaced by a larger in- an instrument will only result in half-speaking Pedal pipes, strument by George S. Hutchings. M.P. Möller electrified it shaking wind, and a generally brittle sound. in 1919, and while much of the organ was fundamentally al- This assemblage of expressive factors—quality sound, tered in subsequent rebuildings, its Choir division remained characteristic pipe speech, an action commensurate to a rela- largely intact. tively large Baroque organ, and a malleable wind system—af- The 1893 Hook & Hastings, Op. 1573, replaced the 1874 fords a richness to the performer and listener, not only in the E. & G.G. Hook & Hastings, Op. 778, when the congrega- performance of Baroque music, but also Romantic music of tion of Saint Dominic’s Catholic Church moved into its new the first decades of the 19th-century and music of the avant- building in Portland, Maine. It was rebuilt in 1964 by the garde. Felix Mendelssohn’s unique balance of Classic and Ro- Andover Organ Co., at which point tonal alternations to the mantic motivations finds an ideal medium in the Craighead- original scheme were undertaken, particularly in the Choir Saunders organ, an instrument not unlike so many of those he division, where a Tierce usurped the place of an 8ʹ Geigen played and encountered in his travels throughout Europe. The Principal and the Dulciana was transformed into a Nazard. wealth of 8ʹ and 4ʹ stops on relatively equal dynamic footing With the closing of Saint Dominic’s in 2001, the organ was proves revelatory in Andante and Adagio contexts, whereas disassembled and put into storage by the Andover Organ Co. the drama of the Volles Werk—one of both breadth and trans- and David Wallace. parency, power and color—imparts an unusual immediacy of In 2011, Mark Austin came across Op. 1573 at the Organ expression to music often underestimated. Performances of Clearing House, and the tantalizing prospect of restoring vin- Ligeti, Hambraeus, Pärt, and living composers maximize all tage 19th-century sounds to Christ Church appeared within of these parameters, not the least by the possibility of ma- reach. The stops that had been most altered in Op. 1573 were nipulating the wind ventils for effects that would send any among those serendipitously preserved in remains of Christ composer of a horror-film score to the organ loft in vain in a Church’s Op. 308. What could not be found within Op. 308 search for state-of-the-art software and loudspeakers. was taken from E. & G.G. Hook Op. 821 and Hook & Hast- ings Op. 2316 to complete the scheme. One additional stop THE HOOK & HASTINGS ORGAN was added to the organ outside its original scheme: a wooden As a foil to this organ of the Enlightenment—originally con- 16ʹ Trombone by William A. Johnson from his 1865 Op. 66, structed during the founding year of the United States of the first of that builder. America—a poetry of another kind emanates from the chan- The project was completed in 2012 by David Wallace cel. It had been an EROI dream to bring back into the 19th- and his employees, and with the assistance of Mark Austin century interior the uniquely American sounds that once in- and the staff, faculty, and students of the Eastman School of spired hearty hymn singing and charmed with its doppelflutes Music. Historical photographs were consulted to replicate the and keraulophons. The possibility presented itself when a rel- original late 19th-century polychroming and stenciling, the atively intact organ by Hook & Hastings became available success of which prompted Christ Church to re-stencil and and was in need of a new home. An advisory committee, polychrome its whitewashed chancel in 2016. Further interior including Barbara Owen, Mark Nelson and George Boze- decoration is planned to bring the church closer to its former man, alongside the EROI committee, and then organ curator, splendor.

JANUARY 2018 31 PHOTO LEN LEVASSEUR HOOK & HASTINGS OP. 1573, 1893 RESTORED BY DAVID E. WALLACE, GORHAM, MAINE; WITH MARK AUSTIN, ROCHESTER, N.Y. (2012)

Compass: Manuals, 58 notes, C–a3 Pedal, 27 notes, C–d1 Mechanical action Tracker-pneumatic on notes 1–24 of Great and Swell GREAT CHOIR SWELL PEDAL COUPLERS 16 Double Open Diapason 8 Geigen Principal 16 Bourdon 16 Open Diapason (wood) Great to Pedal 8 Open Diapason 8 Dulciana 8 Violin Diapason 16 Bourdon Swell to Pedal 8 Doppel Flute 8 Melodia 8 Viola 8 Violoncello Choir to Pedal 8 Viola da Gamba 4 Flute d’Amour 8 Stop’d Diapason 16 Trombone* Swell to Great 4 Octave 2 Piccolo 4 Violina *W.A. Johnson, 1865 Choir to Great 3 Twelfth 8 Clarinet (t.c.) 4 Flauto Traverso Swell to Choir 2 Fifteenth Tremolo 2 Flautino Mixture 3 rks. 8 Cornopean Detached and reversed console 8 Trumpet 8 Oboe 2 combination pedals Tremolo Great to Pedal reversible Bellows signal

32 The Tracker OHS MEETS EROI IN ROCHESTER

With only 28 stops, it is possible to play convincingly im- on the Hook & Hastings, one must depart considerably from mense swaths of organ literature on this instrument. Such a the three-manual, terraced paradigm of Cavaillé-Coll and specification encourages eclectic use, inviting the organist to its convention of successively “calling” reeds and upperwork explore the 19th- and early 20th-century American reper- to culminate in the Grand Choeur. Here one must be gov- toire, and creatively re-imagine English, German, and French erned by the broader principle of a symphonic crescendo that repertoire within a different framework. An integrated cre- creates a similar emotional response from the listener. While scendo, governed in principle by a German concept of grad- some 18th-century registration recipes work perfectly with- ual stop additions rather than the English model of staggered out adaptation at the Craighead-Saunders organ, others de- additions between two complementary “ensemble” divisions mand considerable modification to achieve the proper balance of nearly equal power yields the best results. The dominance or color. In doing so, one can equally imagine oneself in the and presence of the Great division suggest the last steps of the shoes of Mendelssohn, Schumann, Liszt, or Clarence Eddy— crescendo to Full Organ are accomplished solely with its stops discovering and playing old organs in their travels without (Trumpet, Twelfth, Fifteenth, Mixture). The Choir division the trade knowledge of 18th-century registration practice, but benefits from its favorable placement immediately behind the simply basking in the fantasy of glorious sound and imagining organist on the lowest level, giving these oldest mid-century that mythological Bach-figure of fugues and passions doing stops an unusual ring in the nave. The Melodia masquerades the same a century earlier. And so we find ourselves always as a French horn in its tenor range and a convincing solo stop connected to this common thread among organists of past, in the soprano, whereas the Geigen Principal—stamped Ke- present, and future—fascinated, astonished, amazed, and el- raulophon—imparts the silvery definition to balance the so- evated by the feast for the eyes and ears that such instrumental briety of its neighboring flute with octave harmonic. Heard art will always provide us. This has always been central to the from the nave, the 8ʹ, 4ʹ, and 2ʹ flutes suggest the ubiquitous activities and vision of the OHS and EROI, and we look for- ensembles of Flûte harmoniques that define Cavaillé-Coll ward to welcoming all of you further into that shared vision Récit divisions. The Clarinet is a throaty, resounding exam- in Rochester in 2018. ple, betraying its early origins with its tenor-C compass—if unfortunate for some famous bass moments for this stop in the music of Horatio Parker and his contemporaries. The 8ʹ Viola and 4ʹ Violina of the Swell provide a distant shimmer in BIBLIOGR APHY lieu of a celeste and characteristic accompaniment in German Austin, Mark. “The Hooks-Hastings, and a Tale of Two Or- Romantic music. The Oboe and Cornopean are superb solo- gans.” Organ Sacred Music, and Historical Keyboards, ists in the cantabile music of César Franck and his contempo- The Eastman School of Music, November 2012. https:// raries, and equally suggestive as coloring agents to the fonds www.esm.rochester.edu/organ/instruments/hook-and- d’orgue. The heart of the organ remains its Diapasons: broad, hastings-organ/. Accessed 7/2017. incisive, and remarkably transparent, with the characteristic “The Craighead Saunders Organ.” Organ Sacred Music, and “puff“ at the onset of tone. The Mixture that crowns the Full Historical Keyboards, The Eastman School of Music, Organ lost its tierce rank in the 1960s rebuild; restoring this October 2016. https://www.esm.rochester.edu/organ/in- mixture composition is a priority in fully returning the speci- struments/craighead-saunders/. Accessed 7/2017. fication to its original tonal scheme. Davidsson, Hans. “Inaugurating the new Craighead-Saunders As with the Craighead-Saunders organ, the behavior of Organ at the Eastman School of Music.” The Diapason the instrument gives the player informative stimuli as one (September 2008): 21. adapts historic repertoire often conceived for Kegellade (cone- Davidsson, Hans, David Higgs and Joel Speerstra. “The East- chest) and Barker machines to its demanding mechanical ac- man Rochester Organ Initiative (EROI).” Organ Sacred tion. There is a Barker assist only for the two lowest octaves Music, and Historical Keyboards, The Eastman School of both the Swell and Great. The player must take as much of Music, October 2016. https://www.esm.rochester.edu/ care in shaping the wind on the Hook & Hastings as on the organ/eroi/about/. Accessed 7/2017. Craighead-Saunders organ, albeit in different ways. The 27- “North German Baroque Organ.” Göteborg Organ Art Cen- note, flat, straight pedalboard and far-right position of the ex- ter, University of Gothenburg. http://www.goart.gu.se/ pression pedal simulate to a degree the situation known by all research/instruments/north-german-baroque-organ. Ac- 19th-century French organists—an etude for students in left- cessed 7/2017. foot pedaling in French music. Speerstra, Joel. “Opening a Window on the Enlightenment: These instruments remind us that all music has to be A Research Organ for the Eastman School of Music.” reimagined in situ, given the particular sound perspective Keyboard Perspectives: The Yearbook of the Westfield Center for that each instrument presents its player. In playing Franck Historical Keyboard Studies 1 (2007): 1–24.

JANUARY 2018 33 Belles lettres

A Musical Journey in Spain

CLARENCE AND HELEN A. DICKINSON

PART II and warm affection from the better known monk of Bologna. In the Library of the Escorial is the copy of Guido’s Microlo- gus—written about the year 1000—which was presented to During the summer of 1920, the “Dean of American Church Mu- Soler by Padre Martini, and which is exactly like the original sicians,” Clarence Dickinson, and his wife, Helen Adell, traveled of Guido in the great Franciscan’s famous library at Bologna. extensively throughout Spain, visiting many cathedrals and their The Library is the other absorbing feature for the musi- organs. Such an itinerary was novel at the time, most organists’ cian, for it contains two hundred and nineteen colossal an- pilgrimages being to England, France, and Germany. The Dick- cient choir books in parchment, with miniatures; some of the insons wrote a colorful description of their trip that appeared in the volumes are more than three feet high. Happily for himself, as January 1921 issue of the American Organ Monthly, the first it will be also, undoubtedly, for music and for us all, the pres- part of which we reprinted in our last issue. The second and final ent organist of the Escorial is Luis Villalba, a pupil of Pedrell part follows. in composition, a Doctor of Philosophy and of Letters, and above all, a great student of ancient musical literature.

ALCALA MADRID About twenty miles from Madrid is the famous old University That Royal palace, monastery and tomb near Madrid, the Es- city which was the birthplace of Cervantes, as also of Kather- corial (Escurial) is of exceeding interest to the scholar and ine of Aragon, that lady who was first in point of time in the musician-in spite of the excessive sombreness of the build- long line of ladies who held briefly the affections of Henry ing, the very shape of which is intended to remind him of the VIII of England—Alcala de Henares. In the sixteenth cen- gridiron on which St. Lawrence was roasted to death, and all tury, the university had a registration of twelve thousand stu- those dead kings buried just where, when he says Mass, the dents. I could find no local reason for “When I was a student priest will stand directly over them, and all those kneeling at Cadiz”1 except the ease with which it rhymes with “la- figures of kings and queens long dead, and those rows upon dies,” but any “Long ago in Alcala” could have a foundation rows of caskets-for the sake of the seventeenth century organ of fact! over which, when it was first installed, there presided Antonio 1. A Spanish folksong, “When I was a student at Cadiz, I played on my Soler, the beloved friend of Padre Martini. Their letters may Spanish guitar. I used to make love to the ladies, But I think of them still still be read which contain many expressions of admiration from afar.”

34 The Tracker A MUSICAL JOURNEY IN SPAIN - PART II

The organ in the cathedral has a handsome Gothic case c1 cover the entire space underneath the manuals. At the left is with shutters, which is reproduced in Hill’s The Organ Case; a cumbersome clamp coupler, Swell to Great, and at the right it is indeed a never failing delight to see the beautiful organ a Great to Pedal. cases almost everywhere in Spain; it would surely be well On the opposite side of the cathedral is a duplicate of this worth while for all organists, architects and organ builders to organ, which, however, is not used. The organ tone is very study them, in the endeavor to find something to substitute reedy, but the flutes are good and the full organ so power- for so many of our present monuments of ugliness. ful as to be rather impressive. The orchestra of monks which Andrés Lorente [1624–1703], the blind organist whose accompanies the services, together with the organ, looks just playing was “the boast of Spain” in his day, was organist in like a sixteenth century engraving. Alcala in the seventeenth century. A doctor of philosophy In the sixteenth century, Segovia had a distinguished or- and a writer on musical subjects as well as a composer, he ganist and composer in the person of its bishop, Francesco was equally famous as scholar and musician. His “Benedic- Correa y Arraujo,2 who wrote a Method of Organ Playing in tus” is still sung at Royal funerals, but few of his other works which he takes great pains first of all to warn the reader, at have come down to us. Indeed relatively few Spanish works considerable length, that, no matter how super-excellent the of any period have been published; they have remained, for Method, natural gifts are essential to rapid progress. the most part, in manuscript, the property of the church or monastery with which the composer was connected. Eslava SALAMANCA quotes—with reference to this same Lorente—the old Span- Rivalling Segovia in age and Alcala in ancient fame as a uni- ish saying that “In Spain when a great man dies two tombs are versity centre, is Salamanca, in its wide, treeless plain, proud made, one for him and one for his works.” Thus they reverse residence of the great historian and savant, Nicolas Ledesma, the process more usual in this country of a man’s works being professor at the University of Castille and Leon. It has one brought to life only after he is dead! of the oldest organs in Spain, of which the case was built in the fourteenth century. Clavigo was organist there in the six- SEGOVIA teenth century, until his fame became so great that he was Perched on a rocky hill between two small rivers, with the called to Madrid as Court organist. The present incumbent is cathedral on the highest point, is the fascinating old walled the well known writer and composer, José Artero. city of Segovia, which still possesses the imposing aqueduct built by the Romans before the Christian era, and which is BURGOS still a perfect picture of the Middle Ages. In every small- On to the north, Burgos, the home of the Cid, possesses one est detail you feel how far away it is from modern life. At of the most beautiful cathedrals in the world. It was begun the hotel the first morning I asked the man who brought in 1221 and was three hundred years in building. The groin- us the bowls of coffee with goats’ milk smelling to heaven, ing of the ceiling is marvelous, the cloisters noble, the details, for some butter to eat on the powdery-dry bread peculiar to such as rose window, choir stalls and the rest, exquisite. The Spain. “Butter?” “Butter?” He repeated it ponderingly, as if organ, in a small gallery on the north side of the Choir, has he could not remember having heard the word before; then, two manuals and about thirty stops; it was built by Roguer a light apparently dawning, he went over to a window and Hermanos of Saragossa. The case is provided with painted called across the court “Is there any of that butter left that doors, and has also the usual projecting reeds. The pedals the English gentleman had who was here two months ago?” are all white, short and long; at the left is a “thunder” pedal, There was, a very little, but, needless to relate, it was quite clamped down to sound two adjacent notes. On the manu- strong enough to travel around Spain alone without any aid als is a stop which emits a shrill piercing whistle and is called from us! “Fuego”—lightning. A more picturesque survival of olden time was the parade At the services I attended, Enrico Barrera, well known on the cathedral plaza during the evening band concert, when in all Spanish musical circles, beat time for an orchestra of ten all the beaux of the city, most of them officers in uniform, sat double basses and bassoons. The organist, Frederigo Olmeda on long rows of chairs and the fair damsels paraded up and [1865–1909], was one of the musicians of greatest distinction down past them. in Spain, director of the Municipal Academy of Music and The beautiful old Gothic cathedral has a quite modern honorary director of the choral society Orfeo Burgales. At the organ, which reaches to the ceiling. It has white and black cathedral services there were sung the noblest musical compo- keys, running however, only to cc [?]. The old black keys sitions I heard given in a Spanish church. Olmeda afterwards with mother-of-pearl inlay were hanging on the side of the 2. Francisco Correa de Araujo (1584–1654) was born in Seville and ordained organ when we were there. The pedal keys are all white, very a priest in 1608. His Libro de tientos y discursos de música practica, y theorica de short and narrow, and so far apart that the two octaves CC to organo intitulado Facultad organica was published in 1626.

JANUARY 2018 35 A MUSICAL JOURNEY IN SPAIN - PART II went from Burgos to the Royal Monastery, Madrid, where he pupil of Mailly and Tinel; he is now professor of organ at the has since died. The present organist is Francisco P. de Vifi- Conservatory of Madrid, and considered one of the foremost aspre, who is reputed an excellent·artist. organists in Spain. San Sebastian has also a Singing Society of At the Colegio de Merced, Burgos, is José Beobide [1882– fine reputation, the Orfeo Donostiarra, conducted by Secun- 1967], one of the most solidly “organistic” of the Spanish com- dino Esnaola [Berrondo] [1878–1929], a scholarly musician. posers, who, by the way, spent several years in South America, The Schola Cantorum is directed by Juan Muñoa, and the as organist at Quito, Ecuador. Schola of the Seminary by D. Angel Sagarmunaga. A great authority on Spanish folk-lore and folk-music who lives in BILBAO San Sebastian is Fra José Antonio, whose compositions are re- At Bilbao, not far away, Nicolas Ledesma of Salamanca played ceived with much enthusiasm in Spain although as yet they the organ in Santiago’s church, and published his Sonatas for are little known outside his own country. Organ through the local firm of Lazcano and Mar. Bilbao possesses a famous singing society, conducted by the organ- ZUMAYA Y VALMASADA ist and composer Jesús Guridi [1886–1961], who studied in Near San Sebastian is the little town of Zumaya, with a beau- Brussels and Cologne and with d’Indy in Paris, and some of tiful church of which Luis Urteaga [1882–1960] is organ- whose works have been presented by the Schola Cantorum ist, and not far from there is Valmasada where lives his for- in New York. mer teacher, Martín Rodríguez [1871–1961]; compositions by both Urteaga and Rodríguez appear in Otaño’s collection and SANTANDER elsewhere. Westward from Bilbao, on the coast, is the beautiful watering-place of Santander, where Fra [José] Nemesio Otaño SARAGOSSA (1880–1956) presides at Comillas over the music of the Pon- But if you do not “follow up the watering-places” to Biarritz tifical Seminary-University. Otaño is one of the most fa- and then on to the “château country” of Touraine, you will mous organ virtuosi in Spain, and has been a leader in reform cross the peninsula headed for the east coast, and, Byron in in Spanish church music. He used all his influence to bring hand, stop at Saragossa. The cathedral organ has a very beau- about the introduction of congregational singing in the Span- tiful case, built in 1413, which is reproduced in Audsley’s The ish church; at once a Jesuit priest and a musician, he was per- Art of Organ-Building, and the Church of San Pablo is rich in haps the most powerful pleader in behalf of this active par- the possession of a lovely case built in 1420. ticipation of the people in church worship, which has been Saragossa has also had its share of distinguished organ- sanctioned and is now gradually coming into practice. Otaño ists. In the nineteenth century, Valentin Meton [1810–1860] was president of the first Congress of Sacred Music, held at played at the “Virgin of the Pillar,” so-called because it con- Valladolid in 1907, in which year he founded the monthly tains the column on which the Virgin appeared to St. James review Musica Sacro-Hispano, which is published in Vitoria. the Apostle, on his journey through Spain. In the eighteenth In 1909, he published his Modern Anthology of Spanish Organ century it claimed one of the four famous Nebras; the others Works, the first important collection by strictly Spanish or- went, respectively, to Cuenca, Seville and Madrid; Josef was ganists since Eslava’s in 1856. Since that time, in 1915, the court organist at the time Domenico Scarlatti was attached to Practical Anthology of Contemporary Spanish Organists has been the Spanish Court. issued by Casa Erviti, San Sebastian. Still earlier, in the sixteenth century, there was at the ca- Besides Otaño’s Musica Sacro-Hispano there are two other thedral the most important of them all, historically, Pablo Na- magazines devoted to sacred music in Spain, the Biblioteca Sa- sarre [1650–1730], blind from birth, author of the first treatise cra-Musica of Madrid, and the Boletin de la Associacion Ceciliana on counterpoint that was put forth in Europe, in his School of of Valencia. Music, in two volumes, published in 1723, two years before the better known work by Fux of Vienna, which has been SAN SEBASTIAN heretofore generally considered the earliest. Nasarre also de- If you are quitting Spain for the North the last visit will be voted a section of his work to organ playing, and one to organ that to the charming little watering-place of San Sebastian, building. But he occupies an interesting place in the history of which is the summer residence of the Royal Family; when Spanish church music not only by virtue of this work, but also the King is there, his yacht, outlined at night in electric lights, because he was the first to introduce free melody in the music rides at anchor in the little bay which is shaped like a sea-shell. of the church service, which had previously been confined to San Sebastian has an excellent Municipal Orchestra, formerly conducted by Bernardo de Gabiola [1880–1944], the organist who won first prize at Brussels Conservatory when a Opposite: Saragossa Cathedral

36 The Tracker JANUARY 2018 37 A MUSICAL JOURNEY IN SPAIN - PART II

plainsong. When the melodic development of music became plete review of architectural types from early Christian days pronounced throughout Europe there was in Spain especially to the baroque period. The organ, with an exceedingly richly bitter opposition to its introduction into the services of the carved case, was built by José Amigo of Tortosa in 1563. The church. As spokesman for the opposition, Lucero Clariance in present Director of Music is D. Miguel Rue y Rubio. 1652 wrote arraigning “free music” as wholly “musica de co- medias.” The battle waged hotly. Then Nasarre very cleverly BARCELONA disposed his church music so that a plainchant should be the One of the most important musical centres in Spain is the primary theme and a free melody the secondary; it was done beautiful seaport of Barcelona, that “seat of courtesy and so inconspicuously that it passed almost without notice, and haven of strangers” so enthusiastically described by Cer- free melody soon became an established element in the music vantes. It boasts the most distinguished singing society, the of the Church. Orfeo Catala, of which Lluís Millet [1867–1941] is director, Of course Nasarre is to be held responsible for much of widely known also for his Biographical and Bibliographical Dic- the trashy “melody” with which church music in Spain was tionary of Catalonian Writers and Artists of the XIX Century, loaded down in succeeding years; but so, in the same sense, and as a collector of folk-songs. His assistant conductor is was Michael Angelo responsible for the monstrosities of the [Emilio] Pujol [1886–1980], editor of The Spanish School of Baroque-Rococo period. In both cases the germ was the Music. same—the breaking away from the prescribed and stereo- The first musical journal in Spain, Musical and Literary typed, even from the classical, and reaching out toward the Spain, was published in Barcelona with [Joaquín] Espin y spontaneous and natural. Guillen [1812–1881] as editor; he was succeeded by [Mariano] Soriano-Fuertes [1817–1880], the historian. TARRAGONA Not far distant, so that it may be visited on the way to Bar- celona, is Tarragona, where the cathedral furnishes a com- Above: Tarragona Cathedral

38 The Tracker The director of the Conser- vatory of Music is the venerable Antoni Nicolau [1858–1933] who has written much lovely music for chorus a cappella, among which is a striking setting of the Good Friday Music as given in a Catalonian church, including the “Improperia.” The cathedral, begun in 1298, has still its fourteenth century chimes and its magnificent Gothic cloisters, but finds itself a comparatively modern church in that city which contains several that were built in the tenth century. Its organ is an up-to- date one built within the handsome old case. Among its distinguished organists Barcelona numbers Ribo, at the Church of St. Philip Neri; Marraco, at the Chapel of St. Augustine; Do- mingo Mas y Serracant [1870– 1944], disciple of [Felipe] Pedrell [1841–1922], director of music at San Pedro and the Jesuit Col- lege; Gibert, a pupil of D’Indy, now professor of organ at the Orfeo Catala and author of Cho- pin and His Works; and Lambert, the prize-winner, born in 1884, who, as a student, was awarded first prize in forty-two separate and distinct competitions. Nor may we forget the eighteenth century Juan Vila, who was named by his contemporaries pinnacles of rock known as the “Guardians of the Grail,” sug- one of the three greatest organists of the age, thus: J.S. Bach, gesting by their curious forms the names that have been at- Vila, Scarlatti. tached to them, as “The Skull,” “The Fingers,” “The Flutes,” “The Procession of Monks.” To every lover of the Grail story, MONTSERR AT whether in legend, in poetry, or in music, every path on From Barcelona, in great part by carriage or on foot, is made this marvellous mountain is of absorbing interest and rich in the pilgrimage to the mountain of Montserrat, where the memories and in visions. Monastery has long been one of the three famous Schools of Church Music in Spain; the other two are at Saragossa and American Organ Monthly 1, no. 9 (January 1921): 38–40. Madrid. Its history—Résumé de l’histoire de l’école de Montser- rat—has been written by Saldoni, and a monthly magazine Revista Montserratina is published by the monks. But interesting as is the Monastery-School to every musician, after all the real lure is the mountain itself, the Mon- salvat where was the Temple of the Holy Grail, “airy, gro- • tesque, flame-like.” Even from afar may be seen the fantastic Above: The organ of Barcelona Cathedral.

JANUARY 2018 39 Archives Corner BYNUM PETTY

rom the late-18th century to the outbreak of World An Amusing Toy War II, engineers, tinkerers, and inventors created mu- Fsical devices that were either electrical modifications of acoustical instruments or electric altogether. Among these for the Well-to-Do were the Clavecin Électrique (1785), Electromechanical Piano (1867), Telharmonium (1876), Audion Piano (1915), Hogoniot Organ (1921), Neo Violena (1927), Ondes Martenot (1927), Vox Organo (1933), and the Hammond Organ (1935). Even Richard Whitelegg—tonal director of M.P. Möller Organ Company (1932–1944)—created a way to amplify the pipe organ without the use of microphones in 1940. Of these and dozens of similar attempts, few were embraced by musicians and the public; exceptions were the Ondes Martenot and the Hammond Organ. To the larger list we add the Choralcelo, which for the most part was an amusement of the well-to-do. Created in 1901, the Choralcelo Manufacturing Company was incorporated in Portland, Maine; later the company relocated to Bos- ton, with galleries in New York and Chicago. Choralcelos of various sizes were built from 1909 to the early ’40s, and altogether about 100 were sold, most being installed in the music rooms of the wealthy. A few were located in theaters to ac- company silent films. Three large department stores also purchased Choralcelos: Filene’s in Boston, Lord & Taylor in New York, and Marshall Field’s in Chicago. Two were installed in yachts, one being the Aramis, owned by Arthur Hudson Marks, who bought controlling interest in the Skinner Organ Company in 1919. That same year, Skinner organ Op. 300 was installed in Marks’s house in Yorktown Heights, N.Y. The Choralcelo was the invention of Melvin Severy, and development leading to the first commercially viable product spanned the years 1888 to 1909. The instrument was presented to the public on April 27, 1909, at Symphony Hall, Boston, in a concert that included a soprano soloist and about 40 members of the Boston Symphony Orchestra. A contemporary newspa- per account described the concert as “. . . highly successful. As for the Choralcelo itself, it proved an interesting and unique instrument.” The article reported the instrument to be an . . . upright piano somewhat exaggerated, and with two rows of keys. The Choralcelo obtains sound of the violincello [sic], the trumpet and the French horn, the oboe and the bassoon, the harp and the pipe organ from a single compass from the wire strings used in the piano- forte, which are vibrated by means of small electro-magnets stationed at scientifically determined points along their length. The surprise in the Choralcelo is that the ordinary piano string can be made to give more sounds than those obtained from it under the blows of the hammer.

Above: The Choralcelo, front view. The Choralcelo was unique since it could produce a sus- Below: The Oboe Auxiliary unit tained organ tone from piano strings, or the hammers could

40 The Tracker be used alone to produce piano tone, or the two could be used together. Another feature was that the tonal quality of A SHORT LIST OF CHORALCELO PATRONS the strings when energized by the magnets could be changed, similar to changing stops on a pipe organ. Usually the current fed to the magnets was the natural frequency of the strings. Mrs. Georgia Timken Fry, Rodin Studios, New York City The string of middle-A ordinarily would be energized by a E.D. Anderson, Hotel Des Artistes, New York City magnet sending 440 pulses per second to the string. If the John F. Braun, Merion, Pa. magnet were to send 880 pulses, the string would produce a J.E. Aldred, Locust Valley, N.Y. tone an octave higher. Arthur H. Marks, (Yacht Aramis), Akron, Ohio As development continued, the instrument was enlarged to contain two manual keyboards—one with 88 keys and the J.E. Liggett, Port Washington, L.I. other with 64—and a 32-note pedalboard. Remote auxiliary H.L. Brittain, Greenwich, Conn. units were added, often consuming as much space as found in William Sloane, Norfolk, Va. a small bedroom. The high cost of the Choralcelo combined Judge H.D. Rummel, Charleston, W. Va. with war rationing of materials led the company to close its B.R. Deming, Cleveland, Ohio doors in 1942. All information for this article is taken from a small loose- Edward A. Deeds, Dayton, Ohio leaf binder that appears to be the manuscript from which a J. Harrington Walker, Walkersville, Ontario much expanded article was published in the August/Sep- P.A. Myers, Ashland, Ohio tember 2008 issue of the AMICA Bulletin. The author of the W.H. Foster, Elkhart, Ind. manuscript was Curtis Wade Jenkins, a resident of Hanover, Mass., until his death in 2014. His obituary states that “His Berne H. Hopkins, Colorado Springs, Colo. skill at repairing antique clocks, music boxes, player pianos, Tioga Theatre, Philadelphia, Pa. and Choralcelos, made him well known in the area.” How Henry Miller Theatre, New York City Jenkins’s manuscript found its way to the OHS Library and America Theatre, Denver, Colo. Archives is unknown. Filene’s Department Store, Boston, Mass. Lord & Taylor’s, New York City Marshall Field’s, Chicago, Ill. Above: The salon of Arthur Hudson Marks’s yacht Aramis.

JANUARY 2018 41 In The Tracker 50 Years Ago

SCOT L. HUNTINGTON

VOL. 12, NO. 2; WINTER 1968

veritable floodgate of interest in the Davis & Fer- maintenance representative for seven years. Returning home ris organ at Round Lake Auditorium was unleashed to request reassignment to the factory, Erben, famously short- A with the cover article of the winter 1967 issue. The tempered, told him to return South, Ferris refused, and Erben organ was the most highly anticipated instrument of the sum- reportedly beat him. Ferris thereby petitioned the courts to be mer 1968 convention in Saratoga Springs, and this month, released from his indenture, winning his case in 1839, no doubt a follow-up cover article continued the story: “A Contem- to Erben’s great ire. It now suited his purpose to return South porary Sketch of Richard M. Ferris and Levi U. Stuart.” In to a known clientele, this time servicing organs under his own 1869, the New York Weekly Review began publishing a feature name and in competition with his former employer. The essay column entitle The Organ. Penned by organist, music teacher, cites his return to New York City to establish himself as a and critic, Clare W. Beames, the articles covered a wide range builder in 1840, moving to the Bowery in 1842 into a build- of organ-related items of interest: dedication programs, speci- ing known as “The Nightingale”—the site of New York’s first fications of significant new American and European instru- known organbuilding shop operated by the Englishman John ments, discussions of organ placement and design, and various Geib ca. 1802. Cameron cites the 1844–45 New York City Di- historical essays. The Ferris and Stuart biographical essay was rectory as Ferris’s first formal listing as an organbuilder. published in two parts, the first appearing in June 1870. The The Round Lake organ, formerly in New York’s Cal- re-publication was extensively annotated with corrections vary Episcopal Church, catapulted Davis & Ferris overnight and additional information by OHS member and noted histo- to exalted status as one of the nation’s premier builders. This rian of New York organbuilding, Peter Cameron. mammoth organ installed right under Erben’s nose just ten The list of organs put forth as having been built by the years after he beat the upstart apprentice, must have given two men through their mutual association was extensive the injured party a sense of great accomplishment and jus- enough to form a work list, with Cameron’s addition of in- tice, and no doubt to the eclipsed master a fit of envy, anger, struments found through recent research forming the bulk and professional embarrassment. Ferris “never married,” and of what we know today about the organs of this remarkable was known to be “nervous, precise and sensitive” (today we builder—perhaps the most gifted of his age. The Round Lake would say obsessive-compulsive), and “exceedingly irascible.” Auditorium organ, one of the most remarkable survival sto- He died in 1858 at the early age of 40 after a brief bout of pa- ries of early American organ history, has again been exten- ralysis. He was succeeded in business by his half-brother and sively covered twice thereafter by former OHS Archivist Ste- former apprentice Levi Stuart, eight years his junior. His larg- phen Pinel.1 est and most celebrated organ was built for New York’s Broad- Ferris was apprenticed to Hall & Erben in 1830 at the age way Tabernacle in 1861—remarkable for having the Choir di- of twelve. Erben likely recognized a glimmer of organbuilder vision disposed on the gallery rail in Rückpositiv position. It genius in the boy and kept him far away in the South as a was eventually purchased by railroad tycoon Edwin Searles for his Methuen, Mass., estate where it was rebuilt as two in- 1. The Tracker 30, no. 1 (1986); 2006 Organ Atlas Capital District Region, New struments by James Treat and the Methuen Organ Company. York State. The Great and Swell were installed with an elaborate case-

42 The Tracker IN THE TRACKER: 50 YEARS AGO work in the entrance hall of the main house, with a detached would have made quite a brilliant effect in the quiet of 18th- console, while the Choir division was rebuilt as a one-man- century life. The organ was unusual in the way the ranks ual organ for Searles’s study. Both instruments are extant and of its two four-rank Great mixtures could be drawn inde- the estate has for many years been the Provincial House of the pendently. The organ in Spitalfields is surprisingly French in Presentation of Mary.2 its reed and Cornet tone colors, and the instruments of Go- The April 18, 1896, obituary for John Closs was reprinted. odrich were also described as being brilliant in effect—he A German immigrant organbuilder settled in Cincinnati, was known to possess a copy of the Dom Bedos treatise on Closs was highly respected enough in his craft to be cho- organbuilding. Indeed, his surviving reed, the Hautboy in sen curator of the E. & G.G. Hook & Hastings magnum opus the Swell of the Unitarian Church, Nantucket, Mass., is of in the Cincinnati Music Hall, (No. 869, 1877). Closs main- double-block Bedos-style construction. tained the instrument with great pride and care for nearly 20 Eugene Nye wrote a letter to the editor describing an 1858 years, overseeing its moving and rebuilding during the win- Thomas Appleton organ in the Church of Our Lords, Victoria, ter months preceding his death. While the obituary states the B.C., and an organ still playable today. The first of the two- organ was moved into “the new Music Hall,” both hall and part New York State extant list was fifth in the series. James organ had only in fact been renovated. Unfortunately for the Boeringer, OHS treasurer, resigned for health reasons and was formerly free-standing organ, the stage area had been en- succeeded by Donald Rockwood. Barbara Owen wrote a his- larged and deepened, now separated from the audience room tory of the (tracker) organs of Harvard University, noting that by a sound-trapping proscenium arch, and the organ reduced the recent installation of an 1862 E.L. Holbrook (Universalist somewhat in height to fit in the revised position. Closs had Church, Southbridge, Mass.), rebuilt with Baroque updating just finished the re-erection of the great organ the week pre- for the gallery of the Memorial Church by C.B. Fisk, would viously, and was expected to begin the week-long process of serve as a temporary organ during the removal of the Aeo- tuning the Monday previous to his death on Thursday. Not lian-Skinner prior to the installation of the landmark Fisk. trusting anyone else to handle the task, the hall trustees wired Both organs have recently moved to new homes, the gallery the Hook factory in Weston, Mass., to send workmen to now housing a large three-manual C.B. Fisk in English-style, complete the task. and the E.M. Skinner heard in its original home during the The concluding installment of the memoir of William 1994 convention (Second Church of Christ, Scientist, Hart- Goodrich continued with his organ begun in 1833, but cut ford, Conn., Op. 793, 1929) has been installed in the chancel short by his sudden death from a stroke on September 15, chambers originally occupied by the Aeolian-Skinner. 1833. The organ for the Winthrop Church in Charlestown, The Society announced that through the efforts of the Mass., was completed by Stevens and Gayetty—his succes- first archivist, Homer Blanchard, the Archives were formally sors. Goodrich may be considered the father of a two-cen- being established at Beeghly Library, Ohio Wesleyan Univer- tury tradition of organbuilding in Boston. Builders trained sity, after several years of storage at the Society headquarters in by him and who started their own businesses included his York, Pa. Fifty-years later to the day, the present Archives, the brother Ebenezer, George Stevens, Josiah Ware, and Thomas largest of its kind in the world, was moved to its first perma- Appleton. The memoir identified 38 instruments built by nent home at the new Stoneleigh headquarters. From our van- Goodrich and he believed there were only three or four or- tage point 50-years hence, 1967 was a watershed year for other gans in Boston when he began building. In light of the recent reasons as well: the OHS membership hit a new high; the re- landmark restoration by the late William Drake of the larg- serve bank account was in the black for the first time in years; est Georgian instrument extant—the three-manual, 34-stop The Tracker had undergone its fourth enlargement, now to organ built by Richard Bridge in 1735 in Spitalfields (sub- 20 pages; William Armstrong published Organs for America, urb of London), the description of the three-manual 1750 the first published biography dedicated to a single American Bridge organ built for Boston King’s Chapel is noteworthy organbuilder, David Tannenberg; Charles Fisk installed his today for its everlasting celebrity.3 The present exquisite case landmark four-manual tracker in Harvard’s Memorial Church is an identical copy of the decaying original by E.M. Skinner (the first four-manual tracker built in America since 1899); the that preserved the original carvings. Those who know King’s Saratoga Convention was perhaps the finest such offering to Chapel know this large colonial stone meeting house to have date, featuring two of the nation’s most significant 19th-cen- a spectacularly dry acoustic, and no doubt the Baroque organ tury organs and providing the most detailed organ documentation yet published by the Society for a convention publica- 2. Both organs are described in the Boston Organ Club Newsletter 2, no. 5 tion; and parenthetically, our great nation was spiraling out of (May 1966). control toward its greatest civil unrest since the Civil War. 3. Portions of the organ exist in heavily rebuilt condition in the United Methodist Church, Schulyerville, N.Y., also a featured organ of note at the The waning months of 1967 were the calm before a darkening 1967 OHS convention and the subject of a previous Tracker article. storm that left us all indelibly changed, in every way.

JANUARY 2018 43 News

The organ was silent for a number of years until it was completely restored in 2017 by Jerroll Adams of Milan, Mich. Dave Wagner played it for the first time on August 14 for a video presentation filmed by the museum. It will be used as an exhibit. For the “Bring the World to Light” celebration on Mon- day, August 21, Wagner played the organ all day, featuring popular songs of the 1878 and 1879 that would have been played on the organ. There are plans that the organ will be regularly played by various docents for those individuals visiting the laboratory

SCHOENSTEIN & CO.’S 140TH ANNIVERSARY CELEBRATION Schoenstein & Co. celebrated its 140th anniversary with an Open House demonstrating new organs for Holy Cross Church, San Jose, Calif. and Mikell Chapel of the Cathedral ERNEST SKINNER’S REPLICA OF of St. Philip, Atlanta, Ga. The 150 guests were fascinated with HILBORNE L. ROOSEVELT’S OP. 16 RESTORED the extremely complex arrangement of pipes, windchests, bel- Organist Dave Wagner was featured throughout the lows, and wind conductors necessary to fit in the Chapel’s day on Monday, August 21, at the pipe organ at Thomas Ed- small, irregular-shaped chamber, “One of our most challeng- ison’s Menlo Park Laboratory, now fully reconstructed at ing installation sites!” said company president Jack Bethards. the Henry Ford Museum/Greenfield Village in Dearborn Michigan. The original was a one-manual, three-rank, mechanical- action organ built by Hilborne L. Roosevelt as his No. 16 in 1875. He gave it to Edison when he opened his experimental laboratory in Menlo Park, N.J., in 1876. Edison later moved the organ to his new facility in West Orange, N.J., in 1887. It occupied a prominent place in the laboratory and was played daily at lunch time by one of the members of Edison’s team and also for after-work entertainments. The organ was destroyed by a fire in the laboratory in 1914. Ernest M. Skin- ner, working from the blueprint of the original, built an exact copy of the organ in 1929 as his Op. 765—it was the only tracker organ ever built by Skinner. The organ was described by J. Paul Schneider in “Thomas Edison’s Tracker Organ,” The Tracker 19, no. 4 (Summer 1975): 1 The organ has five stops and a Tremolo:

3 Compass: 56 notes, C–g Twenty-four members of the founding Schoenstein family representing the fourth, fifth and sixth generations joined the 8 Open Diapason (bottom octave common with Stopped Flute Bass) celebration and presented a commemorative glass sculpture 8 Stopped Flute Bass for the firm’s archive, which includes Schoenstein records 8 Stopped Flute Treble and artifacts dating from the mid-19th century in Germany. 4 Dulciana Bass 4 Dulciana Treble Tremolo Above left: A room in Thomas Edison’s Menlo Park laboratory with the Roosevelt organ in the background. The organ remains hand pumped, either by two foot pedals or by an optional pumping lever on the right side, Above: Grandchildren of company founder Felix F. Schoenstein: Sister which includes a small wind gauge. There is one double-fold Mary Mark, Norman, Vincent, and Edward, with company president Jack reservoir. Bethards. Photo by Louis Patterson.

44 The Tracker News

JAMES KENNERLEY APPOINTED level of musicianship. We also have to make efforts to explain why music, and in my case organ music, is important. It’s also PORTLAND’S ELEVENTH MUNICIPAL ORGANIST essential to get people into the seats of Merrill Auditorium The City of Portland renews who may have no idea what they are going to hear.” its commitment to the legacy of “The trick is to break down the barriers that make some the Municipal Organist with the people think, ‘organ music is for elites.’ We have a unique op- appointment of James Kenner- portunity in Portland to build a community focused around ley. Mr. Kennerley will be the the magnificent Kotzschmar organ and I’m convinced that City’s 11th Municipal Organist fantastic things will happen. I can’t wait to get started!” following the retirement of Ray Cornils, the longest-serving Mu- nicipal Organist since the position RUTH AND CLARENCE MADER was created in 1912. MEMORIAL SCHOLARSHIP FUND Mr. Kennerley comes to us by way of Essex in the United King- RESEARCH GRANTS AVAILABLE dom where he fell in love with the organ as a youth and had heard of The Ruth and Clarence Mader Memorial the Kotzschmar Organ as a young player. Scholarship Fund is pleased to announce the “Back in the UK, I remember reading an article about availability of grants to support research on topics related to the Kotzschmar Organ when I was a kid and thought, ‘Wow, organs, organists, and organ repertoire. Individual grants of up imagine if I could play that one day.’ Over the years, I heard to $1000 will be awarded. Preference will be given to research stories of people performing on the Kotzschmar, so it was al- that will lead to the publication of articles or books, though ways present in my mind. Then I saw on Facebook that the research projects involving the creation of recordings, digital position was open, which was thrilling.” resources, or other methods of knowledge dissemination will Mr. Kennerley had the following to say about how he will also be considered. approach his new position. The deadline for applications is March 1, 2018. For more “We have to have the highest levels of integrity when it information and application details, visit www.maderscholar comes to performing. People respond when they sense a high shipfund.org/grants.

VISIT OUR NEW WEBSITE WWW.ORGANHISTORICALSOCIETY.ORG

JANUARY 2018 45 John G. Marklove English-American Organbuilder Utica, New York, 1858–1891 Part I

STEPHEN L. PINEL

John G. Marklove

telegram on August 21, 1891 brought Utica this un- with his family and friends. In business, he made for him- A nerving report: self and his goods an excellent reputation and what he sold Uticans will be shocked to learn the sad news the was known to be precisely as represented. Organs of his telegraph brings that John G. Marklove, of this city, was manufacture are scattered all over the country, models of drowned yesterday at Scarboro Beach, a seaside resort in honest workmanship. Kindliness of heart and gentleness the State of Maine. It is not many days ago that he left of manner were characteristic with him, and a thousand home in usual health and the best of spirits to join with charitable acts are known only to the beneficiaries. A lover relatives and friends in an outing, which promised noth- of music, he had the culture and refinement of a true mu- ing but pleasure. Its sudden and sorry termination brings sician, and was a man of wide general information. He its burden of grief to many hearts. The deceased had lived will be greatly missed in Utica, where he lived a blame- for years in Utica, had been identified with its enterprises, less life for many years, and where he had no enemies to and associated with its citizens. In one sense, his life was detract one iota from the friendly praise bestowed upon uneventful, in that it was quiet and uniform, but he ac- one whose modesty was as marked as his upright manli- 1 complished so much that was worthy and much that will ness and his kindly courtesy . . . keep him long in quiet remembrance. His character had a sturdy integrity about it that commended admiration, an Three days later, the Daily Press described Marklove’s 2 interest in the general welfare that won regard, and a ge- drowning in vivid detail. His body was transported back to niality that brought him a circle of firm friends to whom Utica by train, and the Order for the Burial of the Dead was read his death is a heavy blow. In public affairs he took no on his behalf on August 25 in Trinity Church. Again, the prominent part unless called upon to do so, for to push Press reported, himself forward was contrary to his nature. But he was The funeral . . . was largely attended. The services were an enterprising and public spirited citizen, who was al- conducted by the rector, Rev. W.D. Maxon, assisted by ways ready to do his share in any popular movement. He Rev. Dr. W.T. Gibson and the Rev. Dr. S.H. Coxe. The was of untiring disposition, and found his greatest pleasure casket was completely covered with flowers, and among

46 The Tracker JOHN G. MARKLOVE

the floral tributes was a large lyre from the Commercial interest in his work, including E.A. Boadway,11 the Rev. Cul- Travelers’ Mutual Accident Association of America, the ver L. Mowers, and Alan M. Laufman, but it was Robert J. directors of which were present . . .3 Reich, a young artisan at the Andover Organ Company, who wrote the first modern article on Marklove.12 A half century He had been a founder of the Association and served on its later, Roberta Raybold-Rowland (herself the descendent of a board of directors.4 noted New York organbuilding family) wrote a master’s the- Marklove was interred that afternoon in nearby Forest sis on Marklove.13 A few lesser items appeared in the Boston Hill Cemetery.5 The Vestry of Trinity Church passed a se- Organ Club Newsletter,14 Music: The AGO/RCCO Magazine,15 ries of resolutions extolling his character and mourning his and The Tracker.16 More recently, Barbara Owen wrote the loss. The following day, their words were published in the entry in the New Grove Dictionary of Musical Instruments,17 but a Utica papers6 and respectfully presented to the family. While comprehensive chronology of Marklove and his work has yet two notable New York music journals, the Musical Courier7 to be published. This essay fills in some of those gaps as his- and The Music Trade Review,8 published an obituary, it also ap- torians attempt to place Marklove and his work in the larger peared in Urania: Musik-Zeitschrift für Orgelbau, issued in far- context of the American organ. away Weimar, Germany where Marklove was called the “distinguished American organ builder.”9 FAMILY BACKGROUND AND At the time of his death, John Gale Marklove (1827–91) EARLY LIFE was the most respected organbuilder in Upstate New York.10 John G. Marklove (as he signed his name) was the son of Henry While most of his organs were located within a 60-mile ra- (1785–1872) and Sophia (Jenner) Marklove (1796–1861).18 dius of Utica, a few instruments were installed in more re- Born March 12, 1827, in Berkeley, Gloucestershire, Eng- mote locations, including Alabama, Georgia, Indiana, Kansas, land, Marklove was intensely Minnesota, New Jersey, Ohio, Pennsylvania, South Da- proud of his genealogy.19 In kota and Vermont. Marklove’s work culminated decades of May 1874, he was gratified organbuilding that had flourished across Upstate New York. to exhibit a pair of 200-year- This school had its genesis in the early nineteenth century old family portraits in a Utica with Ellsworth Phelps (1797?–1863) in Guilford and Alvinza art gallery.20 His most no- Andrews (1799–1862) in Waterville. After the 1825 opening of table ancestor was his great- the Erie Canal, the region experienced population growth and grand uncle, Dr. Edward economic expansion well into the 20th century. New congre- Jenner (1749–1823), known gations were established in large numbers, and the demand for as the “the father of immu- church organs was high. With easy access to raw materials and nology” who “saved more an eager and talented workforce, Marklove brought these ele- lives than . . . any [other] ments together. For thirty-three years, he directed a success- human!”21 Jenner is credited ful organbuilding establishment in Utica that was continued with developing the vaccine Dr. Edward Jenner, Physician by his successors for several generations after his death. to eradicate smallpox. Even Strangely, source material on Marklove is sparse. A now, English historiographers consider Jenner among the 100 few early members of the Organ Historical Society took an most-influential British subjects ever to have lived. As a young child, John Marklove was precocious and showed musical aptitude. On February 24, 1836, he became a chorister at the College of Saint Mary Magdalen at the Uni- versity of Oxford, remaining until 1841.22 In addition to his responsibilities in quire, he was subjected to rigorous academ- ics at the university school, although he never graduated with a degree. After leaving Oxford, he became an apprentice in the organ manufactory of Gray & Davison, one of London’s better-known shops.23 After completing his indenture in 1848, he settled in Cheltenham, and entered the organ business on his own. An early commission was a small, two-manual organ built for St. James’s Church, Gloucester, opened on The extended Marklove family at Scarboro Beach, Maine, about 1895. September 2, 1849.24 In 1850, he rebuilt and moved a two- Emily G. (Marklove) Lowery and James L. Lowery are the second and manual Gray instrument of 1811 in the Church of St. Mary third individuals from the top right. the Virgin, Cheltenham, but the completed project was not a

JANUARY 2018 47 JOHN G. MARKLOVE

success. Reopened on March cultural, financial, and social fabric of the greater Utica com- 9, 1851, the organ was sub- munity. Most of the family is interred in Utica’s Forest Hill jected to “adverse criticism Cemetery on the outskirts of the city. of its new location which was said to be ‘not at all good for NEW YORK CITY AND THE sound.’ ”25 The condemna- MOVE TO UTICA, 1854 tion was an obvious setback Immediately after his immigration, Marklove made his pres- for the young organbuilder.26 ence known. He needed a job, so he surely visited the organ John Marklove mar- shops of William H. Davis, Francis X. Engelfried, Henry ried Harriet Horne (1824– Erben, Richard M. Ferris, and Hall & Labagh.38 Within six 89)27 of Bristol on April 26, weeks of his arrival, Marklove had been hired to install an 185128 and, hoping for bet- organ in St. Mary’s Church, P.E., Portsmouth, R.I. A Sep- ter opportunities abroad, the tember 5, 1851, testimonial from the church’s minister asserts: Emily Gale Marklove couple set sail for the United Parsonage States on the American Eagle, St. Mary’s Church 29 arriving in New York Harbor on July 28, 1851. They had at Sept. 5, 1851— least three children. The oldest, Emily Gale Marklove (1852– Mr. J.G. Marklove having put up the Organ in St. 30 1933), married James L. Lowery (1837–95) on November 23, Mary’s Ch—Portsmouth, R.I. I wish to add this testimo- 31 1875. Lowery was a prom- nial to those already in his possession, that having come to inent Utica citizen and a us highly recommended, he has proved himself perfectly 32 noted textile manufacturer. competent to put up, repair & tune Organs & also Pianos. Henry Robert Jenner Mark- We would cordially recommend Mr. Marklove to all love (1853–79) was a phar- who may require the aid of his profession— macist. In 1878, he relocated D.C. Millett, Minister of St. Mary’s Ch.39 to Topeka, Kansas, forming the partnership Nona- The organ was probably second-hand and, lacking shop fa- maker & Marklove to manu- cilities, Marklove was responsible only for the installation. In facture drugs. He contracted 1852, he is further documented in New York as “Marklove pneumonia, declined rap- John G. organs, 6 Fourth [Avenue],”40 living a few blocks re- idly, and died there on Janu- moved from the Erben manufactory at 172 Centre Street.41 ary 30, 1879, only hours be- Marklove took a position in one of the major New York James L. Lowery fore his father arrived from organ shops, either Erben or Hall & Labagh, remaining in Utica to bid him farewell.33 the city until early in 1854. Apparently, the situation was not Clifford F. Marklove (1857–1910) married Frances F. (Buck- satisfactory. A letter from Thomas Appleton (1785–1872), the ingham) Starbuck (1854–1909) in 1888.34 In 1891–92, Clifford famed Boston organbuilder (penned by his son Edward),42 was briefly his father’s successor in the organ business, but he suggests that Marklove concurrently wrote a number of mak- was better known for his long association with Buckingham, ers seeking alternative employment. Why Alvinza Andrews Moak & Marklove, a celebrated art and music store in Utica. (1799–1862), an organbuilder in Utica, offered Marklove a job Three grandsons, Marklove is obvious: his musical experience, education, and the luster Lowery (1876–1961) was a of his recent training with Gray & Davison would be an asset wealthy horticulturist;35 Jen- to his growing firm. By mid-1854, Marklove had relocated to ner Lowery (1882–1959) was Utica to work for Andrews, and is listed locally in the city di- a graduate of Harvard Uni- rectory living on Lansing Street, east of First Avenue.43 versity and the local man- The Andrews shop was already well established. Founded ager for Bryan, Penning- in 1834 in the tiny hamlet of Waterville, ten miles south of ton, and Colket, a New York Utica, Andrews’s business had expanded rapidly.44 In 1852, City investment firm;36 and he moved the enterprise to the center of Utica on Genesee James L. Lowery (1890–1954) Street, literally adjacent to the bulkhead of the Erie Canal.45 was a stock broker.37 For Some 15 years earlier, Andrews had hired a young but im- three generations, Marklove petuous pipe-maker named Henry T. Levi (1810?–67), whose and his descendents played acknowledged organbuilding skills quickly propelled him Jenner Marklove a salient role in the artistic, to serve as Andrews’s foreman. When Marklove joined the

48 The Tracker JOHN G. MARKLOVE

followed, including those for First Congregational, Oberlin, Ohio (1855);51 First Presbyterian, Saratoga Springs (1857);52 and another three-manual organ built for Westminster Pres- byterian Church, Brooklyn (1858),53 although Marklove did not remain long enough in the Andrews shop to see the last instrument completed. Marklove was actually mentioned by name in an account of the 1855 organ installed in St. Joseph’s R.C. Church, Rochester, N.Y.: There was a large attendance of people at St. Joseph’s Church last evening to listen to the music from the new organ, which has just been put up there by Mr. Andrews of Utica. It is a beautiful instrument, of great power and its notes fill the great church in which it is situated. The organ has been put up under the direction of Mr. J. Gale Marklove, foreman for the manufacturer, who appears to be [a] master of his profession.54

A few sources imply that Andrews was seeking a part- The Andrews organ factory on Genesee Street along the Erie Canal, ner in 1858 and, hoping for consideration, Levi made a brief where John G. Marklove worked between 1854 and 1858 return to Utica at the time.55 Whether Marklove’s reticence was working with Levi, Andrews’s son George (1832–1904), staff in 1854, the personal friction with Levi was immediate. or some other unrelated factor, history has not disclosed. In- Within months, Levi had resigned the position, relocated to stead, Marklove set out on his own as he had some ten years Westfield, Massachusetts, and took a job working as a maker before in England, establishing a shop in competition with of reed pipes for Wm. A. Johnson (1817–1901).46 Marklove Andrews. Andrews did take a partner. It was not Levi or was immediately promoted to foreman in Levi’s place. Marklove but his son George, and the firm became A. An- Between 1854 and 1858, Marklove directed the construc- drews & Son, Organ Manufacturers, beginning in 1859.56 tion of several of Andrews’s larger and finer organs, including a significant, three-manual instrument built for the Sec- ESTABLISHING A BUSINESS, 1858 ond Presbyterian Church in Chicago in 1854,47 and a large, The first public announcement that Marklove was indepen- three-manual organ opened in Westminster Presbyterian dent appeared in the Morning Herald on April 23, 1858: 48 Church in Utica on May 3, 1855. The engagement of the MUSICAL. J.G. MARKLOVE, brilliant English-American organist George Washbourn ORGAN BUILDER, 56 Lansing street. Piano Fortes 49 Morgan (1822–92) to open the organ was surely a result of Tuned and Repaired. Orders left at Messrs. Dutton’s or 50 Marklove’s English connections. Other important organs Mr. Shaw’s Music Store, will be promptly attended to.57

A further announcement, “Business Changes,” related that “J.G. Marklove, Organ Builder, may be found at 56 Lansing street.”58 The initial evidence of Marklove’s autonomous work as a builder was noted by the Herald just before Christmas 1858 when,

Marklove’s first public advertisement in the Utica Morning Herald and The 1855 Andrews organ in First Congregational Church, Oberlin, Ohio Daily Gazette, April 23, 1858

JANUARY 2018 49 JOHN G. MARKLOVE

The 1858 Marklove organ in St. Paul’s Episcopal Church, Waddington, New York

The organ of St. Patrick’s [in West Utica] has a new improvement in an extension of the key-board some six feet, St. Paul’s Church, P.E. (1858) thus enabling the organist to see the whole of his choir— Waddington, New York a great advantage during service. This work was done by Mr. J.G. Marklove, and so skillfully that the action has 3 Manual, CC–g , 56 notes been made no heavier by this great addition of levers, &c. Open Diapason (TC), 8 feet, 44 pipes It is considered a great success.59 Dulciana, (TC), 8 feet, 44 pipes Stopt Diapason (TC), 8 feet, 44 pipes The organ had been built by George Jardine (1801–82) of New Stopt Diapason Bass, 8 feet, 12 pipes York, and was installed in June, 1853.60 Principal, 4 feet, 56 pipes Six months later, the Herald noted that Marklove had Twelfth, 2²/3 feet, 56 pipes finished a new organ for the Universalist Church in Water- Fifteenth, 2 feet, 56 pipes town.61 It was opened in the factory on May 25, 1859 by organist Joseph Sieboth, and was a subject of considerable civic Pedal, CCC–CC, 13 notes Sub Bass, 16 feet, 13 pipes pride: “Mr. Marklove’s business promises to add another im- Pedal Coupler portant feature to Utica manufactures, which we are glad to know in very many departments are becoming famous Source: T.L. Finch, “Organ Building in Upstate throughout the Union.”62 The Reformer, published in Water- New York in the Nineteenth Century,” The Bi- town, outdid itself in praise for the new instrument: centennial Tracker (1976): 66. The exhibition of the new Organ at the Universalist Church, on Friday evening last [i.e., on June 10], was a most satisfactory affair.

50 The Tracker JOHN G. MARKLOVE

The 1866 Marklove organ in First Presbyterian Church, Gloversville, New York

The organ, built by J.G. Marklove, of Utica, is pro- During that year, Marklove completed three addi- nounced by competent judges, the most perfect instru- tional instruments, for St. Paul’s, Waddington;64 the Pres- ment of its size they have ever heard. It contains 19 stops, byterian Church, Sauquoit;65 and the Presbyterian Church, 66 16-feet tone, CC swell, two banks of keys, two octaves of Gouverneur, all in northern New York State. The next year, pedals and 758 pipes. 1860, also witnessed the construction of three organs. The 67 There is an improvement which Mr. Marklove has first was built for St. Mary’s R.C. Church in nearby Clinton. made in his organs which no other manufacturer has—a The second, delivered in March, was for his first out-of-state new principle of coupling, whereby the organist can draw customer, the Church of the Atonement, P.E., in Augusta, Georgia,68 and the third was his first effort for a Utica con- all the stops, while the keys are pressed down, without in- gregation: the Broad Street Baptist Church, installed in May.69 creasing the volume of tone, until the hands are removed Also in 1860, Marklove was in competition with A. Andrews and placed back again. The stop, “Viol de Gamba,” which & Son for a large, two-manual organ for Grace Church in Uti- in other organs is nothing more than a soft Dulciana, in this ca.70 The new, Gothic-revival building was designed by the has the beautiful effect of violins or stringed instruments. noted New York architect, Richard Upjohn (1802–78),71 and The organ, as a whole, is most admirably balanced, and was a coveted local commission. While in the end Andrews is considered by the best connoisseurs a perfect gem. Mr. secured the contract,72 Marklove did not have to wait long to Marklove has built several large organs, and we learn that in prove himself as able competition to his former employer. all cases they are very superior instruments. To be sustained by such organists as Prof. Sieboth, of Utica, and G. Wash- TRINITY CHURCH, UTICA, 1861 burn [sic] Morgan, of New York city—two of the greatest Marklove’s first major project was a commission from his own organists in America—should be sufficient testimony alone congregation—Trinity Church in Utica.73 The parish was the of Mr. Marklove’s superior skill as an organ builder. The oldest Protestant Episcopal Church in the city, and most sources concert on this occasion was a very fine affair . . .63 date its founding to 1798.74 The building, built between 1803 and

JANUARY 2018 51 JOHN G. MARKLOVE

1810, had been designed by the famed architect, Philip Hooker as they include three stops of sixteen feet tone, and one of (1766–1836), who also designed the State Capitol, First Reformed, eight feet, afford a noble foundation for the pile of harmony and St. Peter’s churches, all in Albany.75 By the time Marklove which towers above them in the three organs.—The promi- arrived in Utica, the parish had already owned two organs: the nent excellence of the instrument, however, is undoubtedly first was the work of William Smith (ca. 1758–1821) of New York its swell of sixteen stops, full compass. This, in contrasted City. It had served at St. George’s Church in New York strength and delicacy, can hardly be excelled. It is no small from 1816 until February, 1822, when it was brought merit that, large as the organ is, it is not too large for to Utica second-hand.76 Trinity Church used it for the church. This is the result of a skillful selection a decade, when the parish ordered a larger, two- and balancing of parts, and the most careful voic- manual organ from Corrie & Hubie of Phila- ing. Mr. Marklove has been most fortunate in delphia.77 The Smith organ was sold again adapting his instrument to the size of the edi- to Christ Church, Sherburne, New York,78 fice, and in making it a perfect accompani- where it remained until it was replaced with a ment to the thoroughly trained choir, which larger organ by Marklove in May 1867.79 has so long and faithfully rendered the cho- About 1851, Joseph L. Sieboth (1824– ral parts in the service at this church. We es- 85), a native of Prussia and a gifted organist, pecially congratulate Mr. Sieboth in being settled in Utica and accepted the position in possession of an instrument so worthy of of organist and choirmaster at Trinity.80 He his acknowledged skill as an organist. soon brought the parish’s music to a high level A free exhibition of the instrument, its of accomplishment, reported in one source to power and tone, will be given to-morrow eve- be the best in Central New York.81 Marklove’s ning, at half past seven.83 arrival in Utica some three years later must have been a godsend with his cultured musicianship, splendid sing- Already characteristic of Marklove’s oeuvre was a ing voice, and enthusiasm for quality church music. The two sumptuous, full-compass Swell division. Writing to the Mu- men worked cooperatively together, and it must have become sical Review in New York, a correspondent remarked: “The apparent that an organ project at Trinity Church had mutual power of expression in the swell organ may well challenge benefits: Sieboth would play on one of the better organs in admiration; and we are not alone in our opinion, that a bet- the region and Marklove would have a sizable organ locally to ter swell organ of its size (whether as to expression, or the rich impress potential clients. According to minutes, it was largely and varied beauty of its stops) cannot be found in any organ Sieboth who raised the money for the project.82 in this country.”84 The completed three-manual instrument garnered The Vestry at Trinity Church was delighted. Marklove considerable press, and its quality estab- They passed a series of long-winded resolutions lished his reputation. The Herald published an ac- congratulating “Mr. John G. Marklove on the count of the organ on July 4, 1861: triumph of his skill in the production of this The New Organ at Trinity Church.— noble instrument, which reflects, such high We were present yesterday afternoon, at a credit on his name, and gives such abundant preliminary trial of the splendid organ just promise and assurance of his future use- put in at Trinity Church, Broad street, by fulness,” and “we are in all respects more the manufacturer, Mr. J.G. Marklove, of than satisfied with the manner in which he this city. The cost of the instrument has has fulfilled his engagements, and that we been $3,000, and we venture to say it is not cordially recommend him to all who may 85 excelled by any in the State, outside of New have occasion for such services,” etc., etc. York City. This organ has three banks of keys, The organ fund was still wanting, so Sieboth comprising great organ, choir, and swell, com- presented a secular concert at the Utica City pass alike in each, viz.: C.C. to G. in alto, and two Hall on October 25, 1861, to help cover the short- 86 octaves of pedals.—The number of registers, including fall. The program, featuring works by Donizetti, couplers, &c., is forty-six, and the proportion of half-stops Mendelssohn, Mozart, and Verdi, was published in the is no greater than is consistent with rendering great varieties Herald, and for its time and place must have been a remarkable 87 of effect. The pedals are remarkably smooth and firm, and event. Unfortunately, the stoplist of this interesting and very significant instrument has never surfaced. The organ was lost To p: William H. Dutton, organist when the church closed in 1927 and the building was razed. Bottom: Joseph L. Sieboth, organist TO BE CONTINUED

52 The Tracker JOHN G. MARKLOVE

The 1870 Marklove organ in St. James’s Episcopal Church, Cleveland, New York

ENDNOTES 11. “Seeking Information on Organs,” Richfield in “John G. Marklove Dead. Drowned at Scar- 1. “John Gale Marklove,” Utica Daily Press (Aug. Springs (N.Y.) Mercury (Apr. 3, 1958): 1. boro Beach,” Utica Daily Press 10, no. 139 (Aug. 22, 1891): 4. 12. R.J. Reich, “John G. Marklove,” The Tracker 22, 1891): 4. 2. “How He Lost His Life,” Utica Daily Press 1, no. 2 (Jan. 1957): 3–5. 19. “The Twelfth of March. A Birthday for a (Aug. 24, 1891): 4. 13. MS, Roberta Raybold-Rowland, “The Brit- Dozen or More,” Utica Daily Observer (Mar. 13, 1874): 3. 3. “Funeral of John G. Marklove,” Utica Daily ish Organ Firm of Gray & Davison and Its Influ- Press (Aug. 26, 1891): 4. ence on the American Organs of John Marklove.” 20. “Rare Old Portraits,” Utica Daily Observer (May 28, 1874): 3. 4. “John G. Marklove Dead. Drowned at Scar- MA Thesis: Springfield, Ohio, 2004. boro Beach,” Utica Daily Press (Aug. 22, 1891): 4. 14. “Mixtures,” The Boston Organ Club Newslet- 21. Fisher, Richard B. Edward Jenner, 1749–1823 (London: Andre Deutsch, 1991). 5. MS, Interment Records, Lot 1638, Plot 39. ter 3, no. 6 (July 1967): 4; and “Calvary Baptist Forest Hill Cemetery, Utica, N.Y.; cited with Church, Springfield, Vermont,” BOCN 3, no. 10 22. John Rouse Bloxom, A Register of the Presi- permission, Gerard Waterman, Superintendent. (Nov. 1967): 6–7. dents, Fellows, Demies, Instructors in Grammar and in Music, Chaplains, Clerks, Choristers, and Other 6. “John Gale Marklove,” Utica Daily Press (Aug. 15. “Marklove Organ 1887 [sic, 1867],” Music: The Members of Saint Mary Magdalen College in the Uni- 26, 1891): 4. AGO/RCCO Magazine 9, no. 6 (June 1975): 28. versity of Oxford, from the Foundation of the College to 7. “John G. Marklove,” Musical Courier: A Weekly 16. [Robert S. Rowland,] “Some Rowland Cor- the Present Times. Vol. one (Oxford: William Gra- Journal Devoted to Music and the Music Trades 13, no. respondence,” The Tracker 15, no. 1 (Fall 1970): ham, 1853), 221. Few American organbuilders of 10 (Sept. 10, 1891): 252. 4–10. the nineteenth century were university educated: 8. “John G. Marklove,” The Music Trade Review 17. The New Grove Dictionary of Musical Instru- only John C.B. Standbridge (1802–1871) of Phila- 15, no. 3 (Aug. 1891): 64. ments, Second edition. S.v., “Marklove, John delphia, who went to the University of Pennsyl- 9. “Notizen,” Urania: Musik-Zeitschrift für Orgel- Gale,” by Barbara Owen. vania to study medicine, comes immediately to mind. bau, Orgel- und Harmoniumspiel . . . 48, no. 12 18. Familysearch.com states that John G. Mark- (1891): 98: “In Utica starb, 64 Jahre alt, der be- love was christened April 2, 1827, at Berkeley 23. The Freeman-Edmunds Directory of British Organ deütende americanische Orgelbauer John G. Parish Church, Gloucester. Sophia Jenner was a Builders . . . Vol. 3 (Oxford: Positif Press, 2002), Marklove.” granddaughter of Stephen Jenner (1764–95). John 602. 10. M.M. Bagg, Memorial History of Utica, N.Y., G. had a brother named Henry Robert Jenner 24. Roy Williamson, The Organs of Gloucester, From its Settlement to the Present Time (Syracuse, Marklove, who died in Berkeley in 1848; many of Tewkesbury and Cirencester from the XVth Century N.Y.: D. Mason & Co., Printers, 1892), 291. the details of Marklove’s early life are delineated ([Cheltenham:] Roy Williamson, [1991]), 53.

JANUARY 2018 53 JOHN G. MARKLOVE

25. Roy Williamson, The Organs of Chelten- 45. “Organ Factory,” Utica Daily Gazette (Aug. (Utica: [Thomas J. Griffiths Sons, Inc., 1963]), ham, 1791–1989 (Cheltenham: Roy Williamson, 18, 1852): 2. 23–27. [1989]), 92–93. 46. “The New [Johnson] Organ in the South 71. Everhartd M. Upjohn, Richard Upjohn: Archi- 26. In 1871, this organ was rebuilt and moved Congregational Church,” The Hartford (Conn.) tect and Churchman. New York: Da Capo Press, within the building by Henry Williams; it was Daily Times (Sept. 19, 1854): 2. 1968), 112–15. replaced with a new, two-manual organ built by 47. “New Organ for Second Presbyterian John Nicholson in 1882; see Williamson, The 72. “The New Edifice of Grace Church,”The Church, Chicago,” Oneida Morning Herald (Aug. Organs of Cheltenham, 92–93. Utica Daily Observer (May 25, 1860): 2. 10, 1854): 2. 27. “Mrs. Harriet H. Marklove,” Utica Morning 73. “The New Organ at Trinity Church,” Utica 48. “Organ Exhibition,” Utica Morning Herald Herald and Daily Gazette (Sept. 11, 1889): 5. (May 1, 1855): 2; and “Organ Exhibition,” UMH Morning Herald and Daily Gazette (July 4, 1861): 28. “April–June, 1851,” FreeBDM, England & (May 4, 1855): 2. 2; and “The New Organ at Trinity Church,” Wales, Marriage Index: 1837–1983 [database-on- Oneida Weekly Herald (July 9, 1861): 3. 49. “George Washburne [sic] Morgan,” The line]. (Provo, Utah: The Generations Network, Organ 1, no. 4 (Aug. 1892): 77. 74. John R. Harding [ed.], One Hundred Years Inc., 2006); courtesy of ancestry.com. 50. “Organ Exhibition,” Oneida Morning Herald of Trinity Church, Utica, N.Y. (Utica: Press of 29. MS, Passenger List, American Eagle. London Thomas Griffiths, 1898), 81. to New York, arriving July 28, 1851; courtesy of (May 4, 1855): 2. ancestry.com. 51. “The Organ in Our Church,” The Oberlin 75. Douglas G. Bucher and W. Richard Wheeler, Philip Hooker and His Contemporaries, 30. “Emily Lowery Dies at Home in this City,” Evangelist 12, no. 12 (June 6, 1855): 7. Utica Observer-Dispatch (May 19, 1933): 20. 52. “New Organ,” The Saratogian (Oct. 29, 1796–1836 (Amherst, Mass.: University of Mas- sachusetts Press, [1993]), 88. 31. “Married,” The (Albany, N.Y.) Argus (Nov. 1857): 2. 29, 1875): 4. 53. “New Organ,” Utica Daily Observer (Aug. 76. John Ogasapian, “Tracing a William Smith 32. “James L. Lowery Dead,” Utica Observer 17, 1858): 2; and “Brooklyn. The New Organ at Organ,” The Keraulophon 23, no. 2 (Jan. 1992); (Aug. 15, 1895): 5. Westminster Church,” The (N.Y.) Evening Post 4–7. (Dec. 10, 1858): 3. 33. “The Death of Jenner Marklove,” Utica 77. Stephen L. Pinel, “Late from London: Morning Herald (Jan. 31, 1879): 2; and “At 9:30 to- 54. “There was a large . . .,” Rochester Daily Henry Corrie, Organbuilder, and His Family,” night . . .,” Utica Sunday Tribune (Feb. 2, 1879): 4. Union (Nov. 10, 1855): 3; the article was copied The Tracker 40, no. 4 (1996): 17. in the Utica Morning Herald on Nov. 13. 34. “Clifford F. Marklove,” Utica Daily Press 78. MS, Vestry minutes, Nov. 16, 1831. Trin- (Sept. 27, 1910): 3. 55. The Utica Directory for 1858–[5]9 (Utica: Jo- ity Church, Utica, N.Y.; custody of All Saints seph Arnott, 1859), 114. 35. “Marklove Lowery $620,000 Estate Includes Church, Utica, N.Y.; cited with permission; Bequests to 20 Friends,” Utica Observer-Dispatch 56. The Utica Directory for 1858–60 (Utica: Joseph and Journal of the Proceedings of the Forty-Seventh (Sept. 22, 1963): 10B. Arnott, 1860), 41. Convention of the Protestant Episcopal Church in the 36. “Death Claims Jenner Lowery, After Long 57. “Musical,” Utica Morning Herald and Daily State of New-York; Held at Trinity Church, in the Illness,” Utica Observer-Dispatch (Feb. 11, 1959): Gazette (Apr. 23, 1858): 1. City of New-York, on Thursday, October 4th, Fri- 13. 58. “Business Changes,” Utica Morning Herald day, October 5th, and Saturday, October 6th, A.D. 37. “J.L. Lowery, Financier, Broker, Dies,” Utica and Daily Gazette (May 5, 1858): 2. 1832 (New-York: Protestant Episcopal Press, Daily Press (Oct. 27, 1954): 8. 59. “Christmas Mass,” Utica Morning Herald and 1832), 31. 38. Some sources state that Marklove worked Daily Gazette (Dec. 24, 1858): 2. 79. “Local and County Matters. Episcopal for Hall & Labagh in New York, but this was 60. “Dedication of a New Church,” Utica Daily Organ,” Sherburne (N.Y.) Home News (May 30, a smaller establishment than Erben’s. If so, it Gazette (July 7, 1853): 2. 1867): 3. seems odd that Marklove is never mentioned in the extant correspondence of the firm, which 61. “New Organ,” Utica Morning Herald and 80. “Obituary. Joseph Sieboth,” Utica Sunday frequently mentions journeymen by name. Er- Daily Gazette (May 21, 1859): 2. Tribune (Sept. 20, 1885): 4. ben’s shop seems to this author the more likely 62. “Mr. Marklove’s New Organ,” Utica Morning 81. “Utica, N.Y.,” The (N.Y.) Musical Review and probability; see “Archivist’s Report,” The Tracker Herald and Daily Gazette (May 26, 1859): 2. Musical World 12, no. 20 (Sept. 28, 1861): 233. 30, no. 3 (1986): 12–17. 63. “The Organ Exhibition and Concert,” The 82. MS, Vestry minutes, Aug. 4, Oct. 10, Nov. 39. MS, Letter, D.C. Millet to John G. Mark- (Watertown) New York Reformer (June 16, 1859): 3. love, Sept. 5, 1851; photocopy in author’s 13, 1860. Trinity Church, Utica, N.Y.; custody 64. OHS Organ Handbook (1970), 30–31. collection. of All Saints Church, Utica, N.Y.; cited with 65. “New Organ,” The Utica Daily Observer 40. The New York City Directory for 1852–1853 permission. (Sept. 3, 1859): 3. (New-York: Charles R. Rode, 161 Broadway, 83. “The New Organ at Trinity Church,” Utica 1852), 346. 66. “St. Lawrence County. Concert at Gover- Morning Herald and Daily Gazette (July 4, 1861): 2. neur,” Utica Morning Herald and Daily Gazette 41. Wilson’s Business Directory of New-York City (Dec. 22, 1859): 2. 84. “Utica, N.Y.,” The (N.Y.) Musical Review and (New-York: John F. Trow, Publisher and Musical World 12, no. 20 (Sept. 28, 1861): 233. Printer, 1852), 231. 67. “New Organ,” Utica Morning Herald and 85. MS, Vestry minutes, Nov. 21, 1861. Trin- 42. MS, Letter, Thomas Appleton to John [G.] Daily Gazette (Nov. 15, 1860): 2. ity Church, Utica, N.Y.; custody of All Saints Marklove, March 9, 1854; photocopy in author’s 68. “A New Organ,” Utica Morning Herald and collection. Daily Gazette (Mar. 17, 1860): 2. Church, Utica, N.Y.; cited with permission. 43. The Utica Directory for 1854–’55 (Utica: S.A. & 69. “New Organ,” The Utica Daily Observer 86. “The Concert Last Evening,” Utica Morning W.R. Richards, 1854), 94. (May 25, 1860): 2. Herald and Daily Gazette (Oct. 26, 1861): 2. 44. “Andrews’ Organ Manufactory,” Utica Daily 70. W. Freeman Galpin, Grace Church: One 87. “Grand Concert [Ad],” Utica Morning Herald Gazette (Nov. 14, 1848): 2. Hundred Twenty-Five Years of Downtown Ministry and Daily Gazette (Oct. 24, 1861): 2.

54 The Tracker Ex Libris Articles of Interest

“A Matter of Touch” (John Norman), “ISO London 2016” (Klaus Rensch), “Die Orgel in deer Literatur, No. 17” Organists’ Review (June 2017): 38–39. ISOJournal, no. 55 (April 2017): 8–39. Music & Gottesdienst 71, no. 3 (May 2017): 118–20. “Beyond 23 Languages: The Organ Dic- “Kenneth Tickell & Company’s New tionary” (W. Praet), ISOJournal, no. Organ in Manchester Cathedral” “Die Orgel in der Oper, Teil 2” (Eman- 55 (April 2017): 40–44. (William McVicker), Organists’ Re- uele Jannibelli), Music & Gottesdienst view (June 2017): 14–22. “Border Controls: An Aeolian Organ in 71, no. 3 (May 2017): 111–17; Teil 3, an Opulent Edwardian House in the “Joseph Merklin (1819–1905) in Vlaan- (September 2017): 196–203. Scottish Borders” (Chris Bragg and deren en Brussel” (Annelies Foc- Matthew Hynes), Choir & Organ 25, quaert), Orgelkunst 40, no. 3 (Sep- “Die Restaurierung der Reubke-Or- no. 5 (Sept./Oct. 2017): 61–66. tember 2017): 169–91. gel von 1874 in Niederdorla” (Lutz Wille and Karl Brode), Ars Organi “The Durban City Hall Organ” (Mi- “Regels om te breken: op zoerk het 65, no. 3 (September 2017): 157–62. chael Hankinson), The Organ 96, no. klankconcept van ‘het moderne 380 (May 2017): 33–45. orgel’” (Hans Fidom), Orgelkunst 40, “Arp Schnitgers Portrait und Lebens- no. 3 (September 2017): 201–9. motto in Golzwarden. Ein Zwisch- “Die Entstehung einer neuen sym- phonischen Orgel für das Heilgtum “The Organ of Johannesburg City Hall” enbericht” (Harald Vogel), Ars Or- von Fátima, Portugal” (Joao San- (Michael Hankinson), The Organ 96, gani 65, no. 1 (March 2017): 17–21. tos), Ars Organi 65, no. 2 (June 2017): no. 381 (August–October 2017): 21–32. 121–25. “La Traction proportionnelle pour “The Organ of Santa Catarina’s Church, l’orgue à tuyaux du XXIe siècle” “The Fisk Organ of Lausanne Cathe- Calheta, S. Jorge Island—Azores” (Pierre G. Pelletier), Mixtures, no 46 dral” (Anthony Hammond), Organ- (Luis Henriques), The Organ 96, no. (May 2017): 15–19. ists’ Review (June 2017): 9–13. 380 (May 2017): 12–15. “Die Welte-Orgel in der Adel- “Ein integrals Ganzes: Die historischen “Der Orgelbauer Johann Andreas Otto hauserkirche Freiburg” (Michael Zwillingsorgeln der Kathedrale von (1838–1914) in Luzern” (Bernhard Gerhard Kaufmann), Ars Organi 65, Mexico City” (Gerhard Grenzing), Hörler), Ars Organi 65, no. 3 (Sep- no. 2 (June 2017): 115–20. Organ—Journal für die Orgel, no 2 tember 2017): 146–56. (2017): 10–18. “Het Orgel in de concertzaal, Pt. 2: Op- “Where Will Our Next Generation “Ein redlicher Silbermann des 10. Jahr- komst en gebruit van het orgel als of Organists come from? (James hunderts: Der sächsische Orgelbauer orkestinstrument” (René Verwer), McVinnie), Organists’ Review (June Carl Eduard Schubert und sein Opus Het Orgel 113, no. 3 (May 2017): 3–11. 2017): 42–44. primum im nordböhmischen Ross- bach (Hranice/Tschechien)” (Felix Friedrich), ), Organ—Journal für die Orgel 20, no. 1 (2017): 32–35.

“Fingerprints of Ancient Masters, Part 2” (Mads Kjersgaard), ISO Journal, no. 55 (April 2017): 58–77.

“Historic Instruments as Our Supreme Teachers” (Kimberly Marshall), ISO Journal, no. 55 (April 2017): 52–54.

JANUARY 2018 55 Organbuilders STEPHEN HALL Wangerin, Weickhardt, and Wirsching The Three Ws of Milwaukee

Adolph A. Wangerin was born March 22, 1873, in Milwaukee, Wis- consin; he was the son of Albert and Ulricke (née Dorn) Wangerin. He married Hedwig Hayner, and they had three children: Lucy, Ralph, and Ger- trude.1 Ralph later joined his father in the organ business; he was listed as vice president of Wangerin in 1942. 2 Adolph Wangerin apparently learned the art of woodworking as a teenager. He was a partner with Herman G. Sem- man in Semman & Wangerin, makers of church furniture, in his early 1920s. His skill in woodworking did not go unnoticed in the community: architect Joseph Hann invited him to become a partner in his business. The new Hann- Wangerin firm of Milwaukee was es- he professional lives of tablished around 1902.3 With the design remain unknown. He arrived in the Adolph A. Wangerin, George of both buildings and their furnishings United States on April 16, 1891, and TJ. Weickhardt, and Philipp now accomplished by the same firm, petitioned for naturalization in Rich- Wirsching intertwined in Wisconsin the organ was the last element to be in- mond, Ind., December 15, 1892. He in the early 1900s. Wangerin began as cluded in the suite of services. Requests was briefly with Philipp Wirsching in a maker of church furniture who grad- for cases from organbuilder Philipp 1893, then moved to Madison, Wisc., ually acquired some skills of the craft Wirsching may have been the inspira- around 1894, and settled in Milwau- of organbuilding; Weickhardt and tion to invite an organbuilder as a third kee in 1895. He partnered with Hook & Wirsching were organbuilders who partner in the firm. Hastings installer Nicholas Bach, oper- sought his help in crafting cases. Wan- George J. Weickhardt was born ating as Weickhardt & Bach of Milwau- gerin was an American of German her- February 6, 1858, in Überlingen, Ba- kee beginning in 1899.4 Bach was in his itage, while Weickhardt and Wirsch- varia, Germany. He apprenticed with late 60s5 when the partnership began, ing were Germans who immigrated to Xaver Mönch of Überlingen, but his and he had more experience than his the United States and became citizens. activities in Bavaria after his training younger partner, but it was in instal- Wangerin was a Milwaukee native; lation and service work. Weickhardt Weickhardt spent his most productive 1. Ancestry.com, “Adolph Albert Wangerin,” was the true builder and the small firm https://www.ancestry.com/genealogy/records/ years there; Wirsching had his shop in adolph-albert-wangerin_134051626. quickly established a reputation for its Salem, Ohio, but eventually moved to 2. David H. Fox, “Wangerin, Ralph,” in A work locally. Less than two years after Milwaukee to become tonal director Guide to North American Organbuilders, 2nd ed. it began, the partnership ended. Bach for Wangerin, replacing Weickhardt, (Richmond: Organ Historical Society, 1997), continued working as a tuner until his his former employee. 295. 3. David Bohn and Marilyn Stulken, “The Wangerin Organ Company and Its Predecessors: 4. Fox, “Weickhardt, George J.,” 298. Left: Adolph A. Wangerin Milwaukee Organbuilders,” The Tracker 34, no. 5. Calculation by the author based on Bach’s age Right: George J. Weickhardt 2 (1990): 23. at his death.

56 The Tracker Organbuilders

death in 1902.6 Weickhardt con- In 1918, the company added tinued building organs under his another form of woodwork to its own name but may have subcon- product line: The May 6 issue of tracted casework to the Hann- Aerial Age Weekly reported that the Wangerin firm.7 Wangerin-Weickhardt Co. would Weickhardt joined the Hann- begin manufacturing wooden air- Wangerin partnership around 1903, craft parts. The reason given was and the firm became Hann-Wan- that wartime conditions had re- gerin-Weickhardt. Weickhardt had duced demand for pipe organs. The an unusual role in the partnership: reporter noted that no other wood- he built the organs, while Hann working business demanded such and Wangerin designed and crafted precision as the building of pipe or- the casework. The three men to- gans, and that the organbuilding gether could offer an integrated factories could supply as many parts design for churches: the build- as the nascent air industry required. ing, its furnishings, and the organ Readers were instructed to contact could all be designed in the same Adolph Wangerin, president, for shop and coordinated in a way that further details.10 other firms would be hard-pressed With the end of the war, the to match. demand for organs was begin- Although the venture was a ning to return to normal volume three-way partnership, the organ when tragedy struck the Wan- nameplates proclaimed: gerin-Weickhardt firm. On Mon- day, February 10, 1919, George The “Weickhardt” Organ Weickhardt slumped over at his built by desk at the factory. He remained Hann-Wangerin-Weickhardt Co. unconscious for the next six days Milwaukee, Wisconsin. until his death on Saturday evening of that week, February 15, Weickhardt may have been the 1919.11 With Weickhardt’s passing, junior partner, but he was ac- Adolph Wangerin lost his vice- corded the place of honor in mat- president and organbuilder. ters regarding the organ. Undeni- Wangerin was able to continue ably, “Weickhardt was the driving building organs using his wood- force behind the organs. Hann working skills for the cases and the and Wangerin were businessmen, knowledge of Weickhardt’s associ- not organbuilders.”8 After Hann’s ates, including two of Weickhardt’s death in 1912, his name was sons, Joseph and Fred, who stayed dropped from the company.9 The on with the firm. Fred apparently company continued building pipe took over his father’s duties as de- organs and church furnishings, signer, when at least three large in- but architectural design services struments in the Milwaukee-area would have stopped at that point. churches are attributed to him: The nameplates now read “The Capital Drive Lutheran, Sherman Weickhardt Organ” by Wangerin- Park Lutheran, and St. Rita’s R.C.12 Weickhardt Co.

10. Aerial Age 7 (May 6, 1918): 399. 6. Fox, “Bach, Nicolas Svendson,” 59. 11. “George Weickhardt Dies in Milwau- 7. Bohn and Stulken, 23. kee,” (Milwaukee) Wisconsin-News (March To p: Announcement of the company name change in 8. Bohn and Stulken, 24. 1, 1919): 2. February 1924 9. Ibid 12. Bohn and Stulken, Bottom: Company adversisement in 1918

JANUARY 2018 57 Organbuilders CONTINUED

Without the senior Weickhardt, the Gerry Shamdosky to former OHS Data- firm might have continued at the same base Chair James H. Cook: “I recall see- level or it might have declined, but fresh ing, inside the casework at [the church], talent was needed if it were to advance. stenciling reading ‘Hann-Wangerin- Another firm’s misfortune became an Weickhardt’—so we can say with rea- opportunity for Wangerin to acquire a sonable certainty that Hann-Wangerin- new tonal director as well as prestige in Weickhardt did, in fact, build the case.”16 the postwar building boom as the third Although Shamdosky’s discov- W came to Milwaukee. The founder of ery answers one question, it raises oth- the Wirsching Co. was leaving his firm, ers: Was the Milwaukee firm that well and would soon be available. known for its elegant casework, or had Philipp Wirsching was born Feb- Wirsching maintained contact with his ruary 7, 1858, in Bensheim, Germany, former employee, George Weickhardt, where he became the organist in the and did he know about the capabilities local Catholic church at age twelve. of the Milwaukee firm through him? After graduating from the University Given that of 72 instruments in the da- of Würzburg, he became an apprentice tabase, with some form of the Weick- with the August Laukhuff firm of Weik- hardt name attached to them, only ersheim. He immigrated to the United three are located outside the Midwest States in 1886, and went to Salem, Ohio, Philipp Wirsching or northern plains states, it seems more at the invitation of Carl Barckhoff. Two likely that Wirsching called on Weick- years later, Wirsching established the tion with refined voicing and finish- hardt for assistance in this large job Wirsching Organ Co. in Salem; it re- ing. The Art Organ Company of New (three manuals, 49 ranks, including a mained in operation for six years until York City chose Wirsching to build its 32ʹ Open Wood in the Pedal).17 it failed due to the panic of 1893.13 The lavish residence organs to the specifica- The two H-W-W instruments Farrand & Votey Co. of Detroit pur- tions of George Ashdown Audsley; J. that were installed outside the compa- chased the material assets of the Wirsch- Burr Tiffany provided the decoration ny’s usual area of operation were built ing firm,14 and Wirsching became a of the facades and consoles.15 Another in 1909. One was a one-manual organ traveling representative for the Detroit instrument was heard across the Hud- for St. John’s R.C. Church in Paterson, firm. Wirsching left after two years, and son that bore two nameplates, the 1907 N.J. (OHS Database ID 51311). This then spent two years with W.W. Kim- organ in Our Lady of Grace, Hobo- organ, the only H-W-W organ in New ball of Chicago, ca. 1896–1898. He was ken, N.J. (OHS Database Organ ID Jersey, was probably ordered because of operating his own firm in Salem again 7710). There is one nameplate for the the instrument at Our Lady of Grace. by 1898 in the building formerly occu- designer, George Audsley. The second The other instrument to travel afar that pied by Carl Barckhoff. A fire destroyed nameplate reads: year was for the First Baptist Church the building in 1904, but the com- of Stamford, Texas (OHS Database ID munity rallied around Wirsching and Contractors & Builders, 51299). What prompted an order for helped him rebuild. The firm was reor- Philipp Wirsching, Salem, Ohio, this two-manual, midsize organ in the ganized and incorporated in 1905 with and Southwest from a Milwaukee builder the backing of local businessmen and Hann-Wangerin-Weickhardt Co., not well known outside the Midwest at continued under Wirsching until 1917. Associated. the time? The eastern builders or Kil- During the years he owned the gen of St. Louis were the usual choices company, Philipp Wirsching devel- The phrasing is curious: Does it for Texas churches in that period.18 Per- oped a reputation for solid construc- mean that Wirsching and H-W-W were contracted to build an Audsley organ? Or 16. Gerry Shamdosky, note in the OHS Online 13. David Junchen, Encyclopedia of the American was H-W-W the builder, having been Organ Database attached to Organ ID=7710, Theatre Organ (Pasadena: Showcase Publications, contracted by Wirsching? That mystery January 20, 2009, https://www.pipeorgandata base.org/OrganDetails.php?OrganID=7710. 1989), II:791. appears to be solved by an email from 14. “Chat, Changes, Casualties,” The Music 17. Ibid., January 21, 2009. Trade Review 18, no. 31 (February 24, 1894): 8, 18. Orpha Ochse, The History of the Organ in the accessed October 19, 2017, http://mtr.arcade- 15. James Lewis, email to Stephen Hall, June 15, United States (Bloomington: Indiana University museum.com/MTR-1894-18-31/08/ 2016. Press, 1975), 307.

58 The Tracker Organbuilders

haps the church members did not care for the organs they heard locally and sought the advice of some of their Ger- man neighbors—Texas had a sizable German population THE ART ORGAN COMPANIES by 1909, and some of them might have moved to Texas from the Midwest, perhaps even from Milwaukee. This The Art Organ Company of New York City, and is pure speculation; another possibility is that one of the the Los Angeles Art Organ Company, (reorganized members had visited a church in the Midwest and heard in New Jersey as the Electrolian Co. but still infor- one of the Milwaukee firm’s instruments there. mally referred to as the Art Organ Company after the If Texas and New Jersey were far afield for H-W-W, move) were two different, unrelated companies, but one of Wirsching’s instruments would travel to the other their similar names have led to confusion, and they side of the world. The Maharajah of Mysore had ordered a are frequently referenced as being a single company. residence organ for his palace, complete with player mech- Wirsching was involved with both companies, but at anism, from the Electrolian Co., of New Jersey. When different times. Electrolian was about to go out of business, it assigned its The Art Organ Company was incorporated in interest in the maharajah’s organ to Wirsching’s company. New York in 1905. The incorporators were George Wirsching sent a new staff member he had acquired from A. Audsley, J. Burr Tiffany and Robert Gere, Tiffany’s the failed Electrolian Co., Stanley Wyatt Williams, to in- brother-in-law. The company entered into an agree- stall it.19 Williams did not stay with Wirsching for long: ment with the Wirsching Organ Company to build when Murray Harris organized a new Art Organ Co. of organs to the designs of Audsley and Tiffany. The Los Angles, Williams quickly joined the firm.20 This com- company showroom was in Steinway Hall, then on pleted the circle, as Electrolian was the successor of the Art 14th St. in New York. Only six residence organs and Organ Co. of Hoboken, which had originally been the two church organs were built when the company be- first Art Organ Co. of Los Angeles.21 gan having financial difficulties and Wirsching can- In 1917, Wirsching, age 59, transferred control of the celled the contract in 1909. firm to his son, Clarence E. Wirsching, and a staff mem- The Los Angeles Art Organ Company was a reor- ber, Eugene Martin Binder. The new partnership was ganization of the Murray Harris Company after Har- named Wirsching-Binder Co., and the elder Wirsching ris was forced out by the stockholders. Eben Smith stayed on as an employee and was in charge of construc- was the largest single investor in the company and tion. The new partnership was underfunded, and the two he reluctantly took control in an attempt to salvage owners entered into an agreement with Leonard Peloubet his investment. Smith moved the Los Angeles Art Or- of Pittsburgh. The firm reorganized as Wirsching-Pelou- gan Company to New Jersey and reorganized it as bet and was incorporated in Pennsylvania in 1919. Peloubet the Electrolian Company. Smith died shortly after was to provide $12,500 in cash, and Wirsching and Binder the move, and without his resources, the company were to provide an equivalent amount of equipment, ma- was underfunded and soon failed. After Electrolian terials, and tools. The firm continued to struggle because closed, the Wirsching firm purchased its assets and of Peloubet’s failure to provide funding as stipulated in hired some of the former Electrolian employees. Oth- the agreement. M.P. Möller acquired part of Peloubet’s er employees gradually drifted back to California, shares of stock in 1922 and the remainder in 1925. It pur- and attached themselves to the new Los Angeles Art chased the rest of the shares from Wirsching and Binder Organ Company established by Harris.1 The new Los the same year. Once Möller had full control of the com- Angeles firm did not last long, Harris moved the firm pany, Wirsching-Peloubet was promptly closed.22 to Van Nuys, and then sold it. It went through a series of owners and names before it was purchased by the 19. Orpha Ochse, letter to the editor, The Tracker 61, no. 2 (Spring 2017): PhotoPlayer Co. of San Francisco. Harold J. Werner, 12. See Rollin Smith, Pipe Organs of the Rich and Famous (Richmond: president of PhotoPlayer, changed the firm name to OHS Press, 2014), 223–36, for a detailed account of the organ for the Maharajah of Mysore. Robert-Morton, and began the manufacture of cus- 20. Orpha Ochse, letter to the editor. tom theater organs. Stanley Williams became factory 2 21. History of the Robert Morton Unit Organ” a supplementary superintendent. booklet distributed with the September 1966 issue of The Console magazine, edited and published by Tom B’Hend. 1. James Lewis, email to Stephen Hall, June 15, 2016. 22. Bynum Petty, “Archives Corner: Wirsching Revisited,” The Tracker 2. “History of the Robert Morton Unit Organ,” Tom B’Hend. 59, no. 4 (Fall 20.15): 28.

JANUARY 2018 59 Organbuilders CONTINUED

Philipp Wirsching had left Wirsch- the theater organ company, where the ident and treasurer. Hoard was new to ing-Peloubet in 1919. He traveled a bit, consoles were decorated and the Bar- the organ industry. Ralph Wangerin, a working on his own instruments, be- ton nameplate was attached. This was son of Adolph, was vice president and fore settling in Milwaukee. After work- a sideline for the Wangerin firm, which general manager, and Edward Dornoff ing freelance for Wangerin, he was continued to be primarily a builder of was secretary. During World War II, the made tonal director.23 church organs.25 factory was impressed into services for In 1924, five years after Weick- Philipp Wirsching died in 1926. the war effort in 1942, but made every hardt’s passing, Adolph Wangerin Adolph A. Wangerin continued his busi- effort to finish organs for Concordia dropped his former partner’s name, ness through the hardships of the 1930s. College, Milwaukee, St. Philip Neri and the firm became the Wangerin In 1942, the U.S. government halted all R.C., Chicago, and St. Luke’s in Ra- Organ Co. of Milwaukee.24 The com- manufacture of musical instruments in cine by July of that year. A sales and ser- pany manufactured church organs for order to concentrate on the war effort. vice company was formed in 1943 under the next 18 years. During the 1920s, Adolph retired in that year. He was 69 the direction of another staff member, the firm also acted as a subcontractor years old, and he may have decided to Walter W. Guetzlaff, but it closed before for Bartola Musical Instruments, build- retire rather than to manufacture parts the year ended. 26 The Wangerin coming theater organs and sending them to for military equipment, or he may have pany effectively ended at that point. Its simply decided that it was a good time to founder, Adolph A. Wangerin died Sep- 23. James M. Stark, letter to the editor, The retire. After Wangerin’s retirement the tember 2, 1956, in Milwaukee, at age Tracker 60, no. 4 (Fall 2016): 10. company was headed by a new comer, 83,27 the last of the three Ws. 24. Announcement by Wangerin in The Diapa- Halbert W. Hoard who became pres- son (February 1924): 38. Reprinted in The Tracker 26. Bohn and Stulken, 24. 34, no. 2 (1990), 30. 25. Fox, “Weickhardt, George J.,” 298. 27. Ancestry.com, “Adolph Albert Wangerin.”

Scattered leaves ... from our Sketchbook

Schoenstein & Co. Established in San Francisco • 1877 www.schoenstein.com ❧ (707) 747-5858

60 The Tracker Saving organs throughout America....affordably!

1-800-621-2624 foleybaker.com

Announcing the Commission to A.E. Schlueter Pipe Organ Co. to restore historic 1856 Knauff tracker organ

St. Thomas the Apostle Catholic Church St. Thomas, Missouri

1897 Pfeffer The historic 1856 Knauff tracker organ at First Bryan Baptist Church in Savannah, Georgia, was damaged by 1 / 9 vandals in 2016. Fundraising efforts for it’s restoration have Completed begun. Donations may be made through GoFundMe or sent directly to the Andrew Bryan Community Corpora- September 2016. tions, Attn: Georgia W. Benton, Box 1411, Savannah GA 31402. Make checks payable to Andrew Bryan CDC.

A.E. Schlueter Pipe Organ Co. 2843 Stone Mountain Lithonia Road, Lithonia, GA 30012 Quimby Pipe Organs, Inc. 800-836-2726  770-482-4845 www.pipe-organ.com  [email protected] Reviews All items reviewed are available at www.ohscatalog.org

CDS ana tuned as a Celeste. In any case, Buzard has achieved some impressive sounds in Concert Favorites, Organist Raymond this instrument. Chenault, 2 CDs, Gothic G-49305- This will be a nice addi- 06. Raymond Chenault takes us on an tion to your collection if you in-depth exploration of the 2003 Jean- are a fan of the musical styles Paul Buzard organ he and his wife pre- Chenault has chosen. side over at All Saints Episcopal Church in Atlanta. Not long ago, I reviewed a Christopher Houlihan plays recording he and Elizabeth Chenault Bach, recorded on the made as duo-organists in Amarillo, 1971/2013 Austin organ at Texas, but Raymond is flying solo on Trinity College Chapel, this issue. The menu reflects his spe- Hartford, Conn. Azika cial interest in the 19th and 20th cen- ACD 71314. When this ar- tury French, Belgian, and Dutch organ rived I suspected I would lis- school. The list includes Monniken- ten to a few measures and dam, D’Indy, Jongen, Guilmant, Du- then forget about it on the bois, Messaien, Langlais, Tournemire, grounds that “if you can’t and Fugue in C, BWV 564, and the Pas- Demessieux, Widor, Dupré, Andries- say something nice, don’t say anything sacaglia and Fugue in C Minor, BWV 582. sen, Lemmens, and Cochereau. The at all.” As a long-time tracker backer, I I liked his unique way of beginning Buzard organ seems to be able to han- spend very little time salivating about the G-minor Fantasia and noted that dle the requirements of these compos- a chance to hear some young whiz he phrases the fugue subject the way I ers with aplomb, and Chenault’s inter- kid play Bach on an Austin. However, think it should be. The Italian Concerto pretations are colorfully registered and much to my surprise, I thoroughly en- retains its listenable qualities in his fine played with flair and excitement. joyed this CD. Houlihan makes no transcription. The B Minor takes on a Chenault has provided good notes bones about using the full resources mystical foreboding quality. The trio on the music and Jean-Paul Buzard of the Trinity Chapel Austin, includ- sonata sparkles. The Toccata in C Major gives interesting comments about his ing swell shades and lightning regis- is virtuosic and gripping, the Adagio Opus 29, but I’m a bit mystified by tration changes that are beyond the ca- a heartfelt aria, and the author of the some remarks on the Choir Division. pabilities of registrants. The old argu- booklet notes, Lindsay Koob, would “We were able to include an entire cho- ments are reiterated that if Bach were be justified to choose for a third time rus of soft diapason-toned Dulcianas in alive today he would revel in the ka- the word “tumble” to describe the cas- the Choir Organ.” What I see in the leidoscopic abilities of modern organs. cade of notes in the Fugue. The over- stoplist is a single 8ʹ Dulciana and an It’s the same kind of musing that tries whelming architecture of the Passacaglia Unda Maris, which I assume is a Dulci- to imagine what it would be like if the is firmly maintained. South had won the Civil War. Didn’t So I say, all power to Christopher happen. Houlihan. Instead of trying to make In any case Houlihan does revel in the Austin sound like a German Ba- this Austin’s colors and textures, but roque organ that Bach would have there is nevertheless almost always a known, he delights us with expert and sense of discipline and design to his in- musical transcriptions of 18th-century terpretations of Bach’s war horses. The organ music to a 21st-century Ameri- program consists of the G-minor Fan- can organ. If you agree that, in addition tasia and Fugue, BWV 542, Houli- to being profound, inspiring, uplifting, han’s transcription of the Italian Con- or the epitome of perfect craftmanship, certo, BWV 971, the Prelude and Fugue Bach’s organ music can also be fine en- in B Minor, BWV 544, the Trio Sonata in tertainment, you’ll like this CD. G Major, BWV 530, the Toccata, Adagio, George Bozeman

62 The Tracker J.W. Steere, OPUS 1, 1867 ― For Sale ― • Two Manual • 20 Stops • 24 Ranks

Stop List available at parsonsorgans.com

For inquiries please contact: Mr. Dave McCleary Project Manager [email protected] 585-831-6218

A celebrated standard in pipe organ since 1873 P. O. Box 156 Orrville, Ohio 44667 www.schantzorgan.com [email protected] 800.416.7426 find us on

JANUARY 2018 63 Obituary

Edna Irene Lawton was born on May conventions, chaired the Upper-Hudson 27, 1921, in Bradford, Pa., the daughter Valley Mini-Convention in 1997, and in of Lorenzo C. (1877–1956) and Oral An- 2006 served on the convention commit- geline (née Chase) Lawton (1888–1945). tee for the fiftieth-anniversary gathering She studied piano as a child, and had an of the Society in Saratoga Springs, N.Y. unusual gift for singing. After graduating The organization honored her with its from Turin High School in Turin, N.Y., Distinguished Service Award in 2006. She she entered the Crane School of Music was also a member of the Albany Chapter at Potsdam, the State University of New of the American Guild of Organists and York in 1940, and graduated in 1944 with a several other local musical groups. Bachelor of Science degree in music edu- Edna was a dedicated adherent to the cation. In 1968, she was awarded a master’s Round Lake Woman’s Improvement Soci- degree in music education from the same ety, serving as President of the organization institution. She married Robert Frederick from 1960–62, 1970–72, and 1980–82. She VanDuzee (1918–88) on March 31, 1945 in was proactive in preserving what remained New Bern, N.C., and the couple had two of Round Lake’s nineteenth-century ar- children: Barbara Jean Michelin of Wap- chitectural heritage, and had a particular pingers Falls, N.Y., and Robert F. “Rob- affinity for Victorian culture. She had a in” VanDuzee, Jr., of Brigantine, N.J. keen knowledge of Victorian furniture, Robin followed in his mother’s footsteps, and was an outspoken critic of those who and is himself a respected musician and tried to eradicate the nineteenth-century performer. Following her first husband’s aura of the Round Lake community. In death, Edna married Norman M. Walter, 1975, she was largely responsible for the EDNA I. VANDUZEE-WALTER, con- a retired physicist who shared her interest placing of Round Lake on the National cert organizer, educator, gourmand, in the pipe organ. Register of Historic Places, and over the homemaker, impresario, professional While Edna was broadly respected years wrote several successful grant appli- singer, and university teacher, died peace- for her work with the organ, it was actu- cations with Save America’s Treasures and fully at home in Round Lake, N.Y., on ally as an educator that she had an im- the New York State Council on the Arts to August 8, 2017. She was 96 years old. pact on literally thousands of people. A help preserve the Round Lake Auditorium. VanDuzee-Walter was revered for her recognized authority on the tutelage of She was an excellent cook, a fine gardener, relentless advocacy of the three-manual, children, she ran a musical nursery school and her honey and mint iced tea was the 1847 Davis & Ferris organ in the Round in Round Lake between 1969 and 1986, talk of Saratoga County during the heat of Lake Auditorium. Believed to be the old- taught music in Burnt Hills-Ballston the summer months. She and her husband est large, American-built pipe organ re- Lake and Ballston Spa public schools, and Norman were fans of grand opera, and maining from the pre-1850 period, she taught graduate coursework in the musi- they regularly attended performances at organized hundreds of concerts, under- cal education of young children at Russell the Metropolitan Opera in New York City. took fund-raising, produced recordings, Sage College in Troy, N.Y. Many of her Edna was predeceased by her first and spearheaded a fifty-year publicity students went on to have distinguished ca- husband, Robert, her three siblings— campaign that brought international rec- reers of their own. For decades, she served Gertrude Kirk (1919–2003), Katherine ognition to this newsworthy instrument. as the choir director of the Round Lake Trundell (1916–82), and Edmond Law- It was her tireless commitment that laid Methodist Church, bringing high-quali- ton—and is survived by her husband, the groundwork for the Round Lake or- ty church music to the lives of local resi- Norman, her children and their spouses, gan to be named a National Landmark by dents, often with modest resources. She and several nieces and nephews. Her fu- the U.S. Department of the Interior in sang for many years with the Burnt Hills neral was held at the Round Lake Meth- 2017—the only pipe organ so designated. Oratorio Society under the direction of odist Church on August 16, and she was Ironically, Edna was not an organist. She Glenn E. Soellner, one of her classmates buried in Memory Gardens Cemetery, was attracted to the instrument because from Crane and a teaching colleague at Colonie, N.Y. She was a cherished mem- of the vocal quality of its voicing, and Burnt Hills-Ballston Lake schools. ber of the Round Lake community and ultimately, posterity must credit the sur- Edna was an active, long-time her dedicated advocacy and confident vival of this great American icon to her member of the Organ Historical Soci- leadership will be greatly missed. unflinching dedication. ety. She regularly attended the annual Stephen L. Pinel

64 The Tracker Volume 61, Number 1, WiNter 2017 Volume 61, Number 3, Summer 2017 THE TRACKER THE TRACKER JOURNAL OF THE ORGAN HISTORICAL SOCIETY JOURNAL OF THE ORGAN HISTORICAL SOCIETY Index

Index to The Tracker, Volume 61 (2017) This Index is comprised of five parts: Organ Historical Society, General Index, Obituaries, Organ Stoplists (listed under organbuilder), and Author Index. Only organs that have been discussed in some detail have been included. Entries are cited by issue number: page. Churches, institutions, and residences appear under the state and city of their location. Organs outside of North America appear under the country and city of their locations.

ORGAN HISTORICAL SOCIETY Maine Historic Organ Institute and St. John’s Organ Danion-Gonzalez: (1954) André Marchal Studio, Bethards, Jack M. The New Organ for the First Archives Corner (Bynum Petty) Society, Silver Anniversary of (Stephen L. Pinel), 3:42 Presbyterian Church, Monterey, Calif., 3:26 —Hodges, Edward, Sesquicentennial of death, 4:40 3:21 Davis & Ferris: Dickinson, Clarence and Helen. A Musical Jour- —Marchal, André, 3:40 Marr, David, An Organ Patent that Never Took Off, 3:48 —(1847) Calvary Church (New York, N.Y.), 2:34 ney in Spain, Pt. 1, 4:32 —Opus Lists, 2:48 Organ in a San Francisco Apartment (Rollin Smith), —(1868, 1888, 1976–2010), Round Lake Audito- Frazier, James, and Lise Schmidt. Organs in the —Photographs, 1:42 4:28 rium Organ (Michael R. Harrison), 2:35 Twin Cities Lost and Found (1852–1928), 1:13 Minutes, 1:50 Organbuilders (column) (Stephen Hall), 3:45 Farrand & Votey: No. 807 (1896) Great Northern Friesen, Michael D. Women in American Nominations for Board of Directors, 2:50 Organs as Metaphors (Agnes Armstrong), 4:24 Hotel (Chicago), 3:24 Organbuilding in the 19th Century: A Brief Survey, Organs in the Twin Cities Lost and Found (1852– Organs in the Twin Cities Lost and Found (1852– Gutschenritter: (1921) André Marchal Studio, 3:42 4:13 1928) (James Frazier and Lise Schmidt), 1:13 Hall: (1916) Christ Episcopal Church (St. Paul, 1928) (James Frazier and Lise Schmidt), 1:13 Hall, Stephen. Organbuilders (column), 3:45, 4:45 Pfeffer & Son, J.G., organ at St. Thomas the Apostle Minn.), 1:13 Stoneleigh construction, 2:7 —A.H. Blank Theatrical Enterprise, 3:45 The Tracker 50 Years Ago (column) (Scot L. Hunting- Church, St. Thomas, Mo. (John Speller), 4:18 Hilgreen, Lane: —Charles C. Aitken, 4:45 ton), 1:38, 2:44, 3:36, 4:38 Roosevelt, Hilborne, Open-Air Organ (Rollin Smith), —Op. 65 (1903) West Market Street Methodist . The Round Lake Auditorium 1:22 Church (Greensboro, N.C.), 1:34 Harrison, Michael R Organ, 2:14. GENERAL INDEX Round Lake Auditorium Organ (Michael R. Harrison), —Op. 207 (1909) Sidney C. Durst Residence (Cincin- Huntington, Scot L. In The Tracker 50 Years Ago Aeoliana, 3:10 2:14 nati, Ohio), 1:35 (column), 1:38, 2:44, 3:36, 4:38 Blank, A.H., Theatrical Enterprises (Stephen Hall), Spain, A Musical Journey in (Clarence and Helen —Op. 877 (1926) St. James-the-Less Episcopal . 3:28 3:45 Dickinson), 4:32 Church (Philadelphia, Pa.), 1:36 Lee, Jennette Thumbs and Fugues, Bookplates, Organ (James Lewis), 1:28 St. John’s Organ Society and Maine Historic Organ —Op. 1190 (1955) Franciscan Nuns of the Most Lewis, James Cornils, Ray, retirement as municipal organist of Port- Institute, Silver Anniversary of (Stephen L. Pinel), Blessed Sacrament (Canton, Ohio), 1:36 —Organ Bookplates, 1:28 land, Maine, 4:31 3:21 —Op. 1230 (1961) Chapel, Gustavus Adolphus —The Organ in Chicago’s Great Northern Hotel, 3:22 Davis & Ferris organ, Round Lake Auditorium Organ Stoplist Collection of Louis Iasillo Digitized and Available College (St. Peter, Minn.), 1:37 Linhart, Fran. The 1891 George S. Hutchings organ (Michael R. Harrison), 2:14 at the OHS Library and Archives (Rollin Smith), Hutchings: Op. 229 (1891) James J. Hill House in the James J. Hill House, 3:12 Davis & Ferris organ, Round Lake Auditorium Organ 1:11 (Saint Paul, Minn.), 3:12 Petty, Bynum. Designated a National Historic Landmark, 2:55 Thumbs and Fugues (Jennette Lee), 3:28 Odenbrett & Abler: (1883) Church of the Assump- —Archives Corner (column), 1:42, 2:48, 3:40, 4: EndNotes (column), 1:53, 2:57, 3:48 Vogelpohl Company: Midwestern Pipe Organ Builders, tion ((Minneapolis, Minn.), 1:15 —Hillgreen, Lane & Company: From America’s Heart- —An Organ Patent that Never Took Off, 3:48 1890–1921 (Lise Schmidt), 2:36 Pfeffer & Son: (1897) St. Thomas the Apostle R.C. land to the Nation, 1898–1973, 1:30 —Skinner Organ Company Christmas Wishes, 1:53 Women in American Organbuilding in the 19th Century: Church (St. Thomas, Mo.), 4:20 Pinel, Stephen L. The Silver Anniversary of the —Song of the Aeolian Employees/ Association, 4:49 A Brief Survey (Michael D. Friesen), 4:13 Pilcher: Op. 22 (1852) Christ Episcopal Church (St. St. John’s Organ Society and the Maine Historic —Waterman’s Ideal Fountain Pen, 2:57 Paul, Minn.), 1:14 Organ Institute, 3:21 Ex Libris (column), 1:41, 2:47, 3:39 OBITUARIES Roosevelt, Hilborn: No. 27 (1876) Thomas Schmidt, Lise, and James Frazier. Organs in the Farnam, Lynnwood, Remembering (Morgan Simmons), Adams, Gilbert, 3:46 Winans (Newport, R.I.), 1:26 Twin Cities Lost and Found (1852–1928), 1:13 Biggers, Jonathan E., 1:48 Schoenstein: First Presbyterian Church (Monterey, 1:18 Schmidt, Lise. The Vogelpohl Company: Midwestern Boadway, Edgar A., 1:48 Calif.), 3:26 Farrand & Votey organ in Chicago’s Great Northern Pipe Organ Builders, 1890–1921, 2:36 Bratton, James Mosby, 2:54 Steere & Turner: (1888) First Congregational Hotel (James Lewis), 3:22 Simmons, Morgan. Remembering Lynnwood First Presbyterian Church, Monterey, California, New Fitzer, Joseph Peter, 4:46 Church (Minneapolis, Minn.), 1:15 Farnam, 1:18 Organ (Jack M. Bethards), 3:26 Friesen, Michael D. 4:12 Vogelpohl: Smith, Rollin. Great Northern Hotel, Chicago, Farrand & Votey organ Minnick, Philip D., 3:46 —(ca. 1882) Hermann Vogelpohl residence (New —Legendary Recordings of Marcel Dupré. Feature (James Lewis), 3:22 Swisher, Charles F., 4:46 Ulm, Minn.), 2:39 Review, 3:18 Hill, James J. House, Hutchings organ (Fran Linhart), Wood, James A., 2:54 —(1898) Bernadotte Swedish Ev. Lutheran Church 3:12 (Lafayette, Minn.), 2:40 —The Iasillo Stoplist Collection Digitized and Available Hillgreen, Lane & Company: From America’s Heartland STOPLISTS —(1904) St. George R.C. Church (New Ulm, Minn.), at the OHS Library and Archives, 1:11 to the Nation, 1898–1973 (Bynum Petty), 1:30 Aeolian 2:40 —Minnesota’s First Aeolian Organ, 2:42 Hodges, Edward, sesquicentennial of death (Bynum —No. 956 (1904) William A. Jones residence (Min- Wales Brothers: (1878) Gethsemane Episcopal —Roosevelt’s Open-Air Organ, 1:22 Petty), 4:40 neapolis, Minn.), 2:42 Church (Minneapolis, Minn.), 1:14 —Organ and Aeroplane His Hobbies: An Organ in a Hutchings, George S. organ in the James J. Hill House —No. 1230 (`1912) Jacob Baker Struble apartment San Francisco Apartment, 4:28 (Fran Linhart), 3:12 (San Francisco, Calif.), 4:28 AUTHOR INDEX Speller, John. The 1897 J.G. Pfeffer & Son organ Iasillo, Louis, Stoplist Collection Digitized and Available at Casavant: Op. 43-SH (1917) Fifth Church of Christ, Armstrong, Agnes. Pipe Organs as Metaphors, at St. Thomas the Apostle Church, St. Thomas, the OHS Library and Archives (Rollin Smith), 1:11 Scientist (Minneapolis, Minn.), 1:16 4:24. Mo., 4:18

JANUARY 2018 65 2018 Calendar WWW.ORGANHISTORICALSOCIETY.ORG 2018 PIPE ORGAN CALENDAR

OUR 2018 CALENDAR IS NOW AVAILABLE!

THE OHS 2018 CALENDAR celebrates the 63rd An- Renaissance models; the extravagant conservatory of nual Convention of the OHS – Rochester, New York, the George Eastman Museum and its signature 4-man- July 29 to August 3, 2018 – showcasing one of the ual Aeolian console; and modernist designs of the most diverse collections of American and European Organ Reform Movement represented by Holtkamp organs from the 18th to 21st centuries. This calendar and Schlicker. Compare those with the elegant, neo- is filled with gorgeous photographs by Len Levasseur, historical cases from C.B. Fisk and Taylor & Boody, ranging from the Baroque splendor of both the “Craig- as well as the Apollonian restraint and grace of Hope- head-Saunders Organ” – a process-reconstruction of Jones Organ Co., Op. 2 at First Universalist Church. a 1776 A.G. Casparini organ – and an original 18th- Nathan Laube’s welcoming article provides a snap- century Italian Baroque organ to the subdued poly- shot of the rich offerings – organological and other- chroming of two late 19th-century Hooks and an wise – that you can expect to discover in Rochester early 20th-century New York builder C.E. Morey. Flip and its surroundings. The Calendar highlights U.S. ahead to find the massive carved case of the 2008 Holidays and the major dates of the Christian and Fritts at Sacred Heart Cathedral, referencing Dutch Jewish year. CALENDAR.ORGANHISTORICALSOCIETY.ORG EndNotes

The Christmas Bell