THEVolumeTHE 47, Number TRACKER 1,TRACKER January 2003 JOURNAL OF THE ORGAN HISTORICAL SOCIETY The Organ Historical Society Post Office Box 26811, Richmond,Virginia 23261 • (804)353-9226 • FAX (804)353-9266 e-mail: [email protected] • web: www. organsociety.org • online catalog: www.ohscatalog.org
MEMBERSMAYJOINANYNUMBEROFCHAPTERS. CHAPTERS NEWSLETTER, EDITOR, MEMBERSHIP THE NATIONAL COUNCIL FOUNDING DATE & ANNUAL DUES INQUIRIES Officers and Councillors BOSTON ORGAN CLUB Term 1965, ’76 OHS Charter Expires CENTRAL NEW YORK The Coupler, Phil Williams J. Michael Barone ...... President 2003 1976 Cullie Mowers, $5 Box F MPR, 45 E. 7th St., St. Paul, MN 55101 [email protected] Remsen, NY 13438 CHICAGO MIDWEST The Stopt Diapason, George Horwath Scot Huntington ...... Vice-President 2005 1980 Robert Voves, George 4640 North Opal Avenue Horwath & Derek Nickels, Norridge, IL60706-4404 34 Summer St., Westerly, RI 02891 [email protected] $15 Stephen J. Schnurr, Jr...... Secretary 2003 St. Paul Catholic Church, Box 1475, Valparaiso, IN 46384 [email protected] EASTERN IOWA Newsletter, August Knoll 1982 Dennis Ungs, $7.50 Box 486 Box 486 David M. Barnett ...... Treasurer appointed Wheatland, IA 52777 423 N. Stafford Ave., Richmond, VA 23220 [email protected] FLORIDA The Rackboard, 1998 Henry Vollenweider, $8 Allison Alcorn-Oppedahl ...... Councillor for Archives 2003 www.ohs-florida.org [email protected] Trinity International University, 2065 Half Day Rd., Deerfield, IL 60015 GREATER NEW YORK CITY [email protected] 1969 GREATER ST. LOUIS The Cypher, John D. Phillippe Rachelen Lien ...... Councillor for Organizational Concerns 2005 1975 Elizabeth Schmitt, $5 3901 Triple Crown Dr. 1010 Nashville Ave., New Orleans, LA 70115 (504) 899-1139 Columbia, MO 65201-4814 HARMONY SOCIETY Clariana, Walt Adkins Paul R. Marchesano ...... Councillor for Education 2003 Western PA & OhioValley The Rev. John Cawkins, $5 476 First St. #3R, 634 S. 48th St.,Philadelphia, PA 19143-2048 [email protected] 1990 Heidelberg, PA 15106 HILBUS Where the Tracker Action Is, Ruth Charters Patrick J. Murphy ...... Councillor for Finance and Development 2003 Washington-Baltimore Paul Birckner, $8 6617 Brawner St. 2439 Overlook Dr., Gilbertsville, PA 19525-9769 [email protected] 1970 McLean, VA 22102 MEMPHIS TBA, $5 Dennis S. Wujcik Mary Gifford ...... Councillor for Publications 2005 1992 45 N. Belvedere #101 80 N. Malden Ave., LaGrange, IL 60525 (708) 354-5290 [email protected] Memphis, TN 38104-2517 MINNESOTA CHAPTER The Old Toot, Michael Ferguson David Dahl ...... Councillor for Conventions 2005 1997 Michael Ferguson, $10 1880 St. Clair1880 St. 857 S. 120th St., Tacoma, WA 98444 (206) 531-4497 [email protected] St. Paul, MN 55105 William T. Van Pelt ...... Executive Director MIOHS, MICHIGAN The Impost, Henry Van Dyke $5 2445 Parker OHS, Box 26811, Richmond, VA 23261 (804) 353-9226 [email protected] Dearborn, MI 48124 MID-HUDSON The Whistlebox Stuart L. Ballinger, [email protected] OHS STAFF New York 11 Lown Ct. 1978 Poughkeepsie, NY 12603-3321 William T. Van Pelt ...... Executive Director NEW ORLEANS The Swell Shoe, Rachelen Lien 1983 Russel Deroche, $10 1010 Nashville Avenue Tom Johnson ...... Administrative Assistant & Order Processing New Orleans, LA 70015 Jerry D. Morton ...... Administration PACIFIC-NORTHWEST The Bellows Signal, David Ruberg 1976 Beth Barber Box 235 Seattle, WA 98111 THE TRACKER Staff PACIFIC-SOUTHWEST The Cremona Manuel Rosales 1978 1737 Maltman Ave. Frank Morana, [email protected] . . .Editor and Advertising Manager Los Angeles, CA 90026 Pamela Gurman, [email protected] ...... Layout and Design PHILADELPHIA SOUTH CAROLINA TBA Kristin Farmer 1979 3060 Fraternity Church Rd. COMMITTEES Winston-Salem, NC 27127 TANNENBERG The Dieffenbuch, James R. McFarland [vacant] ...... Biggs Fellowship Central PA John L. Speller, $5 114 N. George St.114 1976 Millersville, PA 17551 [vacant] ...... OHS Pipe Organ Database WISCONSIN Die Winerflöte, Phyllis Frankenstein 1988 David Bohn, $8 1253 Riverton Dr. Rollin Smith ...... OHS American Organ Archives Fellowship Mukwanango, WI 53149 313 Fulton St., Westbury, NY 11590 [email protected] Kristin Farmer Convention Coordinator Michael Friesen ...... Organ Citation CONVENTIONS 3060 Fraternity Church Road, Winston-Salem NC 27127 1979 Piney River Dr., Loveland, CO 80538 [email protected] [vacant] ...... Recital Series South Central Pennsylvania 6/19-25, 2003 Southeastern Mass: The Old Colony (TBA) Darlene Pruette, David M. Storey Richard Hill, Matthew Bellocchio [email protected] [email protected] Jon Moyer ...... Slide-Tape Program 7 Mosspoint Dr., Greenville, SC 29617 (864) 294-0009 [email protected] Buffalo 7/14-24, 2004 Saratoga NY, 50th Anniversary, 6/25–7/02, 2006 Joseph M. McCabe Scot L. Huntington, Stephen L. Pinel Bruce B. Stevens ...... European Organ Tours [email protected] [email protected] [email protected] c/o OHS, Box 26811, Richmond, VA 23261 [email protected] David Scribner ...... Membership OHS American Organ Archives at Talbott Library [email protected] Westminster Choir College, Princeton, New Jersey Stephen L. Pinel, Archivist 629 Edison Dr., East Windsor, NJ 08520 (609) 448-8427 [email protected]
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In This Issue: Most of us have probably been taken aback at one time or another by the seemingly insulting question “do you play by ear?” What this question JARDINE & SON usually means is “do you read music?” and the implication is that, if one 4 THE ERA OF reads music, one does not play by ear and has taken a kind of quick-road SPECTACULAR ORGANS wherein the ability to play is somehow less well-earned. But behind this By Peter T. Cameron question lies an embarrassing truth, for there are many organists who play SWEELINCK KEYBOARD with their eyes and not with their ears. 17 WORKS: A BOOK AND It is a mistake to think of “playing by ear” only in terms of the ability NINE CDs to readily reproduce what one hears, for what is really at issue is the ability By Jan-Piet Knijff to readily reproduce what one imagines. Whether innate or acquired, this demands formidable skills in harmony, arrangement, and compositional THE PHILIPP 25 WIRSCHING AT FIRST structure, in addition to basic instrumental technique. The proper term UNITARIAN CHURCH, for putting all this into practice is IMPROVISATION. PITTSBURGH Although there is plenty of common ground between repertory study By James M. Stark and improvisation study, their respective intents, purposes, and processes differ radically. The one is a simple, repetitive, and re-creative process of A YANKEE IN 32 “LITTLE DIXIE”: rehashing, recounting, and reciting a given piece a hundred times over; THE ODYSSEY OF the other is an open-ended process of attempting to actually create a JOHN HENRY HOPKINS piece, or more specifically, to coordinate various combinations of original By David W. Lewis, Jr. and fixed elements––rhythm, harmony, melody, etc.––in a real time set- ting. Anyone who has ever done both will reach an inescapable conclu- LEOPOLD STOKOWSKI, sion as to which requires the higher degree of aural acuity. 44 ST. BARTHOLOMEW’S CHURCH, AND THE It is worth noting, therefore, that among the major organ competi- AMERICAN ORGAN tions in the United States, only one is devoted to improvisation: the ARCHIVES National Competition in Organ Improvisation (NCOI), sponsored by By Rollin Smith the American Guild of Organists with material support from the Holtkamp organ company, the Dobson organ company, and Ms. Mary Louise Herrick. This competition, in my view, is an affirmation of the Also: 3 OPINION highest ideals of the art and science of musicianship––but unlike repertory By Frank Morana competitions in which successful contestants can expect major management LETTERS and recording contracts, NCOI presently affords its winners little more 14 than a cash award and a pat on the back. ORGAN UPDATE This past year’s winners include two longtime OHS supporters, Peter 20 By Wayne Warren Krasinski and David Macfarlane (1st and 3rd places, respectively), and British organist Neil Weston (2nd place). All are veteran recitalists with 30 CHAPTER NEWS extensive repertory experience, but to date, few bookings have come their way, and it is a deplorable commentary on the state of our profession INDEX when the very people who ought to be heard are not being heard. 47 By Jerry Morton The art of improvisation is key to the healthful survival of music and musicianship, but until recently, it has been unduly overshadowed by reper- 51 OBITUARIES tory study. In the minds of many, it is most closely associated with jazz (which, by no coincidence, is often considered the great American art- 52 MINUTES form), but historically, organ improvisation is actually the last stronghold from a time when the elements of improvisation were part-and-parcel of every serious musician’s practical training. It is vital that we do all we can COVER: George Jardine & Son, Catalog to seek out places and programs in which this art can receive the serious (1897), page 17, “Steamship organs. attention, encouragement, support, and revival that it deserves. OHS Electric action. Duplicate organs erected in Grand Saloons of the American Line ocean steamers St. Louis and St. Paul” (OHS American Organ Archives) 3 Vol. 47, No. 1 The TRACKER Jardine & Son The Era of Spectacular Organs
BY PETER T. CAMERON
ur title is borrowed from a brother John, born in 1804, a pianomaker. manuscript on New York Daniel Spillane in History of the American organbuilders by the Rev. F. R. Pianoforte (1890) says that the firm of Webber, who, with his friend Bridgeland & Jardine began to make pianos OWilliam H. Barnes, was a pioneer in col- in early 1832 at 451 Broadway, John lecting information on the subject. This Jardine being the practical partner. Spillane manuscript remains unpublished but has quotes Edward G. Jardine as saying that been a valuable source for my research. John Jardine ceased making pianos in Though the word “spectacular” applies, 1838. Edward is not reliable as to dates, but first of all, to the case designs, the Jardines he is at least approximately correct. In city were always inventive and imaginative, and directories John is listed as a pianomaker kept up with all the latest innovations. Jardine & Son circular of 1869, he says until 1839–40; then for two or three years Dr. Michael Sayer of Shrewsbury, that at Flight & Robson he was principal as an organbuilder at 79 Laurens Street England, an authority on Jardine & Co., voicer and designing artist in planning out (which was not the Jardine organ shop); Manchester, England, writes that the the interiors and also the architecture of and then simply as a tuner at various loca- Jardine family has been traced to a Scottish the exteriors of their instruments. tions, including (after 1850) New Jersey. baronet from 1672. His grandson or great- On March 22, 1828, it was recorded George Jardine is listed in 1838–39 as grandson Joseph Jardine was born in at St. Luke’s Parish, Chelsea, Middlesex sharing John’s shop at 459 Broadway at Dumfries, migrated to Kent, was married (now a part of Greater London) that Grand Street, and as sharing a house with to one Sarah Barker, and had nine chil- “George Jardine of Kensington, bachelor, him for one year at 154 Elm Street, near dren––George Jardine was their seventh married Hannah Hughes of St. Luke’s, Grand. His last child Dudley was born in child, born November 1, 1801. He was spinster.” Five children are recorded: New York in 1838. apprenticed to organbuilders Flight & Emily (1829), Edward George (1830), We get an idea of the extent of the Robson of London in 1815. An anony- Joseph Philip (1832), Frederick William business early on in an Episcopal publica- mous writer, perhaps Clare W. Beames, (1835), and Henry Hughes (1837) who tion, The Churchman (April 21, 1838): writes, in the New York Weekly Review of died young. In the birth and baptismal November 12, 1870, that “Mr. Jardine at records, George’s occupation is given as George Jardine, Organ builder an early age showed a natural gift for draw- leather dresser or currier. (from Messrs. Flight & Robson, ing, and a love for the study of architecture According to ship arrival records, Organ builders, London) manufac- which led him to embrace every opportu- George Jardine, his wife Hannah, and five tures all kinds of Church, Parlor and nity to visit and study the architectural children arrived in New York on April 26, self-playing Church organs for the merits of the cathedrals and other church 1837 on the vessel Mediator, accompanied promotion of first-rate psalmody in edifices of England.” A similar statement by his nephew Frederick Wincott Jardine, Country Churches, where Organists was made by F. O. Jones in his Handbook age 15, who had been released from an cannot be obtained. Organs repaired of American Music and Musicians (1887). apprenticeship with J. C. Bishop in and tuned. Superior metal and wood Jardine went to work for J. W. Walker in London to go with George. John Peters, pipes, barrels made and every article Tottenham Court Road in London in age 12, was perhaps another relative. connected with the organ at reason- 1835 when Flight & Robson closed. In the Awaiting their arrival was George’s able charges. The most satisfactory ref-
4 The TRACKER Vol. 47, No. 1 erences to Gentlemen and Professors of the first respectability.
In the British Organ Archive are letters from George Jardine to J. W. Walker, his former employer. Jardine bought pipes from Walker as per a letter of May 1, 1838:
I received the pipes safe and sound after a rare stormy and long passage––I will not blow up however about the long delay, because it has been of some advantage in driving me to make pipes myself, and altho you would laugh at them yet I assure you I succeeded far beyond my most sanguine expectations––they ALL VOICED WELL. . . these pipes now arrived will exactly suit my job for Jersey City a $1000 affair––Am happy to say the organ just erected in the church here gives the most unqualified approbation.
He goes on with questions about pipemaking. On November 29, 1868 he writes, “it is a long time since we commu- nicated with each other . . .Your old organ made for me, is still doing good service in a church out in Vermont.” We do not know where in Vermont this was, but evidently, when starting out, he sub-contracted an organ to Walker. He must have parted amicably from Walker while still lacking, himself, in some par- ticulars of the trade. Other than his Above: Jardine I/3 (1848), St. Paul’s Episcopal, Pendleton, South Carolina (photo by William brother and nephew, we have no other T. Van Pelt) / Below: Jardine I/3 (1849), Church of the Savior (Episcopal), Jackson, North names of employees or apprentices for the Carolina (photo by William T. Van Pelt) / Opposite page: One of the few known images of George Jardine, 1801–1882 (OHS American Organ Archives)
early years.The organ he describes as “just stop; and Trinity Episcopal, a six-stop. We erected” was at St. James Lutheran, New now know, incidentally, that the Church York City, and the one in Jersey City was of the Savior instrument came from St. at First Reformed Church, a one-manual Timothy’s in Wilson, North Carolina, later enlarged to two. As for finger and and prior to that, from Calvary Episcopal barrel organs, four can be identified, but in Tarborough, North Carolina. there were undoubtedly more. The four In early advertisements it was noted were at St. John’s Episcopal, Cohoes, New that Jardine received a gold medal at the York (1839); St. Paul’s Episcopal, Selma, annual industrial fairs of the American Alabama (1841); a location in Guatamala Institute, which were organized in 1828. (1841); and Zion Episcopal, Pierrepont One ad says that he received medals in Manor, New York (1842). The last, Zion 1837 and ’38; and another, in 1838, ’39, Episcopal, is the only one extant, and it and ’40. Possibly 1837 was inaccurate, was played at an OHS convention in being so soon after his arrival. Another 1970 (see illustration). This was a stan- notice came in June 1839, where an dard case design, as shown here in various anonymous writer in the New York other illustrations: Church of the Savior, Musical Courier says that Erben was the St. Paul’s, and St. Bartholomew’s are leading builder in New York, with three-stop organs; St. Luke’s is a four- Appleton and Hook deserving equal
5 Vol. 47, No. 1 The TRACKER JARDINE & SON
painted white; the panels tinted; the appearance fine [three-sectional clas- sic with cornice and pediment]. The contents are: great organ––double diapason sixteen feet; open diapason; stopped diapason, treble, ditto bass, trumpet, principal, flute, twelfth, fif- teenth, sesquialtera three ranks––ten registers; on the swell organ––open diapason, stopped diapason, ditto choir, hautboy, principal, ditto choir, dulciana, fifteenth––eight registers. The double diapason acts only on the lowest octave of the great. In other words, the pedal pipes placed on the great organ wind-chest. There are no separate pipes for the pedals, which act only by coupling to the manuals. The whole affair is extremely clumsy. The keys of the manuals extend downward an octave lower than usual, making the appearance of a grand addition, and, after all, the additional octaves of keys on the swell are locked, are dummies; and the additional octave on the great manual plays the one octave of pedal pipes only, instead of their being placed on a wind-chest of their own, and oper- ated directly by the pedal keys. The swell is a short one, all the registers on it ending at tenor low F. The lower part of the keyboard has for bass but two stops––stopped dia- pason and principal––called here choir bass. The pedals, when coupled play on the first octave only the six- teen feet diapason, on the second octave they play the lower octave of the manuals––C-8 feet. On the great organ, the stopped diapason is divid- ed, and the flute goes downward only to middle F. In all respects, this is another deceptive and vexatious Jardine I/4 (c. 1855), owned by St. Luke’s Episcopal, Newberry, South Carolina; now on organ. The twenty-two draw stops permanent laon to Stillhopes Episcopal Home, West Columbia, South Carolina equal only about twelve through (photo by William T. Van Pelt) speaking stops. The number of pipes is about 767. The tone of the full organ is not unpleasant, but it lacks praise. But he continues, “Mr. George Jardine obviously soon felt the pressure decision and brilliancy. Jardine has shown a good degree of enter- of competition from Erben, and attempted prise and ingenuity in the construction of to gain contracts by underbidding. In Fortunately for the Jardines’ feelings various small or chamber organs.” 1869, Clare W. Beames wrote a series of and reputation, the writer, in another arti- Sometime in 1840 the shop was moved to articles on Jardine organs in Jersey City in cle, while acknowledging the severity of his Anthony Street. At least 42 organs were the New York Weekly Review, in which he criticism, says “We can testify that some of built in the first 10 years, and a degree of pointed out various shortcomings: their late organs are not of that stripe and standardization must account for the num- pattern.” ber. Frederick Wincott Jardine returned to First Presbyterian Church. The On July 30, 1847, at 3 o’clock in the J. C. Bishop in late 1842 and completed organ was built by Jardine & Sons morning, fire broke out in the Jardine his apprenticeship in 1843. some years ago, i.e., 1845. The case is factory. The New York Herald and New
6 The TRACKER Vol. 47, No. 1 York Daily Tribune published conflicting draw-stop rods, pedals, etc. extends the firm in 1855. He was for many years accounts of the fire. They agree that the horizontally beneath the floor, turns organist at St. James Episcopal Church, fire started in the Jardine shop and that the an angle beneath the pulpit and New York, and dedicated a number of building and its contents were totally thence into the organ, a distance of organs. 1856 saw the opening of the Fifth destroyed, and that a Mr. Jones, carver and 40 feet from the key desk; at the same Avenue Presbyterian Church organ, con- gilder, and a Mr. Strong, lamp manufac- time the touch of the keys is perfect- servative in tonal design but with a 30- turer, were also tenants. The Tribune said ly easy and under full control of the note, five-stop pedal. that these two occupied the second floor organist, and the whole of such sim- In 1858 a three-manual was built for St. and that Jardine occupied part of the sec- plicity and durability of construction Paul Methodist Church in New York, and it ond-floor rear. But the Herald said that as will always keep in order. was enlarged in 1872 to four manuals. The Jardine occupied the fourth floor, and that organ was relocated in 1891, but the case a Mr. Ruck––a piano manufacturer not Jardine claimed introduction of the was moved to Immanuel Presbyterian in mentioned in the Tribune––occupied the Clariana in this organ, a mild non-imitative Los Angeles housing a new organ. The third floor. They both said that a valuable, string; and also, key-adjustment screws. accompanying illustration (which Tom unfinished organ was destroyed, the Edward G. Jardine became a partner in Murray brought to light some 15 years ago)
Tribune adding “as well as several other organs and piano-fortes in a less forward state.” The three-manual organ which burned was intended for the Church of the Annunciation, New York City, and was built anew in 1848, the second authenti- cated three-manual, after Christ Church, New Orleans (1847). The stoplist for Church of the Annunciation was pub- lished by William H. Barnes in The Contemporary American Organ. The manu- al divisions all have principal choruses and there was a three-stop pedal, but there were no new orchestral-type stops as of yet. In December 1854, an article in Dwight’s Journal described the new organ for Christ Methodist, Pittsburgh––an organ in a recess behind the pulpit
The key desk will be in the large square pew on the left side on the ground floor of the church, and in Above: Jardine I/6 (1852), Holy Trinity Church, Hertford, North Carolina (photo by William the midst of the members of the T. Van Pelt) / Left: Jardine I/3 (c. 1855), St. Bartholomew's Episcopal, Pittsboro, North choir. The entire work of the trackers, Carolina (photo by William T. Van Pelt)
7 Vol. 47, No. 1 The TRACKER JARDINE & SON
business in 1868 and turned it over to his brother Frederick in 1870. After 1874, Frederick was listed as a clerk, perhaps at the organ shop. Dudley Jardine is listed at the Jardine shop from 1861 to 1864, and then, according to records of the Grand Army of the Republic, enlisted in Company M, 2nd Regiment, New York, under the assumed name William C. Smith, thus beginning his long estrangement from the Jardine family. Yet his real name is found in organs of the 1860’s and 1870’s, and also in accounts of the dedications of organs, for example, at Market Street Methodist Episcopal Church in Petersburg, Virginia, where, on January 7, 1875, he played “The Thunderstorm,” among other pieces, and at First Baptist Church, Augusta, Georgia, where, in September 1877, he was one of several recitalists. In 1867 the Jardines had enough capi- tal to put up a large factory on East 39th Street. In September 1868 a new organ was completed at Most Holy Redeemer Catholic Church in Augusta, Georgia (case design by George Jardine, according to a reviewer). This church is now named Most Holy Trinity, and the organ was restored in 1994 by Hawkinson & Spearman. At the same time, several other large organs were in the works. The reviewer noted the new stops of the Voix Celeste and the Flute Harmonic, and “ingenious mechanical arrangements––combination knobs and a crescendo pedal.” At the time when George Jardine wrote the letter in November 1868 to J. W. Walker cited above (November 1868), he had just begun the four-manual instru- ment at St. George’s Episcopal in New York City and had asked questions about Unidentified organ [First Presbyterian, Pittsburgh] (1897 Jardine catalog, courtesy American winding––would the Solo require a sepa- Organ Archives) rate windchest for the Tuba, for example? He remembered the four-manual Walker shows an early example of the fan display of year, at the organ shop; and then, from organ at the London Exposition of 1862, trumpets. This is a stark contrast from the 1860, as a clerk (no address given), though where he presided at one of the bellows. traditional classic case. A further con- he is known to have been with Schafer Bros., He intended to use pneumatic combina- trast––in 1860 Jardine built a three-manual a banking house in which he became head tion knobs which he had seen in the Willis with Ruckpositive for First Presbyterian in bookkeeper. He enlisted in Company G, organ at the 1851 Crystal Palace exhibi- Newburgh, New York––a retardaire design. 22nd Regiment, New York, which he helped tion, and asked Walker to give him the best The other sons of George Jardine were organize in September 1861; served at plan of these movements, and also for the involved in the family business in varying Harper’s Ferry and Gettysburg; was made a Grand Crescendo. As built, the organ had degrees. It is fair, I think, to assume that they corporal in 1866; and in 1877 was an assis- six combination knobs, five composition all served apprenticeships. Joseph P. Jardine tant in the commissary department of the pedals, and sforzando pedal, and the stops is first listed in directories as an engraver at State of New York. were arranged in a semi-circle. Herter Bros. 83 Nassau Street, 1854–58; then, for one Edward G. Jardine started a box-making built the case at a cost of $2,500.1
1. Rev. Henry Anstice, D.D. History of St. George’s Church in the City of New York 1752–1811–1911 (Harper & Brothers, 1911), 242. “A separate contract was authorized to be made with Herder Brothers for the case and ornamentation as designed by Mr. Eidlitz (the architect) at a cost of $2,500.”
8 The TRACKER Vol. 47, No. 1 In 1869 Jardine published the earliest known catalog of the firm, with an impres- sive list of tonal and mechanical improve- ments. I will pass on the question of whether he really was the first to introduce certain innovations in America, but he was certainly forward-looking. He claimed to
Above: Methodist Church, Tivoli, New York, "Designed to display an elaborate window" (1897 Jardine catalog) / Top left: Unidentified chancel organ (1897 Jardine catalog) / Bottom left: St. Patrick’s Cathedral, New York City, "Fifth Avenue Cathedral, New York. Four manuals." (1897 Jardine catalog)
Church in New York City, in the open stock designs as there were in the earlier style, on various pressures (including the issue, but also having drawings of cases Bombarde manual division on high pres- designed by George Jardine & Son indicat- sure), and on new scales “recently brought ing that stenciling was still a standard prac- by Mr. Jardine from Europe.” tice. By 1890, however, these designs were A landmark organ of 1873 was built for considered somewhat old-fashioned for the Brooklyn Tabernacle. The Orchestral stock organs. Organ with a song trumpet facade was in A third catalog was issued in 1897, the center flat, above the trebles of the though the text is copyrighted 1895. Great; the Swell was behind the Orchestral Though the title-page states “Specialists in Organ, and the rest of the Great and the Tone Production, Electric, Tracker and Pedal behind the left and right flats. Tubular Pneumatic Action systems, and var- The 1879 four-manual for St. Patrick ious new inventions,” the specifications for Cathedral had a Bombarde division on 12- one-, two-, and three-manual organs are for inch wind. The choir and swell organs had tracker action. Eight- and four-foot stops many solo stops, and the Vox Humana was predominate in the smaller organs. There obtained by Jardine from Cavaillé-Coll. In are photographs of actual organs instead of the same year, a four-manual was built for drawings, but unfortunately, most are unla- be the first to use combination move- the Church of the Holy Innocents in which belled. Two organs can be identified: first, a ments, reversible pedals and couplers, his the fourth manual was called the Solo, but large, two-manual tracker built in 1895 for own invented pneumatic and vacuum pal- lacking bombarde pipes; the 12-stop pedal First Presbyterian, Pittsburgh; second, a lets, vertical swell shades, projecting keys, was on tubular pneumatic action. two-manual originally built for Tivoli, New diagonal draw-stops, radiating pedals, and George Jardine died in 1882 and Joseph York, which was heard at All Saints Church reversed bellows ribs. Jardine re-entered the company as the busi- during the Portland, Oregon OHS conven- On a trip abroad in August 1871, ness head. Dudley Jardine no longer worked tion in 1997. The other illustrations include George Jardine acquired some pipes made for the company after his father’s death. two chancel installations, a “Detached con- for him by Cavaillé-Coll, who showed him Under his assumed name he had married, sole, tubular-pneumatic action,” a three- through the organ at St. Sulpice. In and fathered three children in the 1870’s. manual electric action instrument during 1871–72 was dedicated the four-manual A second catalog was issued in late and after installation, a chamber organ, and organ at St. John the Evangelist Catholic 1890 or early 1891, including a number of a chapel organ.
9 Vol. 47, No. 1 The TRACKER JARDINE & SON
The brothers Edward G. and Joseph died days apart in 1896. Charles Scott Jardine, son of Frederick W. Jardine became president. Edward D. Jardine became a partner. Carlton Michell became tonal director. The organ he designed and voiced for St. Thomas Episcopal in Taunton, Massachusettes, sympathetically rebuilt by Bob Roche, is one of the few large organs remaining. The survival rate for three- and four-manual organs is rather dismal. Of 34 built for New York City and Brooklyn, only the three-manual at Sacred Heart, Brooklyn (1876) survives intact, as recorded by Rollin Smith in 1976. The missing pedal couplers were replaced in 1985 by the Andover Organ Company. Much restorative work was done in 2001 by David Schmauch and Donald Schwing. Elsewhere, we have the three-manual in Watervliet, New York; parts of the 1853
organ built for First Presbyterian in Rome, Above: "Three manual organ–electric action" (1897 Jardine catalog) / Left: "Detached con- New York, re-used in the Steuart Goodwin sole, tubular pneumatic action" (1897 Jardine catalog) organ in Redlands, California; and a few electrifications. The future of the company had seemed Spruce and Pine, Phila. Enclosed is a Strang, 1614 No. 18th St., Phila., secure. A talk by Edward D. Jardine, “New receipt for boxes sent to-day. We have and he will probably meet you at the Ideas in Organs,” appeared in the written to Malcolm T. Lloyd, 328 Church. Be as non-committal as a Organists’ Journal, 1896. (See appendix.) Chestnut St., Phila. asking him to clam about the finishing of organ. A letter which was in the Mohr & Co. attend to the payment of freight and Do not make any admissions one files indicates that Charles was in full com- getting car in as convenient a place way or the other. We know that these mand of operations: on Railroad as possible, so that the people are not very favorably dis- parts will be carted as short a distance posed toward us on account of the New York, December 7th, 1898 as possible. You can find out from the great delay we have taken to finish Mr. L. F. Mohr, Sexton of the Church, who seems to the organ. Symmes will be at the be a very nice man, the best truck- Church, Saturday to plan for your Dear Louis: man to go and make a bargain with remaining in Philadelphia, and begin We want you to take 8 o’clock him. Cultivate the acquaintance of the work of preparing the present train, Pennsylvania R.R. to-morrow this Sexton, and it may be policy to large three-manual Hook and morning, and go to Church of St. pay him for any little service he does Hastings Gallery Organ for the elec- Lukes-Epiphany, 13th Street between you. We have written to S. Tudor tro-pneumatics which are to be
10 The TRACKER Vol. 47, No. 1 You are to try and get up your grooveboards and front pipe stays this week, but we doubt whether you can get any of the four groupings up by Sunday. Do your best, however. Keep these front pipes packed and out of sight until you are reay to use them as the Church people may have criti- cisms to make about the composition leaf or something or other. It was understood that we were not to use gold. You will find that one of the pipes has been damaged by water and the gold is off on the foot. This we propose to re-gild and no doubt you can do this just as well as Ferris. We will provide you with
Above: “Chapel organ” (1897 Jardine catalog) / Top right: The only extant Jardine barrel organ, Zion Episcopal Church, Pierrepont Manor, New York (1842) (photo by Peter Cameron) / Bottom right: "Chamber organ" (1897 Jardine catalog)
attached. You will probably have to ing of console that was made by me, remain in Philadelphia quite a time and you will remember that working on the Gallery organ end. I Dominoe stop action represents the suppose you are well acquainted with Chancel organ and drawstop action this particular job to know what we on both sides will represent Gallery are doing, but I think it well to tell organ. It is our idea to keep you in you here that we are rebuilding the Philadelphia with sufficient help present old organ which was former- working on the Gallery organ, while ly in Church of the Epiphany, into a we are hurrying with the work of fin- modern three manual electric organ ishing Chancel organ here. We are to be installed in the Chancel, space planning to have Wales on his return for which has all been prepared and from Pittsburgh stop over at finished. One console will now play Philadelphia to show you how to lay both organs and will be located in the the cable from Chancel to Gallery Chancel. You probably saw the draw- and all the necessary electric work.
11 Vol. 47, No. 1 The TRACKER JARDINE & SON
the necessary size, sufficient leaf and lacquer, which Symmes will bring with him. All these front pipes will be in groups of four bracketed pro- jections, which are now finished and waiting for erection of our groove- board mouldings and pipes. You will remember these groove mouldings as being the large circles we had to have especially turned. These mouldings have a 3′ 8″ radius and ought to fit exactly in the bracketed projections, as 3′ 8″ was the measurement sup- plied us by the Architect of the Church, Mr. C. M. Burns, 717 Walnut St., Phila. You may be in Philadelphia until Chritmas [sic] or perhaps longer. Yours truly, Chas. S. Jardine
P .S – The first thing you do on reaching Philadelphia is to go right to the Church and then call on Mr. Lloyd for the purpose of hastening the shipping of organ from the car to the Church. C. S. J.
However, as they say, the good die ordinary and ancient sense of that He observed, but it is not stated young, and when Charles Jardine died in word; for he seems to have been that while alive he helped the mission 1899––still only in his thirties––Edward happy enough, with rather varied and settlement workers of the east D. Jardine and Charles’s brother Frederick interests all of them respectable so far side. Obviously he was indifferent to R. Jardine chose to close-up shop. as yet reported, and apparently with- his relatives but as yet there are no But the musical world had not quite out too much reluctance he spent as stories of quarrels with them. If there heard the end of Jardine & Son. In 1913 much as was required to avoid was a “romance” in his life, a cruel appeared a photo of Dudley Jardine hunger and cold. The characteristic and stunning sentimental disappoint- accompanying an article in Music Trades, miser love of money for its own sake ment he kept it to himself, and gave which, itself, was a duplication of articles he seems to have lacked, and the fact no signs of suffering or regret. from the New York Times. The public was that he occasionally borrowed small The possibility which he so nar- now to learn that the late Dudley Jardine sums and forgot to return them does rowly escaped of going at last to an had been living under an assumed name on not set him apart as insane. Amnesia unmarked grave among the city’s the Lower East Side, an immigrant neigh- of that kind is so familiar. paupers apparently did not worry borhood in New York City. His surviving Perhaps the trouble with JAR- him. It is a pity that he did not write daughter found the picture in his room, DINE was a certain psychic inade- the “memoirs of a derelict.” after it had been published in a Sunday quacy to maintain the ordinary rela- newspaper. The New York Times editorial- tions and activities of his class. As an This was written before it was learned ized on April 30, 1913, under the title employee in his father’s factory he that he had married, fathered three chil- “This miser out of the Common” did fairly well, according to all dren, and deserted his family in 1891. accounts, but with the parental pro- But for the falling off of initiative of Why a man with the well-invest- tections and incitements gone he the younger generation, Jardine & Son ed $100,000 which Dudley Jardine stepped aside out of “the proces- might have continued as a major player in seems to have had should live for sion.” Evidently he had enough sense the New York organ world. OHS many years and finally die in a to take care of his money, in sur- Bowery lodging house is one of those roundings where to lose it would PETER T. CAMERON retired in 1994 from manifestations of eccentricity for have been easy. Even without work the Andover Organ Co. While working in which mania is a convenient but not he could have lived better than he New York in 1966–72 he edited the newslet- convincing explanation. did, and much better, for $100,000 ter of the New York City chapter of OHS and JARDINE was not a miser in the is wealth even here and now. began researching George Jardine & Son.
12 The TRACKER Vol. 47, No. 1 NEW IDEAS IN ORGANS Edward D. Jardine, The Organists’ Journal (1896)
he necessity for the invention of new organ ideas is future. It makes movable consoles a possibility and overcomes dis- largely occasioned by the failure of architects in design- tances and angles that would be fatal to the workings of tubular ing their buildings to follow the good old idea of pro- action. The organ in the new Church of St. Mary the Virgin is an viding ample space for an instrument suited to the illustration of the advantages that could not be possible with any Tbuilding and permitting the use of the straightforward action. other construction. Here the three manual instrument is in two However, the architect is in command, and the organ-builder divisions, gallery and chancel, with a complete movable console at must obey; and it is possible that the former may be an angel in both places. There may be no novelty in an electric divided organ, disguise. We organ-builders would certainly call the disguise very but I can assure you that this is a truly remarkable instrument, complete, for by creating the difficult problem that he does the because, to use a homely sentence, “it works.” Some of our mem- present high development of the organ-builders’ art has been bers know, to their sorrow that many marvellously [sic] construct- attained of necessity. The organ-builder would like to construct ed organs behave nicely only on paper, but in use perform many his instrument and then have the church built for its accommo- fearful and wonderful things not on the schedule. It has been said dation, but that state of affairs will only probably exist when the that a certain creation of this sort has been heard to groan when lion and the lamb shall lie down together. In our present imper- the words “we have done those things which we ought not to have fect state of civilization the organ man is given two or three nich- done, and we have not done those things which we ought to have es for the storage of the several parts of the instrument, with done” were recited in the services. Electrical organs, however, when instructions not to encroach upon rent-producing pew space, and properly constructed, can now compare favorably in point of dura- at the same time to “fill the church musically.” These conditions bility with the others. I have mentioned the minor improvements have produced the modern organ, tracker straight, tracker pneu- made possible by the use of this action, and in these I include such matic, tubular pneumatic and electric. devices as the “pizzecato,” [sic] “double touch” quint, super and You will observe that I have not mentioned the subject of voic- sub-octave couplers, &c., all accomplished by introducing simple ing in connection with this topic, and the reason is that there does electrical switches and so adding in small degree to either compli- not seem to be any improvement in that department over the work cation or cost. of the old masters. True, new and startling names have appeared One new organ idea which has turned out to be successful is among organ stops, already a rich and varied field for investigation the ocean-going organ. I allude to the instruments placed on the by the antiquary and the linguist, but unadorned descriptions of steamers St. Louis and St. Paul, and both having electric action. these alleged new organ tones reveal only slight differences in They have now been in use for a year, and are in perfect condition. shades and tints of the same old tone colors. To overblow a sheet- Each of these organs contains a device of the greatest value for use iron cylindrical pipe by 100 inches wind pressure only makes it less when the instrument is being tortured by one of those persons who Diapason and more steam whistle, for all we may call it a Tibia describe themselves as “not knowing the notes, but has been told Sonora. The criticism is sometimes made that the intensely mod- that he possesses a fine musical ear.” This man usually operates the ern organ-builder sacrifices his voicing to his mechanics, and in swell as a blowing pedal, and utilizes the pedal key as a foot rest. some cases this is quite true. Such organ-builders should wake up Under these circumstances the device comes into play at the hands to the fact that there are certain old ideas worth considering also. of the steward. It is a small electric switch under one of the tables When we turn to the mechanical side of the organ we find a and disconnects the entire organ action without disturbing the field which is and which will continue to be very much open to organist. The steward touches the button and we do the rest. new ideas. Much has already been accomplished. The modern organ is a wonderful instrument, and it is diffi- I have mentioned the various forms of action in their order of cult to point out what lines future improvements will take. In my development. The old tracker action continues to be the cheapest mind the most profitable employment of invention would be in and most simple for an organ of ordinary size and straightforward doing away with such intermediate work between the key and construction. When used in connection with pneumatics it can be the pipe. The vast proportion of the work in an organ consists of applied to organs of larger size and with more extended action, and such auxiliaries, trackers, pneumatics, tubes and wires as the case here I will say that the invention of the pneumatic motor, while may be. If we can do away with these encumbrances in any not a very new idea, was a tremendous step in advance, since it has degree we will by so much reduce cost, complication and space, led to all the latest fashions in tubular and electric action. The and the organist can then certainly make his instrument respond inventor was Barker, an Englishman, who went to France to have more closely to his will, not being compelled to submit his mind his invention appreciated. Tubular and electric actions seem to to interpretation by so much matter. Let us hope that the mark the extreme advance of progressive organ-building up to the Twentieth Century Cleff Club will be able to hear of advance in present time, and the minor inventions growing out of these this direction, if not greater achievements than are yet present in greater improvements are what constitute “new organ ideas” at this anyone’s mind. present day. My experience has been that the electrical construc- tion is the more efficient now and bears most promise for the Read at the Cleff Club dinner, April 21, 1896, by E. D. Jardine.
13 Vol. 47, No. 1 The TRACKER letters
GREEN CHAMBER Tanglewood and Sage Chapel, that Chicago politicians played constricts the sound of the ORGAN Cornell University, are first the positive role that they did, organ is not good whether it is I was glad to see the 1785 examples of his use of this scale. certainly more supportive than 100 years old or 2 years old! Samuel Green organ owned by I have never heard his early in our situation. Such was not The basic criteria should be: Bruton Parish Church, examples, but the later-day the case a few years back with does the organ have artistic Williamsburg, Virginia, includ- quinty, chiffy examples do not the Barton in Chicago Stadium. merit, physically and aurally? ed in the article “Conservation sound like the Green stop. As these monumental There are numerous examples of Six Historic Organs at Allen B. Kinzey organs of the Medinah era con- in the Americas and Europe of Colonial Williamsburg” in the Tucson, Arizona tinue to get kicked out, what a instruments that have been April 2002 issue. I became very dismal future we see at this time altered in the course of history familiar with that instrument in for their reinstallation. The only and are still worthy of admira- the 1950’s and 60’s just before it AUSTIN V/74 churches that are in the kind of tion. I have been to OHS and was put in storage. growth these days to need large AGO conventions that have There are mistakes in the facilities embrace a style of wor- used “historic” instruments that description of the Open ship music unsuited to the are absolutely boring. It’s like Diapason. The pipes of that organ and a general disinterest judging antique furniture—it's rank are of lead, as was the cus- in organs at best. Indoor sports only worth may be that it is tom in those days, and not of facilities are not a good match. one-of-a-kind. wood. There is a picture of one What’s left? When will Chicago Let’s just make sure we of its pipes on p. 25 showing politicians feel the Medinah has spend our time, energy, and the damage caused by the badly been in storage “long enough” money on what is worthy. made tuning sleeve. There are and force it to be either sold or Terry Hicks 12 derived basses for the Open at least vacated? Chicago, Illinois Diapason, but not from the Paul Sahlin source nor for the compass stat- Burlingame, California ed. The makeup of the Flute is as follows: GG, AA-F#, and G# are 12 open wooden pipes; G I am sometimes ambivalent and A-f '''' are 46 stopped Austin V/74, former Medinah Temple, about the reports of “historic” wooden pipes—identical in Chicago (photo by Stephen Schnurr) instruments in jeopardy of scale to the Stopt Diapason. being destroyed. Just as people The 12 derived notes of the with ears can discern that there Open Diapason are the same as Special thanks to Dr. are “contemporary” instruments for the open wooden pipes of Schnurr for the outstanding that are not of quality, it seems the Flute. In the Open cover piece in your July 2002 we need to reflect more on what Diapason slide there are two issue on the current fate of the constitutes a worthy historic II/10 Odell (1888), Reformed Dutch holes for each of these 12 notes. Austin in what was Chicago’s instrument. Not every organ Church, Hyde Park, New York (photo One hole is conductored to the Medinah Temple. As with built is worthy of preservation, by Ken Stark Stopt Diapason, the other is everything in writing from the whether of current construction conductored to the Flute. OHS over the many years I’ve or of the past. Therefore, there are two pipes been a member, it was so There are indeed instru- ODELL II/10 sounding for each note with the detailed, and the wonderful old ments worth preserving that are Regrettably I’m forced to Flute giving some open pipe and new photos added that spe- in terrible installations, and I take issue with a report published harmonics to the fundamental cial extra. could care less if the organ is in a recent issue of The Tracker. Stopt Diapason for a better The organ is similar to removed from the original [“Organ Update,” July 2002] match to the 46 Open Austin op. 500 from our San installation which is detrimental “...assisted in pipe-repairs Diapason pipes of lead which Francisco Municipal to its sound, e.g., the Austin at and complete tuning” doesn’t are G and A-f''''. Auditorium, both in stoplist the Medinah Temple in really do justice to the work my The pressure of the Green and in the time at which it was Chicago. In that situation, I wife Holly Odell (who is a flue 1 Organ in 1955 was 2 /2 inches. built, and is also lying in crates have to trust the opinion that voicer for Austin) and I had to G. Donald Harrison liked awaiting either the dumpster or, the organ is worthy, because it face with the pipes we brought the Stopt Diapason and copied a very long shot maybe, another was not at all impressive in the back from Hyde Park. its scale. The Nason Flutes at venue. I think it’s remarkable building. An installation that The damage ranged from
14 The TRACKER Vol. 47, No. 1 minor dents to pipes that were It is important to note that, completely flattened. Many when the organ was dormant pipes had to have new ears the components only had to made; some even required lan- contend with time. Now that guids. When revoicing, we took the organ is being played regu- extra care to match the cutups, larly, the rate of deterioration nicking and overall character of will surely advance. Rest assured the originals. Holly, who deals that I have tried to make this with new and used pipework point as gently and succinctly as every day, frequently remarked possible to the church. on the superb quality of the prep Parishioner effort to “resusci- work of the Odell pipes, which tate” (a thankfully more accu- were likely originally voiced by rate term than was used in the one of the Robjohn brothers. feature in the local paper) the We put each rank up on the organ is always laudable, but voicing machine and spent con- the case of Hyde Park is one siderable time on them; fre- where serious professional atten- quently pipes that at first glance tion is still needed. seemed to have little or no Edward M. Odell damage needed serious atten- J. H. & C. S. Odell tion after years of less than care- East Hampton, Connecticut ful cone tuning. Only the hands of an experienced voicer would do for this task. BACH IN AMERICA Once we had the pipes back The article “Bach in on the windchests, we also took America” by Mark Stevens and time to make sure the organ N. Lee Orr is an interesting was properly tonally finished. idea, and I enjoyed reading it. I have no wish to take any- There are several items which thing away from the efforts of raised my eyebrows however. Ken Stark. I have said many First, it seems unlikely to me times that were in not for Ken, I that the first Bach organ music wouldn’t even be talking about performed in the United States this organ. However, I feel that or Canada was a chorale prelude the true condition of the organ because, to my recollection, has been glossed over when sto- there simply weren’t any in pub- ries have been published about it. lication at the beginning of the The fact is that, while the 19th century. Unless one of the organ is playable, and the pipes Moravian musicians happened are now in excellent shape, the to have a manuscript copy of cart has been somewhat put such, brought over from before the horse. Both manual Germany, it seems impossible to chests have serious ciphers and me. John Ogasapian is probably runs, indicating that the grids 100% correct, that the first Bach need to be re-sized and the pal- music played on the organ here lets re-dressed. Most of the track- was from the Well-Tempered ers and nuts are original, (making Clavier, which was in circulation them no less than 114 years old!) in England among such organ- and are barely holding together. ists as Wesley and Hodges. It’s The ribs and gussets in the wind my experience that every piece reservoir are in terrible shape, in both books of the Well- and have developed new leaks Tempered Clavier is playable at every time I have been back. the organ. The Fugue in A letters
minor from Book 1 seems confuse matters, the lowest note once a rich and harmonious be unkind to wonder if perhaps almost impossible on anything was often GG, not C. But in plenum into a harsh cacaphony. he doesn’t agree with himself? but the organ, with its long the early part of the 19th centu- George Bozeman, Jr. His second point about pedal-point at the end, far too ry there simply weren’t any of George Bozeman, Jr. and pedal compass is even more low to be sustained during the the typical Bach two-manual Company Organbuilders bewildering, and frankly com- two-handed figuration above it. and/or obbligato pedal organ Deerfield, New Hampshire pletely misinformed. We made I’m mystified by the sen- works available in print in the no absolute statement, rather tence on page 7: “Virtually no United States. N. Lee Orr and arguing that “Virtually no com- complete pedal-boards existed Finally, I’m equally mystified Mark Stevens reply: plete pedalboards existed [before [before 1840], and the manuals by the sentence just below the The basic problems running 1840], and the manuals often often lacked a full.compass.” one referring to the compasses: throughout Mr. Bozeman’s lacked a full compass.” But we The first clause is true only of “Equal temperament was quick- comments are, first, that he can’t completely prove this; nor those Pennsylvania Dutch ly adopted around 1850 in order doesn’t appear to be very well- can he to the contrary. We stand organs which had a 25-note to play the increasingly popular read in the historical record, for by the historical record and our compass beginning on low C. orchestral transcriptions, some- nothing in the extant scholar- reading of it. I challenge Mr. The second clause is simply thing previously impossible with ship verifies any of his argu- Bozeman to find in the histori- false. The typical organ of the the old mean-tone tuning.” I'd ments; and second, upon close cal record an instance of one Anglo-American style of this like to know the documentary reading, his comments really organ in the United States built period had a larger compass particulars of “quickly adopted don’t hold a consistent point before 1840 that possessed a than Bach requires, going from around 1850” first of all. It's a within themselves––they rather complete, 30-note, CC–F above GG an octave-and-a-half below topic that remains murky to me. meander about with a sort of middle C pedalboard. No one middle c, to f or g two and one- Secondly, the “old mean-tone willy-nilly grab bag of hazy, else has. His last point about half octaves above middle c. tuning” was hardly the classical unfocused observations appar- the availability of Bach organ Bach’s organ music, with one quarter-comma meantone which ently collected over years of works in print in this country is rather mysterious exception (the indeed limits the keys which are haphazard reading and organ wrong as well. It was difficult to Fantasie in G) never goes below usuable, but rather, a modified tinkering. His comments sug- procure them, but one could our modern low c, or above the meantone belonging to the well- gest he is little aware of the buy some works in England, or d two octaves above middle c. tempered family of tempera- major scholars of American have them imported here The Well-Tempered Clavier ments, one in which it was pos- organ music: Barbara Owen, through Ditson in Boston. goes as low as the a below our sible to play in every key. After Orpha Ochse, Stephen Pinel, His third argument about present low c, so it is well- all, they were playing the Well- John Ogasapian, and William temperament reads so obtusely served by the old English GG Tempered Clavier which has Osborne, among others. He that we are not sure what his compass. True, the Swell divi- pieces in every key! might want to check them more point is. Had he read more sion usually went only down to Furthermore, I daresay the “old carefully in the future before carefully he would have noted tenor g or f, at least as far as mean-tone” tuning probably committing himself to print. that we never claimed that the stops enclosed in the Swell box agreed more closely to the tun- First, we made no assertion tuning was “quarter-comma were concerned, but there was ing of a good orchestra than “the first Bach organ music per- meantone.” In practice, it varied always at least one set of equal temperament does! No, I formed in the United States or considerably from builder to Stopped Diapason pipes outside suspect the reason for adopting Canada was a chorale prelude.” builder. The situation was that the Swell box that completed equal temperament was simply We just opened our discussion equal temperament such as we the compass down to GG, or in that it was the “latest thing.” by summarizing the current state use today did not come into the case of three-manual organs, One of the aftermaths of of Bach reception research. Even widespread practice until after the Choir was complete com- the adoption of equal tempera- stranger, he ends up confirming mid-century. He may want to pass and the Swell bass was per- ment appears to be the suppres- our own position when we check Owen and Ochse on this, manently coupled to the Choir. sion of tierces in the chorus ended the paragraph by quoting as well as Bicknell and So the real problem was the mixtures of American organs. John Ogasapian, whom we Thistlewaite for the same situa- lack of a Pedal division that Prior to this, Anglo-American- believe indeed gets it right when tion in England. His generaliza- could play the obbligato Pedal style organs, if they had mix- he writes that is was most likely tions about chorus mixtures parts of Bach’s organ works. tures at all, included a tierce “a WTC prelude and/or fugue.” betrays the same fuzzy, unin- Many organs did have pedals of rank. But the tierces, being It appears that, had Mr. formed thinking as the rest of a sort, but of limited compass, purely tuned in a mixture, fight Bozeman read more carefully,he his argument. Again, the histor- basically a single octave of low- fiercely with the equally-tem- would have understood that he ical record does not support his pitched pipes, and to further pered thirds, turning what was agrees with our point. Or would it contentions. OHS
16 The TRACKER Vol. 47, No. 1 BY JAN-PIET KNIJFF review
Sweelinck Keyboard Works: A Book and Nine CDs
Pieter Dirksen (ed.), Sweelinck Studies: Proceedings of the Practice in the Netherlands organized the International Sweelinck Sweelinck Symposium Utrecht 1999. 256 pp. Utrecht: STIMU Symposium Utrecht 1999. This symposium included a complete per- Foundation for Historical Performance Practice, 2002. formance of Sweelinck’s keyboard works in addition to a variety of papers by scholars and performers on Sweelinck’s time, life, music, and Sweelinck: The Complete Keyboard Works. Various performers instruments. All the papers read at the conference, plus two other and instruments. 9 CDs. NM Classics 92119 (2002). studies, are now published in Sweelinck Studies, Proceedings of the Sweelinck Symposium, edited by Dirksen and published by STIMU. The performance part of the symposium is reflected in a complete recording on CD of Sweelinck’s keyboard works, played by 15 organ- hile most organists are familiar with the name of Jan ists and harpsichordists, virtually all Dutch, on a wealth of historical Pieterszoon Sweelinck (1562–1621) and many instruments, most of them in the Netherlands. would probably agree that he was an important Although the introduction to the CD booklet (hard cover, with composer––particularly of keyboard music––the extensive text in five languages) leads us to believe that “until today numberW of works that organists know, let alone play, is usually limited . . . no complete recorded edition has been available,” Ton Koopman to a few variation cycles (usually those on secular tunes), the famous recorded the complete keyboard works for Harlekijn in the late Chromatic Fantasy, and perhaps one of the Echo Fantasies. But if a 1970’s and Philips reissued these recordings as a boxed set in 1982. composer’s fame can be judged from the number of complete scholar- While Koopman’s Sweelinck may since have been overshadowed by ly editions of his works, Sweelinck has done better than any other key- his activities in other areas, these recordings can in no way be disre- board composer of his time: three complete editions of his keyboard garded as old-fashioned or outdated. Koopman’s enthusiasm for this works were published, in 1894, 1943, and 1968 respectively; a fourth music, his flair, and sheer musicality are still remarkable, and the use edition by Harald Vogel is in preparation. of historic organs and harpsichords (including an 16th-century In recent years, Pieter Dirksen’s comprehensive study, The Dutch “muselaer”) make Koopman’s Sweelinck a landmark. Keyboard Music of Jan Pieterszoon Sweelinck (Utrecht, 1997), has Interestingly, none of the instruments used by Koopman are once again drawn the attention to the work of this “Orpheus of found in the new CD set. Owing to many restorations of organs in Amsterdam.” Among many other things, Dirksen has revisited the the Netherlands and elsewhere, many organs that lend themselves issue of authenticity in Sweelinck’s keyboard works. He shows that perhaps even better to Sweelinck have become available over the last some pieces that had generally been considered inauthentic over the 20 years. Although no organ by Hendrik Niehoff––the builder of last 30 years can actually be re-ascribed to Sweelinck (e.g. the famous the two organs that Sweelinck played at the Amsterdam Oude Echo Fantasy in D minor). A virtually unknown anonymous piece, Kerk––has survived, the instruments used here include two organs Vluchtige Nymph, is now ascribed to Sweelinck by Dirksen. On the that Sweelinck might have played (the small 1511 Jan van Covelens other hand, according to Dirksen, the famous Ballo del Granduca, is at the Laurenskerk, Alkmaar; and a 1614 Albert Kiespenning at the definitely not by Sweelinck, its enormous popularity among organ- Grote Kerk, Wijk bij Duurstede), and an organ that he could have ists notwithstanding. One of the most significant conclusions of played (the 1558 Jörg Ebert at the Hofkirche, Innsbruck), in addition Dirksen’s book is that, in all likelihood, all of Sweelinck’s keyboard to other 17th-century organs. works were written after 1600, and therefore must be considered the The most impressive instrument is certainly the organ at the work of a mature master. Pieterskerk in Leyden, built by the van Hagerbeers in 1643, and Inspired by Dirksen’s book, the Stichting voor Muziekhistorische restored to its almost original state––including strict mean-tone Uitvoeringspraktijk (STIMU) Foundation for Historical Performance temperament––in 1998. Here is an organ of approximately the size
17 Vol. 47, No. 1 The TRACKER review CONTINUED
of Sweelinck’s large organ played in Amsterdam, built just over 20 considered of doubtful authenticity have also been included. While years after the composer’s death. Although the Leyden organs the organ-harpsichord distinction, discussed in detail by Dirksen (designed for Protestant worship, i.e. to lead the psalm-singing con- in his 1997 study, is clearly visible (very few of the secular cycles gregation) are necessarily very different in aesthetic from the are recorded on organ), there was, thankfully, room for various Niehoff organs built at the time that the big Dutch churches were exceptions to be made. still Catholic, the Leyden instrument is probably closer to A major mismatch is Psalm 36 on the small two-manual organ Sweelinck than any organ we have. Apparently, for this recording, in Pilsum. This is one the very few works by Sweelinck with obbli- the bellows were trod by hand with the help of calcants. The result gato pedal: the bass cantus firmus in the last variation cannot be is a slightly unsteady tone, which makes the organ sound both very played by hands alone. This variation clearly needs a big plenum gentle and lively. sound, reinforced by the Pedal Trumpet. Since Pilsum has no inde- Finally, it is a nice idea to include organs from outside the Low pendent pedal, the Hauptwerk Trumpet is coupled to the Pedal, Countries as well, since Sweelinck’s keyboard works were played all while the hands play on the Brustwerk “plenum” (which of course throughout Europe. Interestingly, the organ at the Prioria dello lacks Principals 8 and 4, not to mention a 16 or a rich 16 Mixture). Spirito Santo in Pistoia, Italy was actually built by the Italian The importance of the CD set cannot, in my opinion, be over- Dutchman Willem Hermans, and is here played by another Italian estimated. Sweelinck’s music is an important part of the early key- Dutchman, Liuwe Tamminga. Perhaps this organ, like Sweelinck’s board repertoire, and to have a complete recording of all these pieces organs designed for Catholic worship and therefore not dependant on CD at hand is an enormous luxury for organists, organ lovers, on loudness, comes close to what Niehoff’s organs might have students, and professors alike. In addition, the buyer of the set has at sounded like. once a whole range of important 17th-century organs in his collec- Among the performers on these nine CDs, two names are con- tion, many of which are completely unavailable elsewhere. The other spicuously absent: Gustav Leonhardt, who edited the first volume of good news is that, apparently, NM Classics is also working on a the 1968 complete edition, did write a nice “Preambulum,” but is complete recording of Sweelinck’s vocal music (including his four not to be heard; and Koopman’s name can only be found among the books of polyphonic settings of the complete Genevan psalter). bios of some of the younger players. Perhaps these two Dutch early- The Sweelinck Studies covers a wide range of topics, divided into music VIPs were too expensive for the production, or perhaps their five sections: Background; The Keyboard Music: Predecessors, stars are shining too high for a more or less idealistic project as this Contemporaries and Followers; The Keyboard Music: Performance one. We now have nine organists, playing 13 organs in four coun- Practice; Theory; and Instruments. In the latter section, Koos van tries, and six harpsichordists, playing three different harpsichords. der Linde covers “Organs in Sweelinck’s Time.” Of particular inter- Some organists seem to have been invited because of “their” est is his discussion of the various possibilities (and impossibilities) organs: while Leo van Doeselaar plays very lively and expressively in for registration, with often surprising conclusions (the combination Leyden, Bert Matter’s playing in Zutphen sounds a little old-fash- 8, 4, 2 was not very popular, for example!). In his article “A ioned (the famous Dutch “early-music” non-legato style). Rediscovered Painting by Emanuel de Witte,” Pieter Dirksen dis- Reinhardt Jaud’s playing at “his” organ in Innsbruck is rather strict cusses a painting from c. 1658 (now in a private collection), depict- and not exactly singing. Vincent van Laar, who plays both the ing Sweelinck’s large organ at the Oude Kerk. This painting is impor- famous Norden Schnitger and the organ in Pilsum on this record- tant evidence that the Rugpositief of this instrument did not get a ing, has a fine legato touch but at times sounds a little stiff rhyth- four-octave compass until the rebuild of c. 1660. (This, of course, is mically. My favorite organist is Stef Tuinstra, whose sensitive per- important in deciding whether a given piece by Sweelinck could formances of, among other works, the little Toccata C3 (no. 25 in actually have been played on this organ in his time.) In “The City the 1968 edition) and the Echo Fantasy C1 (no. 13) are some of the Harpsichord of Amsterdam,” Hessel Miedema discusses another jewels in the collection. recent find: the lid, with a painting by Pieter Isaaksz, of the Ruckers In addition to two modern reconstructions, one historic harpsi- harpsichord that Sweelinck purchased for the City of Amsterdam in chord (Johannes Ruckers, 1640) is used. While some harpsichordists 1604. (Clearly, the beautifully decorated lid was the more important seem to have more of a personal style than others, none of them part of the harpsichord to whomever decided to separate it from the sounds really natural and at ease in this repertoire. The rubato is instrument itself!) often unnatural, the ornaments sometimes over-expressive, and there Rudolf Rasch writes on “Sweelinck’s Place in the Musical is a general tendency toward over-interpretation. On the other hand, History of the Dutch Republic.” He discusses the various editions of two of the younger players who play more “straight,” Menno van Sweelinck’s (vocal) music published during his life and immediately Delft and Pieter-Jan Belder sometimes sound a little boring. after his death, and he tries to answer the question, “When Did the A nice aspect of the CD project is that the producers have not Baroque Era Start in Dutch Music?” Jan Luth revisits “The Music of been too orthodox with respect to repertory: various pieces have the Dutch Reformed Church in Sweelinck’s Time,” focusing on con- been recorded twice––by different players, or on different instru- gregational singing, the extent to which the organ was used for ments, or sometimes in slightly different versions. In addition to accompaniment, and the possible relation of Sweelinck’s sacred vari- the complete authentic works––including the new attribu- ation cycles to the liturgy––there was none. Jurjen Vis illuminates tions––many works formerly thought to be by Sweelinck but now the religious background in the Netherlands at the time, and deals
18 The TRACKER Vol. 47, No. 1 BUILDERS OF FINE MECHANICAL ACTION PIPE ORGANS with the question of whether Sweelinck actually adopted the new Calvinist doctrine or whether he remained a Catholic. Gustav Leonhardt’s contribution is entitled “The Principle of Varietas in Sweelinck’s Variation Works.” Leonhardt remarks that “[i]t is one of the nicer tricks of musicologists to say varietas instead of variety,” and compares himself to a “tightrope-walking N. Illinois Street musician who is supposed to keep his balance when saying some- Lake City, Iowa thing about subjects that are only partly his, namely musicology and art-history.” Another nice one-liner: “[t]he difficulty . . . lies Tel: - in the fact that a musician is hot while a historian is not.” In his Fax: - article “The Nature of Musical Influence: Jan Pieterszoon Sweelinck and English Composers Active in the Southern [email protected] Netherlands,” David J. Smith admits that “the lack of Dutch key- www.dobsonorgan.com board manuscripts from the sixteenth century makes it very diffi- cult to establish the nature of the indigenous tradition that must PIPE ORGAN BUILDERS, LTD. have existed.” Therefore, it is difficult to ascertain to what extent Sweelinck was influenced by his colleagues Peter Phillips and John Bull. Michael Belotti, well known for his new editions of Buxtehude and Pachelbel, writes on “Jacob Praetorius: a Less- known Pupil of Sweelinck.” In “The Sweelinck Paradox: Researching, Analysing and Playing BERGHAUS the Keyboard Music of Jan Pieterszoon Sweelinck,” Pieter Dirksen stresses the necessity for the performer to understand the music he ORGAN COMPANY plays from a compositional point of view: “We have to come as close 2151 Madison, Bellwood, IL 60104 • ph 708.544.4052 fax 708.544.4058 to the composer as possible, if we want to play with any pretension berghausorgan.com e-mail:[email protected] Member of APOBA music from a period when composing and performing were still one.” A detailed analysis of the so-called Hexachord Fantasy serves as an example. In “Performing Sweelinck’s Keyboard Music: Some Aspects and Thoughts,” Ton Koopman discusses Sweelinck’s instru- ments, fingering, dynamics, ornaments, and the like, in his unique, conversational way: “You often find solutions by experimenting.” Pieter van Dijk looks at “Aspects of Fingering and Hand Division in Lynar A1,” one of the most important Sweelinck sources, and quite possibly a copy from Sweelinck’s autograph manuscripts. In the sec- tion on theory, Rudolf Rasch discusses “Modality in Sweelinck’s Psalm Compositions,” while Ulf Grapenthin explains “The Transmission of Sweelinck’s Composition Regeln.” Clearly, the Sweelinck Studies contain a wealth of new informa- tion on the composer and his music. While some contributions carry more weight than others, the collection as a whole is indis- pensable for any keyboard player who takes his Sweelinck seriously, and for any college library with even the slightest interest in early music. Finally, it seems to me that Dirksen’s 1997 study (with which he earned his Ph.D. cum laude from the University of Utrecht) has not received the attention it deserves in America. While a detailed discussion of the book is beyond the scope of this review, suffice it to say that it is undoubtedly the standard work on Sweelinck’s key- board music, easily surpassing the earlier studies by Alan Curtis and Frits Noske in every respect. OHS
Jan-Piet Knijff is a doctoral candidate at The City University of New York and teaches at Fairfield University and at the Aaron Copland School of Music at Queens College. He recently served on the jury of the International Young Organists Competition in Opava, Czech Republic. organ update BY WAYNE WARREN
HUTCHINGS- the Hudson Valley of New anniversary in 2010, with ...AND BUILDS SKINNER ORGAN York State, according to John initial work by Hull starting SOME THINGS AT MOUNT Ogasapian. The organ is locat- in 2003. The estimated cost NEW. HOLYOKE COLLEGE ed in the Katsbaan Reformed of restoring the organ is The Bedient Company has Organbuilder William Church in Saugerties, New $75,000–$100,000. installed its op. 69 at St. Baker of Hatfield, York. Ogasapian believes that For further info, visit Vincent de Paul Catholic Massachusettes is currently the Katsbaan pipe organ is the
Casavant and an authority on The organ was moved to toeboard is a two-rank WORLD WAR I ERA the French symphonic organ Moundsville, West Virginia in Cornet; both stops share a sin- PILCHER DUE FOR tradition. This organ will fea- the early part of the 20th cen- gle drawknob by means of RESTORATION ture reservoir winding sup- tury by De Courcy, and served double-draw stop action. A two-manual,14-rank plied by double-rise reser- there until removed in the Alterations to the Great wind- Pilcher organ c. 1915 is under voirs. Pipe construction, scal- 1970’s by the Bunn-Minnick chest by Rosales permitted the consideration for restoration by ing and voicing techniques Company. It was subsequently addition of an 8′ Trumpet and members of the Central will closely follow those purchased by Joe Horning and a three-rank Mixture. The Florida Theatre Organ Society. employed in 19th-century then moved to Los Angeles. need for entirely new Pedal The organ is housed in the old French symphonic organs. Manuel Rosales did some ini- windchests facilitated the First Baptist Church building The 1100-seat Cox tial work toward a restoration, addition of a 16′ Bass Clarinet in Plant City, Florida. When Auditorium, located at but the instrument never in that division. Key and stop the Baptist congregation built Principia College, Elsah, reached playable status. Mr. actions remain entirely a new sanctuary in 1993, they Illinois, will get a new three- Horning eventually offered the mechanical. Installation of vacated the old church and it manual, 42-stop Casavant in organ for sale and it was pur- relief pallets in the bass, and a sat unused until acquired by 2005. Dr. John Near, college chased by Portland organist change of mechanical ratio has the new owners. The old 1923 organist, worked closely with James Issak. The organ was considerably lightened the building, which will be con- the builder to establish the moved to the Bond shop by manual key action. verted for use as a community specification, in the French Issak and Bond staff member The dedication recital was arts center, is now owned and tradition. Grant Edwards, and it sat in played by Marvin Mills on operated by a non-profit storage for years before a buyer November 17, 2001. A second organization, Cornerstone was found. First Unitarian dedicatory concert featuring Chapel. Inc. Legend has it that AN ORGAN FOR purchased it in 2001 and organist Joseph O’Donnell the Pilcher was originally FIRST UNITARIAN rebuilding took place during with the church choir, pianist, installed in a theater in or CHURCH, the summer months, culmi- and handbell ensemble was around Zephyrhills, Florida. PORTLAND, nating with its installation in held on March 2, 2002. The organ has had little service OREGON October. over the intervening years. The Richard Bond of Bond The restoration phase of Specification (additions in original two- manual console Organ Builders, Inc. has com- the instrument included bold italics): was replaced around 1987 with pleted the installation of a retabling the manual wind- a supply house console and tracker organ believed to have chests, as well as design and GREAT (61 notes) new PVC wiring was installed been built by Hutchings- construction of new wind- 8 Open Diapason between the organ and the Plaisted in First Unitarian chests and action for the 8 Flauto Traverso (not console. The pneumatic Church, Portland, Oregon. pedal stops and added manu- harmonic) expression motor was replaced The original sanctuary, located al stops. The case was 8 Dolcissimo by an early electric-action unit on property adjacent to the restored and refinished while 4 Octave by Reisner. One of the bellows 2 present structure, was home to new panels and ornaments 2 /3 Twelfth had been releathered sometime an Estey which was destroyed were fabricated to replace the 2 Fifteenth prior to the congregation’s by fire and replaced with a lost originals. The historic, III Mixture departure in 1993. Upcoming 1960’s vintage organ provided hand-painted decorations on 8 Trumpet work will include the installa- by the Wicks Organ Company the facade pipes were pre- tion of a three-manual console, of Highland, Illinois. The con- served by painstakingly paint- SWELL (61 notes) as the 1987 console’s combina- gregation now holds services ing a new background color 8 Stopped Diapason tion action has ceased to func- in the former First Nazarene around them. 8 Keraulophon tion. Dennis Werkmeister and Church. The organ’s tonal design 8 Voix Celeste Bill Shrive are working on the If assumptions about the has been altered from the 4 Principal restoration of the organ while original builder are correct, original specifications. A miss- 4 Harmonic Flute many other volunteers are then the instrument should ing 8′ Quintadena in the 2 Piccolo involved in the restoration of date from the late 1870’s to Swell has been replaced by a II Cornet the building, according to Rev. the early 1880’s. The original new 4′ Principal, while a 2′ 8 Oboe Frederick A. Trunk, organ home of the organ is unknown Piccolo stands on the toe- Tremolo restoration committee chair- but was probably in New board that held the Swell 4′ man. Interested parties who England. The case and facade Violina. The original Violina PEDAL (27 notes) wish to contribute to the pipes, which bear non-reli- pipes were moved to a new 16 Subbass restoration of the Pilcher gious decorations, may suggest two-stop toeboard where it 16 Bass Clarinet should contact Cornerstone that the organ was originally serves as an 8′ tenor C Voix Chapel, Inc., P.O. Box 2273, built for a private residence. Celeste. The other stop on the Unison couplers Plant City, Florida 33564. 22 The TRACKER Vol. 47, No. 1 Specification PEDAL a four-rank organ built in 1949 Peterson solid-state technology. 32 Resultant for Sacred Heart Church in New drawknobs have replaced GREAT 16 Subbass Oconee, Illinois. In 1980, it the stopkeys. An antiphonal 8 Open Diapason 16 Bourdon was moved to Florida, rebuilt, organ of three ranks was added 8 Melodia Great to Pedal 8-4 revoiced and installed by Rev. at the front of the church to 8 Gamba Swell to Pedal 8 Harold Bumpus in the student accompany the parish choral 8 Dulciana chapel at the University of groups. While most of the 4 Flute (wood, South Florida in Tampa. original Wicks pipework has stopped) WICKS-BUMPUS In its current incarnation, been retained and reconfigured Great to Great 16-UO-4 ORGAN IN Longmore is replacing the for its new home, several newer Swell to Great 16-8-4 FLORIDA original Wicks Great and and vintage stops have been Lakeland, Florida organ- Choir windchests with electro- added to increase the organ’s SWELL builder William Longmore is pneumatic slider chests built versatility. A III Mixture stop 8 Open Diapason rebuilding a three-manual by Organ Supply Industries of and 8′ Trompete are being 8 Stopped Diapason organ at Prince of Peace Erie, Pennsdylvania. The added to the Great; an 8′ 8 Salicional Catholic Church in Sun City replacement chests are being Gemshorn Celeste and an 8′ 8 Aeoline Center, Florida. The organ was placed on a newly constructed Cromhorne are being added to 8 Vox Celeste (Tenor originally built in 1945 by the platform in the rear of the the Choir division while a 16′ C, tuned sharp to Aeoline) Wicks Organ Company and church, flanked by chambers Trombone and IV Fourniture 4 Flute (metal, open) installed at First Presbyterian housing the Swell and Pedal are being placed in the Pedal, 8 Oboe Church, Erie, Pennsylvania. divisions. The original Wicks bringing the total number of Tremolo Some pipes in the organ are stopkey console shell was refin- ranks to 47. A new facade of Swell to Swell 16-UO-4 also marked “2960,” which was ished and rebuilt using new 8′ Principal pipes is also being Mader Memorial organ update Scholarship Fund planned for installation at the Roger Stephens. Op. 5284T The Ruth and Clarence Mader Memorial Scholarship Fund is front of the new platform. was built as a practice instru- now accepting applications for grants for research related to the Completion is scheduled for ment for Illinois Wesleyan organ or organ music. To be eligible for grants in the year December 2002. University in Bloomington. 2003, applications must be received by March 1. Awards will During the summer of 2000, be announced by March 31. Mader grants for research range the university decided that the from $200 to $1000, and preference is given to projects lead- HALL-MÖLLER instrument was redundant and ing to published articles or books. Application forms may be ORGAN FOR STATE that the space it was occupying obtained from Dr. Orpha Ochse, 900 E. Harrison Ave., #C- COLLEGE, was needed for a piano studio. 38, Pomona, California 91767. PENNSYLVANIA Keith Williams, Service CHURCH Manager for John-Paul Buzard Mark Cooley of Orrstown, Organ Builders, Champaign, Pennsylvania is rebuilding a Illinois, thought the organ nine-rank,1926 Hall-Möller might be salvageable and listed organ at Faith United Church it as “for sale” on the Internet. of Christ in State College, The Wicks’s new owners tem- Pennsylvania. M. P.Möller porarily set the organ up in the rebuilt the organ in 1961 gallery of Kenwood United replacing the original Hall Methodist Church in relays with Möller’s electro- Milwaukee, Wisconsin while pneumatic switching for the the church’s 1928 Austin organ, unit ranks, and provided a new op. 1628, was being rebuilt by two-manual console. In the the Buzard firm. The 2′ stop recent work, the Möller console on Manual I was apparently shell was retained and rebuilt at never installed and has now L.V. Rockafellow the Cooley shop, being fitted been fitted with Stinkens Flemington, NJ with a new Peterson ICS-4000 pipework. The Gemshorn rank Möller op. 6243 (1934), Estey op. 2775 (1930 system. The new relay features on Manual II had three missing ) multi-level combination mem- pipes that have been replaced ories and user levels, MIDI, by Meyer and Sons, pipemak- record, and playback. Cooley’s ers of Milwaukee. firm has built two new main The instrument will windchests, constructed in the remain in the gallery until a Möller unit style and installed suitable home for it can be all new solid-state relay equip- found. This 1972 tracker has ment supplied by Peterson of mechanical key action and uti- Worth, Illinois. Due to the lizes electric slider-motors for confines of the available cham- the stop actions. ber space, it was possible to add only one new complete stop, a Specification: 16-8-4′ Trumpet, built by Trivo of Hagerstown, Maryland to MANUAL I complete the tonal pallet of the 8 Gedeckt organ. The Great Open 2 Principal Diapason is receiving a 12-note extension to make it playable as MANUAL II a 2′ Fifteenth and the Pedal 8 Quintadena Bourdon 16′ an additional 12 4 Rohrfloete 1 notes for a 4′ extension. The 1 /3 Gemshorn old Spencer blower is being replaced by a new Rokk unit. PEDAL At this writing the project was 16 Subbass due to be completed in Couplers: II-I, I-P, II-P November 2002. The leaders of five major organ organizations attended a gathering at the Los Angeles convention of the American Institute of Organbuilders last A 1972 WICKS Regional correspondents for this October. Shown left-to-right are Charles Hendrickson, President, Associated Pipe Organ Builders of America (APOBA); Steven Dieck, TRACKER RESCUED installment of Organ Update Vice-President, International Society of Organbuilders (ISO); Fred A two manual Wicks track- were Richard Bond, William Swann, President, American Guild of Organists (AGO); Michael Barone, er built in 1972 has been saved Baker, Harold Bumpus, Mark President, Organ Historical Society (OHS); and Richard Houghten, from the scrap pile by new Cooley, Simon Coutour, Stephen President, American Institute of Organbuilders (ISO). owners Larry Wheelock and Schnurr, and Janice Trevail. 24 The TRACKER Vol. 47, No. 1 The Philipp Wirsching at First Unitarian Church, Pittsburgh BY JAMES M. STARK
he organ at the First Unitarian Church of Pittsburgh provides a microcosm of organbuilding at the turn of the 20th century. TFirst, it was paid for by Andrew Carnegie, as so many organs were paid for, at least in part, by Andrew Carnegie during the first 20 years of the century; second, it was fairly represen- tative, both in size and tonal design, of organs being placed in churches at that time; third, it was the product of a builder who, while not widely known, was highly respect- ed; and, last, enough has survived to give us some knowledge of that builder’s techniques. And, of course, it is an interesting story. It all began in 1893, when the North Presbyterian Church of Allegheny, now Pittsburgh’s North Side, bought a brand new Hook and Hastings (op. 1591) and put Philipp Wirsching II/25 (1904), First Unitarian Church of Pittsburgh their old organ up for sale. The Unitarians, (photo by James M. Stark) who had just completed their first building in the Oakland section of the city, bought the organ for $5001 and installed it in their handled by Robert A. Franks, Cashier of the consisting of Mrs. Holdship, Mr. C. new church. We do not know who built Carnegie Company, and later, President of C. Mellor, Mrs. Lipps and yourself. that instrument, but it apparently proved the Home Trust Company in Hoboken, Please prepare the specifications unsatisfactory, since, by 1901, Maria New Jersey, another Carnegie interest. This for this organ and get bids from the Holdship, trustee and chair of the music also sometimes involved an organ consult- different Organ Companies. committee, had contacted Andrew Carnegie ant. In Western Pennsylvania and Eastern about donating a new organ. Ohio, and some evidence suggests that, for C. C. Mellor was a prominent organist Carnegie’s organ philanthropy began all of the Carnegie organs after 1898, this and music and musical instrument dealer in in 1873 with an anonymous donation to was a Pittsburgh consultant by the name of the city.5 We know nothing of Mrs. Lipps, the New Jerusalem Christian Church William L. Mayer. An April 1901 letter from but most likely she was another member of (Swedenborgian), also in Allegheny.2 Two- Franks to Mayer3 gives us some insight into the church. It is significant that these organs thousand dollars bought a lot of organ in the process: just “sort of appeared” in the church. There those days, and the church roof literally had is no record in the archives of the First to be raised to accommodate the instrument. Mrs. Holdship called to see me4 Unitarian Church to indicate that a contract Carnegie was never very happy about this, so relative to the organ for Unitarian had ever been entered into or that payment afterward when an organ request came in, he Church, Craig St., East End, and it was ever made to the builder. There is a had his staff make all the arrangements, was decided that a two manual organ notation in the Trustees’ minutes of April 8, including selecting, contracting with, and will be sufficient for a church of that 1904 referring to a letter from Mayer to paying the organbuilder. This was generally size. I have appointed a Committee Mrs. Holdship saying that the organ was
25 Vol. 47, No. 1 The TRACKER THE PHILIPP WIRSCHING AT FIRST UNITARIAN CHURCH, PITTSBURGH
Andrew Carnegie, and the Carnegie Corporation, ultimately made grants for over 8,000 pipe organs. However, the evi- dence, to date, strongly suggests that the great majority of these occurred during the matching grant period.
complete and that receipts were enclosed. installed until 1904, the commitment had Corporation.16 And there were probably However, no receipts have been found.6 been made in 1901 and fell under the old more, since the records are incomplete. In 1903, Carnegie changed his policy policy. Andrew Carnegie, and the Carnegie Two other later instruments have also sur- to provide only matching grants. By this Corporation, ultimately made grants for vived, although tonally altered.17 time, Carnegie had sold his company, and over 8,000 pipe organs.11 However, the evi- Much water flowed over the dam before was now richer and even more famous, and dence, to date, strongly suggests that the the organ at First Unitarian was finally requests were pouring in.7 The change great majority of these occurred during the installed, and then not in the Craig Street probably lessened the load on his staff and matching grant period, and that pre-1903 building for which the request was original- spread the money a little more widely. It instruments are fairly rare. ly made. Shortly after Mrs. Holdship made was explained in a February 1903 letter Philipp Wirsching was born on her request, the Catholic Diocese, who were from Franks to Mayer, which also appears February 7, 1858 in Bensheim, Germany; just building their new cathedral next door graduated from the University of Wurzburg; to the Unitarians, made an offer for the apprenticed to organbuilder August Unitarian property for future expansion.18 Laukhuff in Weikersheim; emigrated to After some haggling, the property was sold Salem, Ohio in 1886 to work for Carl for $60,000, some six times the purchase Barckhoff; married a local girl; and started price less than 10 years prior, and planning his own business in 1887. With a few inter- was begun for a new building, on less ruptions, most notably the Panic of 1893 expensive but larger property, about a half- and a devastating fire in 1904, he contin- mile further to the east. The new church ued to build organs on his own until his was dedicated in April of 1904 with the business finally closed in 1919. He then organ in place. Henry B. Lupton, President went to the Wangerin Organ Company of of the Board of Trustees, wrote to Mr. Milwaukee as head voicer, and probably Carnegie on April 18, 1904 to thank him tonal designer. He remained there until and to invite him to visit the church when shortly before his death on December 10, in Pittsburgh, and noted: “The organ is a 1926, in Salem. While his output was never work of art, both from a musical and archi- very large, his instruments were admired by tectural standpoint and Mr. Mayer and Mr. many contemporary organists, including Wirsching have rightly taken a great pride Richard Keyes Biggs and Marcel Dupré.12 in it.”19 Wirsching included First Unitarian Wirsching came to Pittsburgh as among his recent installations in his 1908 Farrand and Votey’s representative after his sales brochure.20 This may have been pride Philipp Wirsching, 1858–1926 business in Salem failed in 1894.13 or just good marketing, since Wirsching (OHS American Organ Archives) Therefore, he was present for the installa- had done little work in Unitarian churches. tion of the 62-stop Farrand and Votey at While everything looked to have to be tantamount to a pink slip for our Carnegie Music Hall (rebuilt by been settled back in 1901, there seems to friendly organ consultant, that among Hutchings-Votey, 1903; rebuilt by E. M. have been an ongoing concern about the other advantages of this change, “The Skinner, 1910 and 1917; rebuilt by Aeolian size of the organ. The church history puts organ committees has (sic) the privilege of Skinner, 1933; and currently unplayable), it this way: making their own choice of organs.....”8 and the large instruments at Calvary And, “after being attacked for demoraliz- Methodist (extant, console replaced) and Andrew Carnegie offered to give ing Christian worship, he (Carnegie) said Christ Methodist (now First United, organ the church an organ and sent a rep- he needed ‘a partner in sin.’”9 much modified). Wirsching was apparently resentative to examine the space The precise process for drawing up the well-liked and well-respected in Pittsburgh available for it. Apparently this space specifications and getting bids is not musical circles,14 and made many valuable was insufficient for an organ of the known, but the organ that was ultimately contacts. After restarting his business in size which Mr. Carnegie wished to built at First Unitarian was a two-manual, 1898, he built 12 more instruments in and present. As a result, the trustees hired pneumatic action organ of 21 stops, 18 on around Pittsburgh, 10 that appear in the an architect and gave serious consid- the manuals and 3 in the pedal.10 The opus list published in The Tracker,15 and eration to “extending the church organ was built by Philipp Wirsching of two more that have been documented building for the purpose of putting Salem, Ohio. While the organ was not through the archives of the Carnegie in the new organ.”21
26 The TRACKER Vol. 47, No. 1 This is somewhat reminiscent of the return and refer it to headquarters. A Spring Song (new) . . .John Hyatt Brewer Swedenborgians’ raising the roof, and not Marche Pitteresque (new) . .Ernest R. Kroeger in keeping with Carnegie’s practice at the We do not know exactly who was Legende (new) . . .Frank Seymour Hastings time. We also have the following letter pushing for the larger instrument, but it is Toccata in F major (new). .William Faulkes from Franks to Mayer in October 1902, obvious that Carnegie’s people were having possibly relating to the new building:22 none of it. As Walter Holtkamp, Jr. put it (Dedicated to Clarence Eddy) so well in his 1968 article, “The Two The Answer ...... William Wostenholms I have yours of the 18th instant Manual Limited,”24 “three manual March and Chorus from Tannhauser ...... relative to the organ for First organs... put one in the solid middle class.” ...... Richard Wagner Unitarian Church, Pittsburg.23 I Times have not changed all that much. (trans. Homer N. Bartlett) have not seen or heard from Mrs. As we know from earlier research,25 Holdship in this matter since I last Philipp Wirsching and the eminent turn- It is interesting to note that Eddy led off saw you, but the more I think of it of-the-century recitalist Clarence Eddy with the Bach Toccata in F, sans fugue, the the less inclined I feel to accede to were good friends. Probably at Wirsching’s same opening piece played by Alexandre their request for a three manual urging, Eddy played a recital at the church Guilmant in his 1893 American tour. Of organ. I consider an instrument to in June 1904.26 The program, which course, Guilmant and Eddy were together at exceed in cost that already contract- included the obligatory soprano, singing the Columbian Exposition in Chicago, so ed for would be useless extravagance among other works Nevin’s “The Rosary,” Eddy must have been impressed. But it is and not in keeping with the size and concluded with a Wagner transcription. equally interesting that much of the pro- character of a $35,000 church build- The following organ works were played gram was new music for the recitalist, since ing and entirely unnecessary for their that evening: organ recitals had become very popular. musical service. In 1958, the organ was altered, replac- If they are not satisfied with the Toccata in F major ...... J. S. Bach ing the Wirsching manual windchests and present conditions, they will have to Fantasie in D flat . . . . .Camille Saint-Seans console with equipment attributed to defer matters until Mr. Carnegie’s Seventh Sonata (new) . . . . .Alex. Guilmant Schantz. The work was carried out by a
Archival photo of the 1904 Wirsching, courtesy of the Carnegie Library of Pittsburgh
27 Vol. 47, No. 1 The TRACKER THE PHILIPP WIRSCHING AT FIRST UNITARIAN CHURCH, PITTSBURGH
ond half of his career. However, the exam- ple at the First Methodist Church in Salem, Ohio36 is cylindrical and of tin, so this stop appears to have evolved over time. The foundation work at First Unitarian is somewhat broad, but the 4′ stops are consistently bright and pointed. This same design approach appears in the Pedal. The Swell Violin Diapason bears the following inscription:
F# Vio Dia PW 42 1388
The initials would seem to indicate that Wirsching himself had voiced the Pedal Bourdon (photo by James M. Stark) pipes. The number 1388 appears on many Wirsching was apparently a great admirer of the work of Edmund Schulze, and was known to have used the Schulze diapasons as a model
local organ firm, now mercifully gone, 1/4 cut-up. The smaller scale would pro- of the pipes, but the meaning is not clear. who also rebuilt the swell boxes using duce brighter pipes, typical of the work The number 42, and the number 50, fiberboard, and with shutters too small for during this period where upperwork was which appears on the 4′ Octave, are clear- the boxes. One of these sets of shutters missing.32 Wirsching did occasionally use ly scale numbers.37 These correspond with came from a 1917 Möller, for no apparent a 15th, or a 12th and 15th, in the Great Wirsching’s internal scales and bear no reason except that the parts were available. and a three-rank Cornet (12-15-17) in relationship to trade scales. Prior to the However, few tonal changes were made, the Swell in his larger instruments,33 but fire in 1904, we believe that Wirsching and most of the pipework appears to be in this case the organ did not extend maintained his own metal pipe shop.38 original, making it one of the oldest above 4′ pitch. The scaling system was either arbitrary, or Wirschings to retain its original pipework, All of the metal pipework is spotted it indicated hybrid scales, since the num- especially the diapasons. metal, with zinc basses in the larger ranks, bers do not point to any logical size for Wirsching was apparently a great admirer of except the 4′ Rohr Flute, which is common scale no. 1, assuming either halving on the theworkofEdmundSchulze,andwasknownto metal. Laukhuff, to whom Wirsching 17th or 18th pipe. have used the Schulze diapasons as a model.27 As apprenticed, typically used 45% tin in The organ continues in use, and can be seen in the Appendix, the scaling of the their work.34 Later, Wirsching used 90% appears to be restorable. One would hope Great Open Diapason is very similar to that used tin for his string stops,35 but not during that an effort will be made to do so. by Schulze. The mouths are 2/7 of the circum- this period, nor after 1911 when he Whether one would want to hear Clarence ference with a 1/4 cut-up, the same as used by appears to have returned to spotted metal. Eddy’s recital again is an open question, Schulze.28 The pipes appear to halve on the 17th The stopped wooden pipes (see illus- but it might be fun. note, also typical of Schulze.29 These pipes do tration), exhibit the high cutup, arched, seem to fit the model, and are smaller in scale “German” mouths which seem to have Many thanks to Stephen Pinel, OHS than one often encounters in work of this period. been a hallmark of Wirsching’s early work. Archivist; Margot Critchfield, Archivist of Never mind that Schulze himself would have The Swell Stopped Diapason is of wooden First Unitarian Church; and the library staff advocated an even smaller scale for a “parish” construction, and the combination of the at Columbia University and the Library of 30 OHS churchsuchasFirstUnitarian; thiswas,afterall, 8′ Stopped Diapason and the 4′ Rohr Congress for their assistance. the romantic era where large-scale foundation Flute is quite sprightly and almost classical 31 work was the norm. in sound. The 4′ Violina consists of coni- JAMES M. STARK, a member of the OHS The 4′ Octave, which is two pipes cal pipes with an harmonic bridge. The 4′ Endowment Fund advisory board, is a smaller and also halves on the 17th note, Violina was a common characteristic of retired investment manager and physicist carries over the 2/7 mouth width and the Wirsching’s stoplists throughout the sec- who pursues organ historical research.
28 The TRACKER Vol. 47, No. 1 NOTES 1904 PHILIPP WIRSCHING FIRST UNITARIAN CHURCH 1. First Unitarian Church Archives, 18. George Swetnam, John Lofton, OF PITTSBURGH Historical Society of Western William M. Schutte, Donald M. Pennsylvania, Pittsburgh. Goodfellow. Pittsburgh’s First Unitarian Church, 1820–1960 2. Robert S. Lord, “First Carnegie (Pittsburgh: Boxwood Press, 1960), GREAT (enclosed) Organ,” Bicentennial Tracker 66–71. 8 Diapason (1976), 138–40. 8 Viol D’Gamba 19. Unpublished letter, Carnegie 3. Carnegie Papers, Library of Corporation Archives, microfilm 8 Doppel Flute Congress, Washington D.C., reel no. 64. 8 Harmonica unpublished letter (April 30, 1901). 8 Dulciana 20. Tracker 24:1, p. 10. 4. In 1901, Carnegie still maintained 4 Octave his principal business office in 21. Swetnam, 66. 4 Flute Harmonique Pittsburgh. 22. Carnegie Papers, unpublished letter 8 Tuba* 5. C.(Charles) C. Mellor was also (October 20, 1902). involved in the specifications for the SWELL Carnegie Music Hall organ (Musical 23. Pittsburgh was spelled without the Courier, November 13, 1895). The “h” from 1891 to 1911. 16 Bourdon stoplist appears in Tracker 24:1, p. 24. Walter Holtkamp Jr., “The Two- 8 Violin Diapason 8. Mellor and Wirsching may have Manual Limited: An Approach to 8 Voix Celeste become acquainted at that time. Integrity of Instrumental Form,” 8 Stopped Diapason 6. While no contract has been found Diapason (September 1968), 10–11. 8 Salicional for this particular organ, the con- 25. Coleberd. 8 Aeoline tract for the Carnegie organ built by 4 Chimney Flute** 26. Wirsching for the Slatington Baptist Pittsburg Times. 4 Violina Church in 1903 is signed “R. A. Franks for W. L. Mayer.” (American 27. Phillipp Wirsching, The Caecilia 8 Trumpet*** Organ Archives, Princeton) (June 1925), 147. 8 Oboe 7. The author has reviewed 57 match- 28. Noel Bonavia-Hunt. The Church * marked Trumpet on pipes ing grants just within the city of Organ (London: Wm. Reeves, ** marked Rohr Flute on pipes Pittsburgh during the period 1920), 45. ***replaced an 8 Quintadena 1903–1918. 29. Audsley gives slightly different 8. Carnegie Papers. measurements for these pipes but PEDAL also contends they halve on the 16 Diapason 9. Lord, 138. 17th note––the problems of in situ measurement. 16 Bourdon 10. Pittsburg Times, June 15, 1904. 16 Lieblich Gedackt (Sw) 30. George Ashdown Audsley. The Art 8 Open Flute (16 Diapason) 11. Orpha Ochse. The History of the of Organ Building, (rep. Mineola: Organ in the United States Dover, 1965), II:524. 8 Flute (16 Bourdon) (Bloomington: Indiana University 8 Dulce Flute (16 Lieblich) Press, 1975), 196. 31. In later work, e.g., Queen of All 8 Cello Saints, Wirsching used a 2/9 mouth 12. Robert Coleberd, “Philipp with a 1/3 cut-up, but also narrower Wirsching the Consummate scale (approximately 5 1/2” at CC). Builder,” American Organist (October 1968). 32. Homer D. Blanchard, “The Organ in the United States,” Bicentennial APPENDIX 13. “Philipp Wirsching, Organ Builder Tracker (1976), 30–62. Comparative scaling in Wirsching and Schulze 1858–1926,” Tracker 24:1, pp. (8 Open Diapason) 6–12. 33. The 1904 organ at St. Mary of the ′ Mount R. C. Church in Pittsburgh, 14. Musical Courier, November 13, now gone, appears to have had both WIRSCHING SCHULZE 1895, quoted in Tracker 24:1, p. 7. the 12th and 15th and the III First Unitarian Tyne Dock Armley 15. “Archivist’s Report,” Tracker 31:1, Cornet, based on a 1977 rebuild proposal in the church’s files. pp. 20–21. CC 6 1/4" 6 1/4" 16. Carnegie Corporation Archives, 34. Audsley, II:506. Ten C 3 3/4" 3 3/4" 3 1/2" Columbia University, New York, 35. “The Organ in Art,” Wirsching Mid C 2 1/4" 2 1/4" 2 1/8" microfilm reel no. 63. Organ Co. (1908), American Organ 17. St. Kieran R. C. Church, Pittsburgh Archives. [Sources: Bonavia-Hunt, Audsley] (1911), and Verona United 36. Stoplist in Tracker 28:3, p. 30. Methodist Church, Verona (1915), which has recently been restored 37. Wirsching notebook, American through the efforts of the Harmony Organ Archives. Society Chapter of the Organ Historical Society. 38. Audsley, II:507.
29 Vol. 47, No. 1 The TRACKER chapter news
HILBUS CHAPTER restoration of the instrument. that we tore ourselves away from this was, in turn, replaced by a (Washington-Baltimore) A particularly interesting fea- this charming instrument to con- replica of a period stopped ture of this instrument is the tinue on our way. wooden Flute of the same pitch. The Hilbus Chapter tubular-pneumatic action used We then visited historic St. Every stop is additive and October Organ Crawl began for the manual basses of the Joseph’s in Taneytown. The contributes in some way to the with a visit to the 1914 Carl facade. “Blow” tubes of lead serve parish was founded in 1804 by build-up of the ensemble Barckoff at Evangelical Lutheran as conveyances to the offset chest The Rev. Prince Demetrius (excepting the Dolce with the Church, Woodsboro, Maryland: where they inflate a small leather Augustine Gallitzin, who was a full organ). A thrilling crescendo puff which raises a brass pin acti- Roman Catholic missionary of is possible that belies the fact Carl Barckhoff (1914), vating the chest action. Although noble Russian birth. He served that this is an organ with only Basic (Waynesboro), Virginia. one might expect to find such a parishes throughout the region of seven manual stops. The swell Restored with changes by R. J. mechanism in a later electro- Western Maryland, West enclosure adds greatly to the Brunner and Co., Silver Spring, pneumatic action instrument, it Virginia, and principally, expressive power. The tonal Pennsylvania (1991). was not a novel ideal in 1914. Pennsylvania, much in the man- picture is so typical of early Mechanical Action to Manuals, For example, such actions were ner of a Methodist circuit rider. 19th-century English organs as Tubular Pneumatic action to used to play the offset and facade For a time he used the pseudo- to be identifiable in spite of the Pedals. pipes of Cavaillé-Coll organs, and nym Father Augustine Smith changes. The provision of a the same can be found today in before resuming the use of his period-style 4′ Flute in the most Great (61 notes) trackers. The Van Daalen practice family name in 1803 following recent restoration is most suc- 8 Open Diapason organ located at George the death of his father. The pres- cessful and sounded completely 8 Dulciana Washington University has a sim- ent church building dates from authentic at first hearing. 8 Melodia ilar arrangement for the 12 bot- 1873. The organist of the Columbia Organ Works has bal- 8 Viola di Gamba tom notes of the Pedal Subbass. church, Helen Gorman, provided anced the historic dimension of 8 Dulciana The tone of the Woodsboro us with much interesting history. the instrument with its musical 4 Principal instrument is rich and singing, The organ located in the loft function and kept the stylistic but not thick or tubby. Some is believed to be one of the two layers intact, a sort of musical Swell (61 notes) feel that it was brightened some- organs built in London in 1804 palimpsest. 8 Violin Diapason (com- what when it was rebuilt. The by George Pike England for St. mon bass) organ possesses a pleasing Paul’s Episcopal, Baltimore. Manual (58 notes) 8 Stopped Diapason Diapason ensemble and much The organ was offered for sale 8 Open Diapason (1–12 8 Salicional color and dynamic variety in the in 1817 when it was replaced, from Stopped Diapason) 4 Flute other stops in keeping with the and nothing is heard about it 8 Stopped Diapason 8 Trumpet orchestral aesthetic of the period until parts of it reappeared at St. 8 Dolce (Niemann) in which it was built. Not all the Joseph’s in 1874. At that time 4 Principal Pedal (27 Notes) stops contribute to the build-up the organ was reconstructed by 4 Flute (new replica of 16 Bourdon of the ensemble, but rather, pro- Henry Niemann. Niemann had original stop type) vide a palette in each family of recently settled in Baltimore 2 2/3 Octave Quint Controlled by on-off pistons: organ tone which possesses stops after working for Cavaillé-Coll 2 Super Octave Swell to Pedal of varying intensity. For exam- in Paris. Niemann reused the Tremolo Swell to Great ple, the string tone, in decreasing case and many of the pipes, and Great to Pedal order of loudness: Violin replaced the windchest and Pedal (27 notes) Diapason (Sw), Viola di Gamba action. The 19 case pipes appear 16 Bourdon Combinations: Great Forte (Gt), Salicional (Sw), Dulciana to have originally been speaking and Piano (Gt). The Violin Diapason is a pipes, but were silenced in the Bellows Signal (electric blower Chimes bridge to the Great Chorus, and rebuild, which was along con- presently in use) the Dulciana is more mellow ventional, late-19th century Manual to Pedal Coupler This instrument was than the other strings––accom- lines. The original specification installed in the newly built panying the Swell Flutes individ- is not known for sure, but The tradition represented by church building in 1913 and ually or together. Niemann inserted a Salicional the organs of George Pike dedicated on May 31, 1914. The Some have described this and new Dolce in place of two England continues today. Joseph only alterations to the organ type of specification as having all stops which were probably a W. Walker, founder of the firm have been the installation of an the basic sounds needed to Dulciana and Flute. In the of J. W. Walker, was an appren- electric blower (1921) replacing accompany a modest church serv- 1970’s, Tom Eader substituted a tice of George Pike England. a Ross Water Motor, and the ice effectively, and the endurance metal Flute for the Salicional, Following England’s death and Trumpet stop, which was added of this particular organ supports and then, in the latest restora- after a brief interval, Walker con- in 1991 at the time of the that view. It was with difficulty tion by Columbia Organ Works tinued that business under his
30 The TRACKER Vol. 47, No. 1 own name. It is reported that J. The organ is full in tone W. Walker retains many scaling without any flabbiness, and the patterns and pipe construction new ensemble is cohesive and practices passed down from G. P. clear without shriek. The only England and his father. objection this reviewer has to A short distance away is the new scheme is the loss of a Trinity Lutheran Church. This soft open 8′ in the Great divi- historic church houses an 1897 sion to accompany individual Abraham Felgemaker. A semi- Swell stops. However, this is circular chancel was added to the exchanged for more upperwork, south side of the historic church which certainly brings a new at the time that the organ was and thrilling dimension to the installed, and the pews were instrument, but some softer reg- turned towards this addition. istrational possibilities are lost The present organ retains the thereby. The contrast with the sumptuous mechanism of the relatively unaltered Barckhoff original organ and much of the heard earlier is notable in this original pipework. Significant regard. The present-day interi- tonal changes were made when or of the church has carpeting, the organ was restored and pew cushions, and acoustic tile rebuilt by James McFarland and in the ceiling panels. Perhaps Columbia Organ Works in the subtleties I refer to are quite 1990. All the original pipework useless when the sanctuary is that was removed was carefully full. The full organ, in fact, is stored. The result is a versatile not loud in the room when it is fusion of the historic sounds of empty. It is apparent to the lis- the instrument with carefully tener that the original voicing chosen new stops. and regulation has probably been modified to adjust for the A. B. FELGEMAKER, alterations to the original Erie, Pennsylvania, op. 647; acoustic. The instrument, in its Columbia Organ Works, 1990 present form, plays a wide sty- listic range of music well and is Great (61 notes) remarkably beautiful, by any 8 Open Diapason standard a real treasure. Karen 8 Gross Flute (replaces Quillan, organist of the church, Melodia) outlined the history of the 4 Octave building and instrument. 4 Flute d’Amour All three instruments were 2 Fifteenth (new) demonstrated by chapter mem- III Mixture (new) bers Paul Birckner, Tommy Lee Swell to Great Whitlock, Gary Kirkeby, and Carl Schwartz, as well as Karen Swell (61 notes) Quillan, who played for us at 8 Violin Diapason both churches in Taneytown. A 8 Stopped Diapason wide range of selections was 8 Salicional heard, including music by Bach, 4 Flute Krebs, Estendorfer, Ireland, 2 Piccolo Rheinberger, Salome, Lefebure- 8 Trumpet Wely, Mendelssohn, Merkel, Tremolo Charles Wesley (Jr.), Buxtehude, and Whitford. In keeping with Pedal (27 notes) OHS tradition, a sung hymn was 16 Bourdon accompanied by each of these Great to Pedal wonderful instruments. Swell to Pedal —Carl Schwartz OHS A Yankee in “Little Dixie”: The Odyssey of John Henry Hopkins
BY DAVID W. LEWIS, JR.
s one of the more highly edu- and unusually talented family of Episcopal cated professions in 19th-cen- clerics. His grandfather, John Henry tury America, clergy played an Hopkins (1792–1868) was the first bishop important role in bringing of Vermont, as well as a church architect. culture to the frontier. Many Reportedly, he designed a number of clergymenA were born and educated in the important churches in the Northeast, and East and followed the western migration, wrote the first book about the Gothic bringing their experiences and tastes with revival in America.2 them, as illustrated by the early career of the His uncle was the Rev. John Henry Rev. John Henry Hopkins. Hopkins, Jr. (1821-1890), referred to as Hopkins’s story is unusual because his “the Great” by his later namesake and sub- avocation as an accomplished organist ject of the present study. According to became intertwined in his ultimate vocation Leonard Ellinwood in the 1940 Hymnal as an Episcopal priest. He was a cultured Companion, John Henry Hopkins, Jr. “was man who enjoyed good social connections one of the great leaders in the development throughout his life. Equally unusual is the of hymnody in the Episcopal Church dur- firsthand account Hopkins wrote of his life’s ing the mid-nineteenth century. [H]is work,1 which provides a rare glimpse into artistic talents showed themselves in the social patterns of Atchison, Kansas and designing stained glass windows, episcopal Saint Joseph, Missouri, where Hopkins seals and a wide variety of church orna- served during the late 19th century. His menta.”3 He wrote the verse and tune for efforts to improve the music and worship the Christmas carol “We Three Kings,” settings of both parishes resulted in the and several other hymns. acquisition of a fine “previously owned” Our subject, John Henry Hopkins, three-manual William A. Johnson pipe married a rector’s daughter whose uncle organ, which still serves the Christ was also an Episcopal priest. During his The Rev. John Henry Hopkins Episcopal Church in Saint Joseph. college years, he served as organist of his (1861–1945): A Yankee in "Little Dixie" Born the son of an Episcopal priest in home parish, St. Paul’s, Burlington. (photo c. 1895; all illustrations courtesy 1861 in Burlington, Vermont, Hopkins Following graduation, he went to work for of the author, except where noted) came from a prominent, well-educated, another uncle’s insurance business in San Francisco, where he enjoyed financial suc- cess. During this period, he served as organist at the First Presbyterian Church of Oakland, the largest Presbyterian congre- gation west of Chicago at that time, not missing a Sunday for over three years. He moved to New York City in 1887 and began consulting with John Henry Hopkins, Jr. about the priesthood, ulti- mately enrolling in General Theological Seminary, from which his uncle graduated. He was the first organist to preside over the school’s new Roosevelt organ, installed in 1888.4 During his senior year, he served as organist of Calvary Chapel on East 23rd Street. While in New York, he became reacquainted with, and was befriended by Mrs. Mark Hopkins, the widow of the Pacific railroad baron, who he had met in California, and who had subsequently married her architect, Edwin F. Searles, later an important figure in the Methuen 5 Organ Co. They often shared their opera E. & G. G. Hook, op. 863 (1877), Trinity Episcopal Church, Atchison, Kansas, as shown in 1896 box and she provided a $500 cash wedding present to the Rev. Hopkins and his bride, Marie, in 1890, enabling them to furnish in Hopkins. Rather than risking his long- of the early settlers to the newly opened their first apartment time friendship with the rector, he decided Louisiana Territory followed the Ohio Because his father had died in 1889, to follow his long-standing urge to “go River and its tributaries from the southern the Rev. Hopkins passed up the opportu- west,” and to take advantage of an oppor- states of Virginia, Kentucky and Tennessee. nity to move “west” again by volunteering tunity to be the rector of his own parish in By the 1840’s, steamboat service along the with several classmates to serve mission Atchison, Kansas. The rector of St. James Missouri River had pushed the “jumping parishes in Wyoming and Idaho after grad- asked under what conditions the Rev. off” points to the western border of uation from the seminary. Instead, he Hopkins might reconsider his decision and Missouri along the Missouri River. served one year of his three-year curate at remain in Chicago. The reply was, “If . . . River towns with familiar names such as Calvary Chapel before becoming the assis- you would be willing to direct the choir to Independence and Westport (later known as tant rector of St. James Church in Chicago. resume their orientating at the Glorias and Kansas City), Leavenworth, Atchison, Saint The Rev. Hopkins’s appreciation for Creeds during the service,” a request to Joseph, and Omaha/Council Bluffs share “Churchmanship” was probably shaped by which the rector would not acquiesce. similar histories in their importance as early his seminary experience, as General Hopkins arrived in Atchison, Kansas outposts and trail heads for the Oregon, Theological had “acquired a predominate- on the west bank of the Missouri River on California, and Santa Fe Trails, and later, as ly ‘High Church’ character.”6 He initially Easter 1893. To fully appreciate this set- rail heads for the country’s emerging rail- felt very much at home at St. James, the ting, one must understand the migration road system. Thus, the rivers, the trails, and “mother church” for Episcopalians in patterns that contributed to the settlement later, the rails connected a steady stream of Chicago.7 With a long tradition of out- of the western half of the United States, pioneers, and later manufactured goods, to standing music, St. James at that time following President Thomas Jefferson’s the western half of the United States, and boasted three choirs, a vested male choir, a 1803 acquisition from France of all territo- gave these river towns a head start on the mixed choir of men and women, and a ry between the Mississippi River and the road to economic prosperity. Great personal “boy choir” under the direction of W. T. Rocky Mountains in what is known as the fortunes were often amassed by those inde- Smedley, with Peter Lutkin presiding as Louisiana Purchase. pendent-minded explorers and entrepre- organist over a “fine old Johnson organ.” Established in 1764 at the confluence neurs who staked an early claim in these The Rev. Hopkins organized a parish of the Mississippi and Missouri Rivers as a outposts and helped outfit those settlers orchestra during his tenure, where he trading post for fur trappers, Saint Louis, who followed. shared conducting rehearsals with the first Missouri, was, by 1800, the “Gateway to The settlement of the western half of the violinist of the Thomas Orchestra. the West,” a natural starting point for Lewis United States coincided with the Great The rector, however, began to lower and Clark’s two-year expedition up the Awakening of the late-18th and early-19th the standards of Churchmanship, which Missouri River to the Pacific Ocean in century. The camp meeting revivals in greatly disturbed the Rev. Hopkins and 1804. Its trade routes stretched east to the Kentucky and Tennessee fanned the evangel- some parishioners, who began to confide start of the Ohio River in Pittsburgh. Many istic flames that gave rise to several present-
33 Vol. 47, No. 1 The TRACKER A YANKEE IN “LITTLE DIXIE”: THE ODYSSEY OF JOHN HENRY HOPKINS
ticular, offered social patina to some with Trinity Church and Atchison, Kansas, newly minted wealth who had perhaps population 15,000 and 500 miles west of missed educational opportunities and cul- Chicago, represented a stark contrast to St. tural exposure in early life. James and Chicago. As the host city for the The Civil War ushered in great social 1893 World Exposition, Chicago was and economic change. During the bustling with activity and enthusiasm. A Antebellum period, to flaunt one’s wealth quiet river town, Atchison seemed to be was considered poor taste. Residential archi- “in the doldrums,” as the economic pull of tectural design in its highest form followed Kansas City, to the south, was becoming simple, restrained Greek or Colonial revival more apparent. The music program at themes. Following the Civil War, it became Trinity parish fell short of the Rev. socially acceptable to display one’s wealth. Hopkins’s expectations. Although the Residential architecture became “free-form” church possessed a two-manual E. & G. G. in organization, and highly ornamented and Hook pipe organ (op. 863, 1877) played comparatively ostentatious in what became by a competent organist, a well-paid but known as the Victorian period.9 unvested quartet13 (including a With financial concerns behind them, Presbyterian alto who “wore becoming the “nouveau riche” sought to disassociate gowns”) sang only in the Sunday morning themselves from their “wild west” service, whereas, at St. James, there was a roots––the source of their family wealth in choir in every service. many cases––in order to become connected On Hopkins’s first Sunday, there was no by association to the East Coast’s high cul- organist or choir for the 4 p.m. service, and ture. One example is the Tootle family of only 20 people present in a church that seat- Saint Joseph. Born in Ohio, Milton Tootle ed 400. In his two-year stay, Hopkins gave began clerking in his uncle’s store at the age organ lessons and organized an ecumenical of 13 and was brought to northwest “Trinity Choral Association” to teach prop- Missouri in 1842 to manage several general er choral technique, with the ultimate goal Christ Episcopal Church, St. Joseph, stores. He came to Saint Joseph in 1849 of building a church choir for Evensong. In Missouri, shown prior to 1909 and was made a partner in a general dry its first year, the group learned and per- goods store. When the owner died, he and formed Stainer’s Crucifixion during Lent to his brothers purchased the remaining inter- a turnaway crowd of 500. By the time he est, and during the next decade capitalized left Trinity, attendance at the 4 p.m. service day Protestant denominations, including the on the Gold Rush and the several hundred topped 300 at times. The young Hopkins is Baptists, Methodists, Disciples of Christ, thousand emigrants that passed through remembered by the Trinity parish for his and Church of Christ. The Methodists and Saint Joseph on their way west. The busi- “out of breath energy.”14 others who had migrated west. ness evolved into a wholesale jobbership in Hopkins had had no intention of leav- One Protestant sect which did not the late 19th century, and the family name ing Atchison soon, but Bishop E. R. Atwill share the rural nature of the other emerg- was later associated with banking in Saint of the West Missouri Diocese, who was also ing denominations was the Protestant Joseph for more than 100 years.10 his former rector at St. Paul’s in Burlington, Episcopal Church. Closely tied by dogma Using $165,000 of his own funds, Vermont, prevailed upon him to accept a and a high liturgical tradition to its roots in Tootle built the opulent 1,400 seat Tootle call to Christ Church in Saint Joseph, the Church of England, the Protestant Opera House in 1872, proclaimed to be Missouri, 20 miles north. Christ Church Episcopal Church was more at home in the the finest theater west of the Mississippi.11 had been served for 18 years by a much urban centers and county seat towns of At his death in 1887, his estate was esti- beloved rector, Rev. James Runcie, who died New England than on the frontier. It rep- mated at $4 million. In 1888, his widow in office. Runcie’s successor had encoun- resented “establishment.” Nevertheless, bought a 21,000 square foot hilltop sand- tered some difficulties during his four-year young priests were actively recruited to stone mansion patterned after a castle on pastorate before resigning. Various members establish parishes and meet the spiritual the Rhine River, and commissioned of the Vestry had traveled around the needs of those Episcopalians who had Tiffany & Co. of New York City to redec- United States during the “disintegrating” migrated west. orate it. Although her late husband had a year following the resignation. Most of According to William Wilson Manross, limited formal education, Mrs. Tootle, rec- them had visited Atchison and agreed that “The clergy of the Episcopal Church and of ognizing that management of the family’s Hopkins was an acceptable candidate. other denominations which maintained an considerable holdings would fall upon the Hopkins finally accepted and became the ‘educated clergy’—notably the Presbyterians oldest son, Milton, Jr., who was 15 when rector in the fall of 1895 at age 34. and Congregationalists—enjoyed a greater his father died, discontinued his public Like Atchison, Saint Joseph was still a prestige in the early 19th century.”8 As cul- education and sent him to Noble’s School relatively young town. Northwest Missouri ture and social standing became more in Boston, St. Paul’s in Concord, New had only been open for settlement less important during the late 19th century, Hampshire, and Phillips Exeter Academy, than 60 years earlier. Although usually rec- churches, and the Episcopal Church in par- in Exeter, New Hampshire.12 ognized as the starting point of the short-
34 The TRACKER Vol. 47, No. 1 lived Pony Express,15 Saint Joseph played doned. A “neat temporary” frame church chancel arch. The organ and choir were an equally important role in the western building measuring 35' x 54' with seating located in a gallery between the towers. It migration. By the start of the California for 300 was erected in 1858.16 In 1860, a was a “free church” arrangement in which Gold Rush in 1848, it was the farthest frame rectory was also built on the lot. In any Methodist should have felt at home. point north and west that one could travel 1862, the rectory was accidentally Writing in the third person, Hopkins in the relative comfort of a steamboat, destroyed by fire. The congregation pur- recalled: trimming days off the western trek on the chased an adjoining lot and house and California and Oregon trails. As a result, enlarged it for a rectory, and then extended The Churchmanship which John its population swelled from 200 in 1843, the church building by 25 feet, adding a Henry found was as near to nothing to 1,800 in 1849, and to 8,900 by chancel, vestry-room, and 22 pews.17 as could be imagined among good- 1860––larger than the combined popula- In 1873, the church purchased a two hearted people. Good Dr. Runcie tions of Kansas City, Omaha and Council manual E. & G. G. Hook pipe organ, op. “cared so little” for these things that Bluffs. By then, it was also the western ter- 689, listed as having had 16 registers. he had built his church with a tiny minus for the country’s railroad system. According to one source,18 it was a No. 6, as chancel in the middle of one side, Most of the city’s original settlers described in the Hook catalog of 1871. and had grouped the pews in curves, migrated from the southern states of There are no pictures of this building, which “so that he could be near to his dear Kentucky, Tennessee, Virginia, Maryland, was described as “patched up”19 when people”! His successor had bravely and North Carolina, which made it the destroyed by a fire which originated in an turned this unusual chancel in to a “northern outpost of the Confederacy” overheated furnace20 on Christmas Eve, baptistry, and had set apart one end during the Civil War. So strong were the Southern sympathies of most of its leading citizens that Union forces were brought in to maintain order. Unfortunately, this par- alyzed the town’s economic progress, and, aided by a substantial grant from the U.S. government, Kansas City was successful in building the first railroad bridge across the Missouri River in 1865, forever altering the growth pattern. By the 1890’s Saint Joseph’s population had grown to 50,000 people, and it was in the midst of an “echo” boom as the whole- sale jobbing trade was supplying retail businesses throughout the western half of the country; although, by 1895, like Atchison, it was beginning to feel the eco- nomic competition from Kansas City. Like Trinity parish, Christ Church had many prominent parishioners. One of them, Colonel John Donovan, was about to Stock model E. & G. G. Hook, op. 689, originally installed at Christ Episcopal, St. Joseph, improve the city’s economic fortunes by Missouri, 1873; sold to Hundley Methodist Episcopal Church, South, St. Joseph, in 1896; no helping to create what would become the longer extant (1946 photo by Walter W. Davis) nation’s fourth largest stockyards market, after Chicago, Kansas City, and Omaha. The financial success of this city’s mer- 1876.21 Only the organ was saved and it of the church with a simple rail, and chants is still evident in the number of “was recovered in damaged condition.”22 then had arranged the pews with a large mansions and churches built during Apparently, the congregation felt it was center aisle, so that at least there was the “Golden Age” of the late 19th and worth saving for a shed was built around it.23 a semblance of Churchliness as one early 20th century. On July 30, 1877, the cornerstone for entered the strange interior.”26 The Organized in 1851 with five members, the present building was laid24, and a new choir loft at the opposite end had also the early history of Christ Church reflects brick church, trimmed in cut stone, was been removed, with the choir and the struggles typically encountered by completed in November of the following organ moved to the new chancel. churches on the frontier. The first service year at a cost of $20,000.25 The present was held in an orchard garden, and later, at building is of Gothic revival style, typical John Henry . . . was greatly de- several homes and other temporary set- of many churches of that period, except pressed when he first looked into this tings, until the present site was acquired in that the chancel and altar were tucked into absolutely unprecedented interior, 1856. In 1857, a cornerstone for a new a shallow alcove along the long north wall even as it was after his immediate church was laid; however, it was “rifled” with the seating fanning out from it. A gas- predecessor had courageously striven thereafter, and the foundation was aban- lit sign spelling “J-E-S-U-S” hung from the to have come semblance of
35 Vol. 47, No. 1 The TRACKER A YANKEE IN “LITTLE DIXIE”: THE ODYSSEY OF JOHN HENRY HOPKINS
Churchliness in its arrangement of chancel and pews. The first thing he induced his good people to do was to open the outside doors of the church and to buy a sign saying so [“Enter for rest and prayer”]. Indeed they were very good people, only they had never been taught any better, and they held dear from every sentimental attach- ment the features of so-called “Virginia Churchmanship” which they recalled with all the fond associ- ations of youth, and which they had transplanted to their Midwestern homes with thorough loyalty to the past.”27 ...[H]e found that the parish had been using common bread, with yeast, for the Holy Communion, with all the real if unintended irrev- erence consequent upon crumbling, as well as the objectionable symbol- ism of yeast (though the Eastern Church in Europe uses leavened bread in the Holy Eucharist).28 ... [T]here were no candles. . . . There were no Eucharistic vestments, and . . . [the priest] celebrated in cassock, cotta and stole.29 As for “Yankees,” no terms of opprobrium were strong enough to express their attitude and feelings. When the ladies asked Marie where she came from, and she gaily replied, “Well, I guess you will have to call us Yankees,” they threw up their hands in horror and disbelief. Their idea of Yankees was based on Sherman’s William A. Johnson III/41, op. 240 (1867), before (top) and after (bottom) its move in March to the Sea, and the people 1896 from South Congregational, New Britain, Connecticut, to Christ Episcopal, St. Joseph who came with “carpet bags” to the (stereopticon courtesy of South Congregational Church) South in the awful days of recon- struction. That Yankees could behave as Marie and John Henry habitually as “a small, two rank (sic) instrument, which strel show,34 at the Tootle Opera House.”35 did was beyond the comprehension was quite inadequate for the possibilities of Of Mrs. Lemon, Hopkins wrote, of these good people.30 the music . . . .” Plans for its replacement “Mrs. Lemon was a real daughter of the were already underway as “for some several South, and had never had an American flag The leadership of Christ Church had years the women of the parish had been in her home. When, however, after the musical aspirations, however. Upon his accumulating an organ fund, which Spanish-American War, there seemed to be arrival Hopkins found the “choir at that amounted to about $2,000 . . . which had a nation-wide approachment between time included women, men and a few boys. become so unpopular that not one addi- Southerners and the rest of the nation, Their leader and organist was Mrs. Mary tional dollar could be added to it by any Mrs. Lemon invited Marie and John Rich Lyon, a lady of unusually excellent means within reach of the women.”32 Henry to dinner one evening, and little musicianship, tireless zeal, and kindly By one account, during the 1890’s the Lettie Lemon was asked by her mother to heart.”31 The Rev. Hopkins saw an oppor- women of the choir under the direction of go and play the piano as soon as they tunity to improve upon the pipe organ, for the local banker’s wife, Mrs. John S. arrived. For some reason John Henry did although Christ Church’s No. 6 Hook Lemon, and Mrs. Lyon, staged several not recognize that she was playing “Stars organ, which had survived the 1876 fire, Gilbert and Sullivan operas, including and Stripes,” and Mrs. Lemon was much was listed as the same size as Trinity “The Pirates of Penzance, The Mikado, grieved that her guests did not appreciate Church’s (16 registers), Hopkins recalled it Lecocq’s Girofle and Girofla 33 and a min- more thoroughly her deepened patriotism!
36 The TRACKER Vol. 47, No. 1 She also had bought a real United States with three manuals and 73 registers.40 manual organs in Saint Joseph. First flag for her house that evening, and the Another source lists the organ as four man- Presbyterian Church, one block north, nation from that moment should have felt uals, 64 stops. According to Barbara contained the 1878 E. & G. G. Hook, op. more like a unit than ever before.”36 Owen, “It was the largest organ in the state 889, one of six Hook organs installed in St. Rev. Hopkins was determined to see and the first built by Hutchings to use [E. Joseph between 1873 and 1907. It had a the organ project to its completion and M.] Skinner’s new action.”41 complete Great principal chorus from 16' provides the following account of his efforts Hopkins continues: through a three rank mixture and a to find a suitable pipe organ for the parish: The Vestrymen of Christ Church Trumpet.43 And in 1882, the Cathedral of were rather wary of a second-hand Saint Joseph had installed a two-manual So John Henry started out to try instrument, when John Henry pro- Odenbrett & Abler of approximately the to find a second-hand organ some- posed the purchase of this rare bar- same size.44 In the next decade, two other where which could be set up in Christ gain, so he looked up its character three-manual organs were installed in Saint Church for about $2,000. He finally and standing through Dun and found a fine old Johnson organ, from Bradstreet, just as these business men Norwalk [actually, New Britain], would have done for a prospective Connecticut, an instrument which client in their jobbing trade. He also was almost the exact replica of the wrote to Brenton Whitney, organist Johnson organ in St. James’ Church, of the Church of The Advent, Chicago, though not as large as that Boston, Massachusetts and asked In June 1910, the Johnson was taken to noble instrument. The organ which this old friend and leading New the Bennett shop where its original con- John Henry had played for five years England musician to tell him about sole, chests, and tracker action were in St. Paul’s Church, Burlington, the Norwalk [sic] instrument. He replaced with an early version of Vermont, was also a Johnson instru- also wrote to our church Rector in Bennett’s double-stage electro-pneumatic ment, and was, when purchased, the Norwalk [sic], and to one or two chests. A new detached console was locat- largest organ in Vermont.37 others. It was amusing to Marie as ed along the side of the right case. well as to him when they learned that This three-rank [sic] instrument, Dun and Bradstreet had consulted with perhaps forty speaking “stops” some of the very same people to Joseph, a Marshall-Bennett at First Baptist or registers, had been occupying for whom he had written personally. To Church in 1902, and a 31-rank Hook & some years the organ gallery of a sum the matter briefly, after due con- Hastings at First Church of Christ, large Congregational church in sideration, the Vestry ordered the Scientist, in 1908. Norwalk [sic], and had been traded Johnson organ from the Hutchins In the sequel, the congregation in, after the manner of modern auto- Company [sic], and in due time it was [of] Christ Church became so much mobile sales, when a wealthy mem- shipped to St. Joseph. Two very able attached to this splendid instrument ber of that congregation desired to and conscientious organ men came that it was still in use at this writing donate a $20,000 memorial organ to with it and set it up in Christ Church (1933), though the action had been the church. Hutchins and Co. [sic], chancel. Had it been made for the replaced when it had served its day. organ builders, being at that time of space it could not have fitted in better, To have lasted satisfactorily for thir- the same standing as that of the as John Henry had ascertained before ty-seven years, when the organ build- Johnson Company when the old recommending the purchase. And it ing business has made such mightily instrument was built, had won the was indeed a joyous day for him when progress as it has since the invention contract for the new organ, and they he sat down at its three manuals and of the electric action, speaks well for offered to set up the Johnson instru- turned on “the whole box” and hurled the calibre of this instrument. ment for about $2,000 with an elec- through the air of the Missouri Valley, The next item of work about tric blower for the wind supply, etc.38 for the first time in its history, the Christ Church music was the notable sonorous richness of a full-toned pipe evening when this organ was formal- According to Barbara Owen, it was a organ. For there was no three-rank ly opened. John Henry wanted to routine practice of organbuilders to offer [sic] organ in Kansas City at that make it a real occasion. So he corre- an allowance for existing instruments of time, and the only other three-manu- sponded with H. Clarence Eddy the good quality in order to secure a contract al instrument in the valley was in Vermonter who had risen to the fore- for an upgrade instrument. These “trade- Omaha, and the Vestrymen were front of Chicago’s organists and of ins” were resold by word of mouth and assured by those who knew that it was the world’s as well. He was the only occasionally by advertisement in music not as fine an instrument as this well- organist in America at that time who and church-related publications.39 built Johnson organ.42 had played one hundred consecutive The organ was actually William A. programmes in one hundred consec- Johnson’s op. 240, built in 1867 for the With 39 ranks and 34 stops, this prob- utive weeks without repeating one South Congregational Church in New ably was the largest pipe organ between number. This was done at the Britain, Connecticut. The new Hutchings Saint Louis and Denver at the time; how- Hershey School of Music, in organ, installed in 1896, was their op. 385, ever, there were two other significant two- Chicago, and the one hundredth
37 Vol. 47, No. 1 The TRACKER A YANKEE IN “LITTLE DIXIE”: THE ODYSSEY OF JOHN HENRY HOPKINS
programme was written for the occa- was not the only one connected with cessful all around the circle of those sion by the eminent composers and this somewhat unprecedented affair of connected and interested. organists in Europe and this coun- the opening of this fine organ. There At the time of the recital, the try.45 Mr. Eddy used to practice 15 was the question of applause. The church was crowded with the best hours a day on the organ in Bethany good people of Christ Church had people in St. Joseph. John Henry laid Congregational Church, Montpelier, never been taught much about the no objections to whatever general Vermont, in his younger days and duty of “reverencing My Sanctuary,” conversation was quietly taking place John Henry knew that such an artist and their habit of personal behavior in among these hundreds of friends and could be advertised triumphantly in the empty church or before and after relatives as they gradually filled the St. Joseph, if he could be secured. any ordinary service did not always church, but a few minutes before 8 His price was $100 and thereby include the rule of silence. They very o’clock he entered from the old chan- hangs both a problem and a tale. graciously yielded some attention to cel, the baptistry entrance, and stood the careful examples set by Marie, and before the congregation in his cassock The money, of course, had to be inculcated, as best might be, from at the head of the Center aisle. raised before he came, and it could time to time, by the new Rector, yet He placed Professor Eddy within not be raised by selling tickets at the they would not have hesitated in the earshot of all that he said, which was door of a consecrated church build- least to have indulged in the politeness in substance as follows: “Dear ing like Christ Church. So John of spontaneous applause during the Friends and Members of Christ Henry in one way or another man- organ recital planned for this opening. Church parish: We are more than aged to sell enough tickets, by per- This was well known to the one who happy to welcome you to this unusu- sonal visiting and approach, to make was doing the planning, and for some al occasion, when for the first time in sure his $100. Marie helped him in worried days and nights the problem the history of the Missouri Valley the this, as in everything. seemed insoluble, until one night it air thereof is to vibrate with the tones The problem of tickets and of occurred to him to adopt the follow- of a majestic pipe organ played by money-raising for expenses, however, ing plan, which was supremely suc- one of the greatest organists in the
The 1867 Johnson as it currently stands, rebuilt by Bennett (1910), McManis (1970), and Temple (1986)
38 The TRACKER Vol. 47, No. 1 world. In fact, Professor H. Clarence ed to sleep that night.47 During the previous Eddy, whom you soon are to hear, 18 months, Eddy had been concertizing through the medium of this fine throughout Europe, including a May 12th instrument, is the only organist in recital at the Trocadero in Paris, which was the world who has played one hun- attended by four-thousand people.48 dred consecutive programmes in one Hopkins continued his efforts to hundred weeks without repeating improve the worship setting of Christ one single number! And the one Church: hundredth programme excited such intense interest through the organ- The choir had never been vested, playing world on both sides of the up to this point, beyond cassocks Atlantic, that it was played from and cottas of the very few choir boys manuscript, every number having who helped as best they could with been composed for the occasion by the sopranos. The bulk of singing, of eminent organists and composers in course, was done by the men and this country and in Europe. Of women of the choir. From this time course we would all wish to make on, however, they wore suitable vest- these walls ring with enthusiastic ments, and those of the women were applause after each composition pre- feminine in character, instead of fol- sented to us by this master musician lowing the rather grotesque plan of tonight, but this being a consecrated having the women wear the male building, this is impossible. So I am choir vestments of cassocks and cot- asking you if you would be willing tas, as is so commonly done by many please to recognize both this fact and other mixed choirs. Mrs. Mary Rich also the great honor which is ours in Lyon gave the Rector her enthusias- having so distinguished an artist with tic and unstinted support in all the us tonight, by rising from your seats plans for the music, and the result as I conduct him to the organ con- was something which gave all great CC# of the Great 4' Octave is inscribed sole and also by rising again from gratification, and really adorned the "New Britain" yours at the close, as I escort him worship of our God and Saviour in a back again to the sacristry.” reverent and beautiful way. Before The plan worked beautifully! the Johnson organ was purchased, Vestrymen, who had a New York City When John Henry went at once to and when the parish was handi- client in church one Sunday morning, Mr. Eddy, he found the great artist capped by the limitations of the old asked John Henry before the Sunday blushing with pride, as he expressed two-manual instrument which had came, if the choir could not please his deep gratification over such a done faithful service for many years, sing some of the “Crucifixion” music, complimentary introduction. The the custom of Lenten Passion can- as he wanted his friend to hear it. The whole congregation rose sponta- tatas on Sunday evenings in Lent was fact that it was then in Eastertide did- neously at the moment of his instituted, and with such success that n’t occur to the kindhearted loyal lay- entrance within the church, and did the church was crowded. It was man who was much disappointed the same with electric unanimity and thronged so constantly on these when John Henry found it impossible zest at the close of the superb pro- evenings, that the denominational to say “Yes” to his request for a Lenten gramme which he then gave. Thus ministers were made jealous, and anthem during Eastertide.50 was Christ Church’s fine organ some of them actually preached opened for service. There were against the services. Consequently, Finally, with a gift of $1,500, Hopkins prayers, of course, at the opening of John Henry invited them all to a was able to construct an apsidal chancel on the programme, and at its close. And rehearsal one evening after the fine the east wall: all St. Joseph felt an interest in the organ had been secured, and many of “There was now the chance for a large music of Christ Church, which from them came. They sat in back seats, chancel window of stained glass. The good that time on began to attract listened rather critically, and most of women of the parish had scraped together deserved notice from far and wide.46 them went away without even saying a fund of about $600. . . . Like the $2,000 “Good Evening” to the Rector who . . . fund for the organ, there was a definite According to an unpublished church had invited them!49 limit to this $600. One firm was at last history, this recital took place in October Stainer’s “The Crucifixion” was found who agreed to fill the space for 1896. Selections included J. S. Bach’s the first of these cantatas, and at once $600.” Hopkins gently steered the con- Fantasy and Fugue in G minor and Robert became a great favorite with these gregation toward a design based on Schumann’s Sketch in B minor. According good people. In fact, since the parish Raphael’s Transfiguration. The installed to another source, Dr. Eddy complained that had a fine solo quartet and a good window was dedicated to the memory of the stiff tracker action left him too exhaust- chorus, one of the enthusiastic the Rev. Dr. Runcie.51
39 Vol. 47, No. 1 The TRACKER A YANKEE IN “LITTLE DIXIE”: THE ODYSSEY OF JOHN HENRY HOPKINS
Champlain, Vermont in late 1928. In 1937, he served on the Joint Commission on the Revision of The Hymnal and the Committee on Tunes for the 1940 Hymnal, which he regarded as “the crowning joy of his long and varied career.”54 In 1940, he composed the hymn tune, “Grand Isle,” to which many denominations sing, “I Sing a Song for the Saints of God.” He died on All Saints Day in 1945. Perhaps because of the Johnson organ’s stiff action that Professor Eddy complained about, the Bennett Organ Company of Rock Island, Illinois was hired to convert the organ to electric action. In June 1910, the entire organ was removed to the Bennett Company’s shop where the origi- nal console, chests, and tracker action were replaced with an early version of the Bennett Company’s double-stage electro- pneumatic chests. A new detached console was located along the side of the right case and faced the congregation. While a press release touted the fact that the volume of the organ had been dou- bled and tripled as the result of new super- and sub-couplers, the Swell and Choir divi- sions were substantially reconfigured and the size of the instrument was reduced to 31 ranks. One reason may have been that the new electro-pneumatic chests were not as compact as the original slider chests, necessitating the deletion of ranks to keep the organ within the cases. Secondly, the original tonality did not reflect Robert J. Bennett’s ideals. It has been noted that not a single mixture stop was offered in any of the numerous two- and three-manual church organ specifications in a Bennett catalog of 1910,55 which may explain why seven ranks of mixtures in the Great and Swell divisions were deleted. Thirdly, Robert J. Bennett was a salesman par excel- lence, capable of selling anything, including the theory that “smaller is better.” The revised specification was similar, at least in Great Bell Gamba pipe, showing "donkey ears," originally used for tuning nomenclature, to a new three-manual Bennett organ installed at the First Baptist Church of Saint Joseph in 1916 (op. 832), Despite the limitations that the Chicago where, except for a brief stint in replacing a three-manual tracker installed Episcopalians thought the old No. 6 Hook the missionary field, he served for the bal- by the predecessor Lancashire-Marshall organ imposed on their worship, they sold ance of his career. His first call was to the Organ Company just 14 years earlier. it to Hundley Methodist Episcopal Church of the Epiphany, where he served According to a press release, the Bennett Church, South, where it faithfully served 10 years and became reacquainted with the Company also added several new ranks, for another 56 years until that congrega- “sonorous” diapasons from the old Johnson including a new 8′ Open Diapason in the tion sold the building, after which it was organ at St. James, which was purchased by Great and Choir, a 16′ Violone in the Pedal, scrapped.52 Epiphany and subsequently incorporated and a Vox Humana in the Swell. It is unclear After four years in “St. Joe,” Hopkins into a Farrand & Votey organ.53 Hopkins whether the Vox Humana was ever and his wife felt the urge to return to and his wife retired to Grand Isle, on Lake installed, or if it was merely prepared, as was
40 The TRACKER Vol. 47, No. 1 the case for an Unda Maris in the Choir. and finials were removed from the cases the Johnson Diapason choruses and flutes. The Violone was one of Bennett’s most suc- which were then painted. In 1970, Charles The tile floor and unobstructed nave of cessful stops and does not detract from the McManis of Kansas City, Kansas, Christ Church provides a sympathetic original specification. It does not appear releathered the Bennett chests. In 1986, acoustic for this instrument, and it remains that the Diapasons were changed out. Temple Organ Co. of Saint Joseph built a source of pride among the members of The Bennett Company may have also and installed new electro-pneumatic the parish. OHS reconfigured the organ interior, as the swell chests. The Johnson Pedal 16′ Open box, seen peaking over the top of the right Diapason (wood) was removed and is now David W. Lewis, Jr. is a banker by profes- case where the Great division now resides, located in Christ Church (Episcopal) sion and an organist and historian by avoca- is now in the left case. The Choir division Cathedral in Saint Louis. In addition to a tion. The Johnson organ at Christ Episcopal is now behind the Great division and both new mixture, the original Great 8′ Open Church will be featured at the AGO Region expression boxes open to the chancel. The Diapason was replaced and moved to the VI Convention in June 2003. The author Bennett chests ran parallel to the chancel, pedal. In 1996, a Festival Trumpet was wishes to thank Michael Quimby, Robert E. requiring a two-foot extension of the side- added by the Reuter Organ Co., increasing Coleberd, Jr., and the historians of Christ walls of the organ cases. The total cost in the total number of ranks to 31. Episcopal Church of Saint Joseph and Second this contract was $5,300. During the Despite changes in the specification, Congregational/First Baptist Church of New month-long reinstallation process, services the present organ retains the character of Britain, for their assistance. were held in the Sunday School room.56 Bennett consoles were notorious for early failure, and the two Saint Joseph con- soles were apparently no exception. A new Austin console was installed on the Episcopal organ in 1945 and on the Baptist organ in 1952. Mystery surrounds the surviving Great mixture. A Bennett chest bearer indicates that the Great 8′ Trumpet survived; howev- er, other sources indicate that it was replaced by a three-rank mixture, which was removed before World War I. A stoplist from 1958 shows a three-rank mixture; however, it was missing again when the organ was re-chested by the Temple Organ Co. in 1986. At that time, a new three-rank mixture was added to the Great and a string celeste rank in the Choir, which, with the exception of a Vox Humana stop, complet- ed the original Bennett specification. Also, the Choir flutes were returned to their orig- inal pitches. Program by Dudley Buck for the dedication of the William A. Johnson op. 240 Mrs. Mary Rich Lyon (1858–1950) (1867) at South Congregational Church, New Britain, Connecticut, which was served as organist and choir director for 56 moved to Christ Episcopal Church, St. Joseph, Missouri by Hutchings in 1896. years, retiring in 1940. (Courtesy of South Congregational Church.) The printed program includes the The organ underwent some renovation following letter addressed to Johnson: in the mid-1950’s, conducted by Peter Nielson of Kansas City, Missouri, although NEW BRITAIN, Dec. 25, 1867. the extent of his work is not known. It appears that the Swell Open Diapason 8′ MR. WM. A JOHNSON, was repitched to 4′, and that the 4′ Violina was replaced with a Nazard. The DEAR SIR:––The Building Committee of the South Cong’l Society in Harmonic Flute was later reworked using New Britain, having attended a preliminary exhibition of the organ built by you part of the Great Twelfth, although the for said Society, and having conferred together upon its merits, take pleasure in Violina stop tab was retained until 1986. hereby expressing unanimously our entire satisfaction with the same, and tender Carl Weinrich, organist and choirmaster of to you a small bonus, ($100) as a slight token of our appreciation of your efforts Princeton University played a rededicatory in securing to the Society so noble an instrument. recital on January 14, 1958. In behalf of the Committee, During a renovation of the nave in OLIVER STANLEY, Sec’y 1966, the original pediments and trefoil arches were replaced with straight lentils,
41 Vol. 47, No. 1 The TRACKER NOTES
1. Much of following biographical informa- Church in St. Louis was paid $25 a 42. Hopkins, 79–80. tion and the third person accounts are Sunday in the 1890’s––a lot of money in 43. Tracker 35:4, p. 25. The last of these seven taken from a book which the Rev. John those days. But the soloists at the same organs is op. 2151, a 31-rank instrument Henry Hopkins authored as a tribute to church were paid $50 each a Sunday.” installed at First Church of Christ, his late wife, The Life of Marie Moulton (Personal communication) Scientist, a monumental Beaux Arts build- Graves Hopkins, beloved wife of John Henry 14. Mize, 38. ing, designed by Fred R. Comstock of Hopkins, and the story of their life and work 15. Although it enjoys prominence in the his- New York City. together, which was written at their vaca- tory of the American frontier, the Pony 44. Tracker 42:2, p. 27 tion and retirement home at Grand Isle, Express, which linked the East and 45. N. Lee Orr states, “In the spring of 1877 Vermont in 1932 and 1933, and privately Sacramento via mail service, lasted just 18 the Hershey School built an 800-seat recital published. months until a telegraph line between hall with a new three-manual, 30-stop 2. W. Richard Mize. A Song of Saints. Privately Omaha and Sacramento was finished. It organ, designed by Eddy and constructed published history of Trinity Episcopal also represented a financial failure for its by Johnson & Co., Opus 489. Following Church (Atchison, Kansas, 1988), 39. owners, Russell Majors & Waddell. Saint the organ dedication, Eddy gave a cele- 3. The Hymnal 1940 Companion. Joint Joseph’s status as the western terminus for brated series of 100 recitals, playing every Commission on the Revision of the the country’s railroad system in 1860 Saturday (except during July and August) Hymnal of the Protestant Episcopal made it a natural starting point. at noon without repeating any works, Church in the USA (New York: Church 16. Christ Episcopal Church 1851–2001 (pri- from March 3, 1877 to June 23, 1879.” Pension Fund, 1949, 1951), 469. vately published), 7. Tracker 38:3, pp. 13–14. 4. ibid., 470. 17. History of Buchanan County Missouri 1881 46. Hopkins, p. 80-82. 5. According to Jonathan Ambrosino, in a lec- (rep. Seward Lilly, 1973), 494. 47. St. Joseph News-Press, August 7, 1938. ture delivered to the 1997 AGO Region 18. Letter from Walter W. Davis, March 17, 48. William Osborne, Clarence Eddy VII convention, “As an employee of 1992. (1851–1937), Dean of the American Herter Brothers, the famous New York 19. History of Buchanan County, 495. Organists (Richmond, Organ Historical decorators and furniture makers, Mr. 20. Christ Episcopal Church 1851–2001, 8. Society, 2000), 63. The October concert Searles decorated Mrs. Hopkins’ Nob Hill 21. History of Buchanan County, 495. date conflicts with Eddy’s published sched- mansion; Mr. Hopkins died; Mr. Searles 22. ibid. ule, which indicates he was planning to married Mrs. Hopkins who was twenty- 23. Christ Episcopal Church 1851–2001, 8. sail from Southampton on October 7th plus years his senior; Mrs Hopkins died 24. ibid. for his forthcoming American tour, his seven years later; clearly deeply grieved, 25. History of Buchanan County, 496. first appearances with the Chicago Mr. Searles devoted his remaining days to 26. John Henry Hopkins, S.T.D., D.D. The Orchestra on November 6 and 7. By late spending her money. The Methuen Organ Life of Marie Moulton Graves Hopkins, December, Eddy was in San Francisco, Hall, several huge homes, and large organs beloved wife of John Henry Hopkins, and having played earlier in Los Angeles all figured into his glorious program of the story of their life and work together (pri- (December 21) and Santa Barbara bereavement.” Tracker 42:3, p. 24. vately published, 1934), 75. (December 22). He appeared in Cheyenne 6. William Wilson Manross, Ph.D. The 27. ibid., 75. and Laramie, Wyoming on December 29 Episcopal Church in the United States 28. ibid., 84. and 30, Kansas City on January 5, 1897, 1800–1840 (New York: Columbia 29. ibid., 104. and Omaha on January 11th. [66–69] University Press, 1938), 91–92. 30. ibid., 75–76. Because St. Joseph lies between Kansas 7. N. Lee Orr, in an article on Dudley Buck, 31. ibid., 79. City and Omaha, it would seem more quotes the The Musical Independent, June 32. ibid., 79. likely that his St. Joseph concert was 1869 on Buck’s appointment as music 33. Undated history of Christ Episcopal between the two latter dates. His profes- director of St. James: “His audience is Church (church archive) sional engagements were booked by the eminently a fashionable and recherche 34. “Behind Gilded Pipes of Organs in St. Chicago Amusement Bureau at this time. one.” Tracker 38:3, p. 14. Joseph,” St. Joseph News-Press, St. Joseph, As Osborne points out, one must presume 8. Manross, 103. Missouri, August 7, 1938. that Eddy’s participation as a founding 9. David D. Denman. Saint Joseph’s “Golden 35. Undated history of Church Episcopal member of the American Guild of Age” Architecture (St. Joseph West, Kash Church Organists in the spring of 1896 was in Literary Enterprises, 1991). 36. Hopkins, 84. absentia. 10. Sheridan A. Logan. Old Saint Jo, Gateway 37. ibid., 79. 49. Hopkins, 82. to the West 1799–1932 (John Sublett 38. ibid., 79. 50. ibid., 83. Logan Foundation, 1979), 433. 39. Conversation with Dr. Barbara Owen, 51. ibid., 87–88. 11. ibid., 435. The opera house has since been October 24, 2001. 52. Conversation on October 3, 2001 with converted into an office building. 40. John Van Varick Elsworth. The Johnson Harvey Parker, minister of music at First 12. ibid., 436; Logan, 436. Organs (Boston Organ Club, 1984), 106. Baptist Church of St. Joseph, whose wife, 13. According to John Speller, “[M]idwestern 41. Barbara Owen. The Organ in New England Jean Gale, grew up in Hundley Church. churches seem to have preferred to have (Raleigh NC, Sunbury Press, 1979), 355. 53. Hopkins, 100. paid quartets rather than choirs . . . this Of the Hutchings organ: “It also had a 54. The Hymnal 1940 Companion, 470 practice lasted down to the 1920’s and revolutionary new type of detached con- 55. Robert E. Coleberd, Jr., “Built on the 1930’s. I believe the only church in St. sole, also designed by Skinner. Extremely Bennett System, A History of the Bennett Louis with a choir at the end of the nine- compact, it was attached to the organ by a Organ Company,” American Organist teenth century was Christ Church 100-foot cable containing 400 wires which (January 1968), 22–23. (Episcopal) Cathedral. The soloists who could, if necessary, be rolled about the 56. St. Joseph News-Press, October 7, 1910. made up the quartets were highly sought church for different musical or liturgical after and therefore––according to the laws situations––or, as one wag suggested, it of supply and demand––highly paid. For could be rolled into the vestry, closed up, example, the organist of Second Baptist and used for a tea table after the service.” 42 The TRACKER Vol. 47, No. 1 A YANKEE IN “LITTLE DIXIE”: THE ODYSSEY OF JOHN HENRY HOPKINS
William A. Johnson Organ Co., Westfield, Massachusetts, op. 240 (1867), originally installed at South Congregational Church, New Britain, Connecticut, re-installed at Christ Episcopal Church, St. Joseph, Missouri by Hutchings Organ Co. (1896), rebuilt by Bennett Organ Co., Rock Island, Illinois (1910); Austin console (1945); rebuilt by Chas. McManis, Kansas City, Kansas (1970) and Temple Organ Co., St. Joseph, Missouri (1986)
Original specification Conjectured Bennett Specification, January 1958 Present Specification Organ Company GREAT ORGAN, 58 notes GREAT ORGAN, 61 notes GREAT ORGAN, 61 notes 16 Double Diapason 58 pipes Specification (1910) 16 Double Diapason 16 Subprincipal (marked “Double 8 Open Diapason 58 pipes 8 Open Diapason Diapason 57 scale,” 1–5 sw; z to 8 Gamba 58 pipes GREAT, 61 notes 8 Bell Gamba TB; sm from C) 8 Melodia 46 pipes 16 Double Diapason 8 Melodia 8 Principal (Temple, 1986; 1–12 z, 8 Stopped Diapason 58 pipes 8 Open Diapason Octave used; 13-61 sm) 4 Octave 58 pipes 8 Gamba 4 Flute 8 Waldflote (marked “Melodia,” 1–12 4 Concert Flute 46 pipes 8 Melodia 2 2/3 Twelfth sw, Bennett; 13–61 ow) 2 2/3 Twelfth 58 pipes 4 Octave 2 Fifteenth 8 Bell Gamba (1–12 zinc, 13–61 sm) 2 Fifteenth 58 pipes 4 Flute Mixture III 4 Octave (1–12 zinc, 13-61 sm, CC# Mixture No.1, 4 ranks 232 pipes 2 2/3 Twelfth inscribed “New Britain”) Mixture No. 2, 3 ranks 174 pipes 2 Fifteenth SWELL ORGAN, 61 notes 4 Rohrflote (marked “Clarabel,” pos- 8 Trumpet 58 pipes Mixture III 16 Bourdon sibly old St. Diap.; 1–12 sw, 13- 8 Stopped Diapason 61cm chimneys w/ solid caps) SWELL ORGAN, 58 notes SWELL, 61 notes 8 Salicional 2 Super Octave (marked “Choir Pr,” cm) 16 Bourdon Bass} 16 Bourdon 8 Vox Celeste 1 1/3 Mixture III (Temple 1986, sm) 16 Bourdon Treble } 58 pipes 8 Open Diapason 4 Principal 8 Festival Trumpet (Reuter, 1996) 8 Open Diapason 46 pipes 8 Stopped Diapason 4 Violina 8 Stopped Diapason Bass} 8 Salicional 2 2/3 Nazard SWELL ORGAN, 61 notes 8 Stopped Diapason Treble}58 pipes 8 Vox Celeste 2 Flautino 16 Bourdon (sw) 8 Salicional 46 pipes 4 Violina 8 Trumpet 8 Holzgedeckt (Stopped Diapason, sw) 8 Vox Celeste 46 pipes 4 Harmonic Flute 4 Oboe 8 Salicional (1-12 z, 1-8 capped; 13- 4 Octave 58 pipes 2 Flautino 61sm) 4 Flute Harmonique 46 pipes 8 Trumpet CHOIR ORGAN, 61 notes 8 Voix Celeste TC (cm) 2 Super Octave 58 pipes 8 Oboe 8 Geigen Principal 4 Principal (old 8 Open Diapason, Cornet 3 ranks 174 pipes 8 Vox Humana (prep.) 8 Concert Flute repitched; cm, marked “245”) 8 Trumpet 58 pipes 8 Dulciana 4 Harmonic Flute (1–22 cm, marked 8 Oboe 46 pipes CHOIR, 61 notes 4 Chimney Flute “Gt. 12fth”; marked “Harm. 8 Geigen Principal 2 Picolo (sic) Flute” from C, sm) CHOIR ORGAN, 58 notes 8 Concert Flute 8 Clarinet 2 2/3 Nazard (marked Reuter 8 Open Diapason 58 pipes 8 Duliciana Tremelo Principal op. 382, 1-26 cm with z 8 Stopped Diapason 58 pipes 8 Unda Maris (prep.) tops, cm from C) 8 Dulciana 58 pipes 4 Flute PEDAL ORGAN, 32 notes 2 Flautino ( marked “Flautino,” how- 4 Octave 58 pipes 2 Piccolo 16 Open Diapason ever, original stoplist says “Super 4 Flauto Traverso 46 pipes 8 Clarinet 16 Contre Basse Octave,” cm) 8 Clarionette 46 pipes 16 Bourdon 16 Fagotto (12 note ext., Temple 1986) PEDAL, 30 notes 16 Gedeckt 8 Trumpet (Durst) PEDAL, 25 notes 16 Open Diapason 8 Octave 4 Hautbois (Durst) 16 Double Diapason 25 pipes 16 Violone 8 Violoncello 16 Bourdon 25 pipes 16 Bourdon 4 Super Octave CHOIR ORGAN 8 Violoncello 25 pipes 16 Lieblich Bourdon (Sw.) 8 Geigen Principal (1–12 z, 13-61 8 Bourdon 90% tin) Mechanical Movements 8 Violoncello 8 Rohrgedeckt (1–12 sw, 13–61cm Swell to Great chimneys with solid caps) Swell to Choir 8 Dolce (marked “Dulciana,” 1–12 z, Choir to Great 13–61 sm) Great to Pedal 8 Dolce Celeste (Temple, 1986, used Swell to Pedal pipes) Choir to Pedal 4 Traverse Flute (marked “Flauto Tremulant Traverso,” 1–48ow, 49–61 om, harmonic from C) Bellows Signal 2 Piccolo (marked “Gt. 15th,”cm) Pedal Check 8 Clarinet (original from TC) 8 Festival Trumpet (Gt) Two Pneumatic Combination Movements to act on Couplings PEDAL ORGAN Rachet Pedal to operate the Swell 16 Principal (from Great) 16 Subbass (Bourdon) sw 2,055 pipes 16 Violone (Bennett) ow 10 2/3 Quint (from Subbass) 8 Octave (marked “Gt Pr” 1–12 z, 13–44 sm) 8 Bourdon (from Subbass) 8 Violoncello (1–12 z, tin feet to TF#, 19–30 tin) 4 Super Octave (extension of 8) 16 Fagotto (extension of Swell Trumpet, Temple 1986) 8 Trumpet (Swell)
43 Vol. 47, No. 1 The TRACKER Leopold Stokowski, St. Bartholomew’s Church, and the American Organ Archives BY ROLLIN SMITH
ne of the most famous names organist-choirmaster of the newly-complet- Review (1905–35) and microfilm of The in 20th-century music is ed church, St. Mary’s, Charing Cross, and Musical Courier, the most important aids to Leopold Stokowski. Many in March 1902 moved to St. James’s this study were ephemera: the original holo- today who do not recognize Church, Piccadilly. There he played a three- graph contract for St. Bartholomew’s 1872 Othe name of Albert Schweitzer have at least manual, 1687 Renatus Harris organ rebuilt Odell organ; a scrapbook kept by Richard heard of Stokowski, if only in connection by James Chapman Bishop in 1852 and Henry Warren, organist-choirmaster of the with Walt Disney’s 1940 animated film, altered and added to several times there- church, 1886–1905; and the manuscript-in- Fantasia. Most of Stokowski’s recordings after. While at St. James, Stokowski com- progress of Martin Walsh’s Annotated List of made over a span of 60 years have been pleted course work for a bachelor of music Hutchings Organs (1996). remastered for CDs and are still available. degree at Queen’s College, Oxford, gradu- An important find was a privately- Leopold Stokowski’s biographical details ating in 1903; he completed his studies at printed, extremely limited edition of In are not well known, particularly his early the Royal College of Music in July 1904. Memoriam: Arthur Sewall Hyde, a mono- years as an organist. This lacuna proved a In the summer of 1905, Leighton Parks, graph contributed to by his friends after challenge and for the past several years I have the recently-appointed rector of New York his death in 1920. Hyde was Stokowski’s been working on a book, Leopold Stokowski, City’s St. Bartholomew’s Episcopal Church, successor. I gave this book to the Archives Organist, that documents his early life, his was in London looking for an organist- several years ago, convinced that I would vocation as a professional organist, and his choirmaster. He called on Stokowski, was never need to refer to its contents, but hav- three years as director of music at New York’s impressed, and hired him. ing taken a second look I realized that it St. Bartholomew’s Episcopal Church. Here the story of Stokowski must end contained a not-so-thinly-veiled impres- Leopold Stokowski was born in as we turn to the music department of St. sion of Stokowski by his former rector. But London in 1882. His grandfather, a cabi- Bartholomew’s Church in New York City I am getting ahead of the story. netmaker, emigrated from Poland to and to the surprising “affaire” that culmi- The second building of St. Barth- London sometime after 1848 and aban- nated in importing an English organist. olomew’s parish was completed in 1872 doned his Catholic faith for that of the Most of the sources cited here are from the on the corner of Madison Avenue and Church of England when he married in Organ Historical Society’s American 44th Street. It was popularly known as 1862. Thus, his grandson, Leopold, was Organ Archives, some uniquely. “The Vanderbilt Church” or “The Church baptized in St. Marylebone Church in The Archives’ collection of church his- that Vander-bilt” because of its most lib- 1882 and reared an Anglican. tories includes the two major works on St. eral benefactors. Indeed, at the time of Having displayed considerable talent Bartholomew’s Church; unfortunately, his death, William Henry Vanderbilt during his youth, Stokowski was admitted both lack anything substantive about the (1821–85), who had been a vestryman to the Royal College of Music at age 13 as music program. These are E. Clowes there for 20 years, was the richest man in a piano major, but two years later, when Chorley, The Centennial History of Saint the world. His son Cornelius II he was made assistant to H. Walford Bartholomew’s Church in the City of New (1843–99) taught Sunday School and, in Davies at the Temple Church (1898), York 1835–1935 (New York: St. Barth- 1872, gave the $11,000 for the Odell switched his major to organ, studying olomew’s Church, 1935); and Christine three-manual, 46-rank organ. In time, under Sir Walter Parratt. Smith, St. Bartholomew’s Church in the City Cornelius’s granddaughter Gloria, would At the age of 16, Stokowski passed the of New York (New York: Oxford University marry Leopold Stokowski. Cornelius’s sis- Associateship examination of the Royal Press, 1988). ter, Emily (Mrs. William D. Sloane), gave College of Organists, and one year later the Aside from a complete run of The the $6,0001 for the 1919 E. M. Skinner Fellowship. In 1900 he became the first Church Music Review (1901–04), New Music organ (in memory of her late husband)
44 The TRACKER Vol. 47, No. 1 and subsequently paid for the Celestial and hold 125 singers while carrying out the Avenue began to wane when his rector of Organ in the dome in 1927 to memorial- administrative duties of a parish musician. 16 years, David H. Greer, was appointed ize her son, Malcolm Douglas Sloane. There is no evidence that he was any more Bishop of New York. His successor was Since 1872, music at St. Barth- than a serviceable organist (although he was Leighton Parks, a great preacher with liber- olomew’s Church had been provided by a a singer and advertised himself as a voice al views, from Emmanuel Church, Boston, vocal quartet that sang in the rear gallery teacher). The organ music was never print- where, in 1896, he had hired a 21-year-old with the organ. In 1886 the vestry decided ed in St. Bartholomew’s service lists; no Harvard graduate, Arthur Sewall Hyde to replace the quartet with a paid mixed recital programs have been located. Warren (1875–1920), as his organist.4 Parks was choir and engaged Richard Henry Warren customarily had a guest organist play at infatuated with Hyde’s talent both as an (1859–1933) to bring about the reorgani- “recitals” of the Church Choral Society organist and as a boy choir trainer and zation. He was the son of George William (Horatio Parker and Will C. Macfarlane would have liked to bring him to St. Warren (1828–1902), organist of St. were frequent accompanists and soloists), Bartholomew’s. But as it stood, his new Thomas’s Church from 1870 until 1900, and at the 1896 dedication of the church had a choir of men and women, and composer of the famous national Hutchings organ at South Congregational directed by the 45-year-old Richard Henry hymn, “God of our fathers.” Both father Church, New Britain, Connecticut, in a Warren. Parks immediately began to agitate and son were founders of the American program shared by Horatio Parker and for the abolition of the adult choir—in Guild of Organists and the first Guild serv- Harry Benjamin Jepson, Warren played the spite of its reputation as one of the finest in ice was held at St. Bartholomew’s on Arcadelt-Liszt Ave Maria and an improvisa- the country––urging its replacement by a November 24, 1896. tion. Nevertheless, Ernest Skinner consid- boy choir5 on the grounds “that the music Although George William Warren had ered him to be “one of the best church of St. Bartholomew’s attracted more people studied at Racine University (from which organists in America” and described his than did the spiritual teachings of the he later received an honorary Doctor of “way of playing a hymn without Pedal and church”6 and that the choir, “upon which a Music degree), he was musically self-taught then . . . entering in pizzicato touches on the large amount is spent annually, was far too 2 and appears to have been the only teacher of Pedal 8′ Octave [?] an inspiring effect.” expensive and that the money might be put his son, Richard (known intimately as Warren sold organs for George to better use in mission work.”7 Early on, Harry), who was born in Albany, New York, Hutchings and, after the new organ was Parks had discussed his ideas with Warren at the time his father was organist at St. installed at St. Bartholomew’s, he must have but the latter “would not hear of the pro- Paul’s Episcopal Church. In 1860 the fami- been responsible for those at the Church of posal to disband the choir in which he had ly moved to Brooklyn, where George the Transfiguration (op. 364, III/45, 1895, taken so much pride.”8 William Warren was organist of the Church for which he drew up the stoplist), Church The rector lost little time in advancing of the Holy Trinity, Brooklyn Heights. of the Ascension (op. 388, III/56, 1895), his plans and within six weeks, on April Richard Henry Warren’s first appoint- Brick Church (op. 428, III/57, 1898), 10, 1904, the 70 members of the choir ment was in 1878 as organist of the Church of the Divine Paternity (op. 431, were given a notice that read, “Because of Church of St. John the Evangelist III/73, 1898), and Church of the Holy economical policy your services will not be (Wainwright Memorial). One year later he Trinity, Brooklyn, where Dudley Buck was required after May 31.”9 A quartet was went to the Reformed Episcopal Church, organist (op. 474, III/57, 1899), not to again to be implemented. As reported in at Madison Avenue and 55th Street, and in mention Hutchings organs in the residence The New York American and Journal: 1880 to All Souls Church at Madison and of parishioner Emily Sloane (op. 448, 66th Street, where he remained until his III/38, 1898). Her brother, George The men and women composing appointment to St. Bartholomew’s. Vanderbilt, gave op. 391, II/25, 1895, to All the choir held an indignation meet- Soon after assuming the post of direc- Saints’Church in Biltmore, North Carolina. ing in the choir room. Many of them tor of music, Warren instituted the paid St. Bartholomew’s was a “low” church were chagrined because, at this season choir of 32 mixed voices to sing with the and placed less emphasis on liturgy than of the year, it is difficult to obtain existing quartet; all were crowded into the on social outreach, but by the late 1880’s engagements and all had believed gallery at the east end of the church, the influence of the Oxford Movement on their places were secure. It was under- remaining in these uncomfortable sur- the role of music in the Episcopal service stood that Mr. William K. Vanderbilt roundings until 1892 when the church began to be felt.3 In 1892, when the paid for the music out of his own underwent extensive alterations. church was redecorated, the choir was pocket, and the members of the choir In addition to the parish choir, Warren moved to the front. Thus situated in the had no suspicion that the scheme of founded the 125-voice Church Choral chancel, the organ at the other end of the retrenchment would affect them. Society which, under his direction sang church was deemed impractical, and Some of the choristers showed many important works and notable pre- George Hutchings of Boston was given the signs of mutiny and talk of a strike mieres of compositions by Dvorák,v Liszt, contract to build a new instrument. At the was freely indulged in. It is probably Gounod (his Mors et Vita in 1889), Saint- same time the 21-year-old Odell organ was that a strike would have been Saëns, Stanford, and others. Horatio Parker to be rebuilt and connected to the front declared on the instant and the serv- dedicated his oratorio Hora Novissima to console by electricity. When completed in ice in St. Bartholomew’s robbed of its Warren’s Choral Society and it was pre- 1896 the organ of St. Bartholomew’s was most attractive feature, if the older miered by them on May 2, 1893. the third largest organ in America. heads had not finally prevailed. Richard Henry Warren appears to have In February 1904 Richard Henry When a crisis seemed to be at been a charismatic figure who could mold Warren’s fruitful 18 years on Madison hand, it was said that the choristers
45 Vol. 47, No. 1 The TRACKER LEOPOLD STOKOWSKI, ST. BARTHOLOMEW’S CHURCH, AND THE AMERICAN ORGAN ARCHIVES
NOTES 1. The equivalent of $64,703 in 2003. 2. Ernest M. Skinner. The Composition of the Organ (Ann would probably be re-engaged in Church of the Ascension where he Arbor: Light, 1981) 64. Skinner’s pedal registration is September and that the quartet was remained until 1915. an error and perhaps should read “16′ Open.” merely for the summer season. This, As for St. Bartholomew’s, Arthur Hyde 3. American choirs had traditionally not worn choir robes and the music in most Protestant churches was provided however, did not soften the disap- apparently rejected the rector’s invitation, by a vocal quartet. This changed gradually in the latter pointment of many of the members, and after the dust settled, Arthur Scott part of the 19th century as Episcopal churches, follow- ing the lead of England which, being influenced by the who anticipated hardship during the Brook, familiar to modern readers as the Oxford Movement, adopted ancient vestments for the summer.10 inspector of the Atlantic City Convention clergy, incense, and a concern for music as a sacrificial The uprising was quelled, but, Hall organ, but then the former organist of offering rather than an ornamental adjunct to the serv- ice. Choirs of men and boys were instituted and, even- on the grounds that the music over- Stanford University (having been private tually, choir schools were endowed to perpetuate them. shadowed the purely religious part of organist to Leland Stanford, the California 4. Hyde succeeded Stokowski at St. Bartholomew’s in 11 1908. He served as a captain in the First World War, the services, the vestry insisted that railroad magnate), and who had lately been fought, and was gassed at Cantigny, France. He Warren cut his budget by $3,000. In in charge of the organ recitals at the 1904 returned to St. Bartholomew’s in 1919 but the next order to comply he reduced the choir Louisiana Purchase Exposition in St. Louis, year he contracted influenza that developed into pneu- monia and he died on February 25, 1920. to 45 voices and eliminated the con- played for services at St. Bartholomew’s for 5. St. Thomas’s Church had disbanded its large mixed tralto and bass soloists. the next two months. While the church was choir and four soloists, regarded as one of the more notable institutions of the city, and replaced it with a closed from the first Sunday of July until vested choir of men and boys in 1902. Boy choirs in As the music program resumed in the the third Sunday of September, the rector Episcopal churches were at the height of their populari- fall, the rector’s intentions became more searched for an organist. ty and, from a partial list of New York churches that supported them (Calvary, Heavenly Rest, Holy evident, and the handwriting on the wall We do not know if Leighton Parks Communion, Incarnation, Trinity Church, St. James, became clearer to the organist (whose own went to England that summer specifically St. Thomas’s, and Transfiguration), it is evident that St. Bartholomew’s was one of the few important churches salary, however, remained unchanged), the to recruit an organist or just happened to in the city that still had a mixed choir. two remaining soloists, and to the choir be put in touch with Leopold Stokowski 6. Parks was a popular preacher and attendance at the morning service was greater than it had ever been in the members. Warren handed in his resigna- while on vacation. Whatever the details, he history of the church. (New York Sun, March 7, 1905.) tion at the end of February 1905, and the met and engaged the 23-year-old organist 7. “Choir Master to Quit Vanderbilt Church,” New York choir announced its decision to resign with of London’s St. James’s, Piccadilly. Times (February 23, 1905), 9. 12 8. “St. Bartholomew Choir May Resign in a Body,” New him. The rector accepted the resigna- This aspect of church music in New York Press (February 23, 1905). tions. A musical mutiny in so prominent a York City at the turn of the previous cen- 9. “Choir Near A Strike in 5th Ave. Church,” New York American and Journal (April 11, 1904). church hit all the New York papers and was tury would never have been revealed with- 10. ibid. an ongoing saga for a month. out the scrapbook of Richard Henry 11. “Church Choir to Stay,” New York Times (March 7, Warren remained circumspect in public Warren, who pasted in every clipping from 1905), 9. 12. Just five years before, when the vestry of St. Thomas’s and told reporters, “I have only just sent in every New York newspaper as the story reduced that church’s annual music appropriation to my resignation and have no doubt, from the unfolded. Nothing of this episode is to be $10,000, Warren’s father, George William Warren, resigned after a tenure of 30 years. terms in which I couched it, of its accept- found in the archives of St. Bartholomew’s 13. “Vanderbilts Urged to Pacify Pastor and Organist,” New ance. I wrote it for what seemed to me suffi- Church and it would have been accidental York American (February 23, 1905). cient reasons.” The soprano soloist, Ella if anyone stumbled upon the story. 14. An amusing attempt to interview Mrs. Toedt was report- ed in “Trouble Over Choir” in the New York Evening Toedt, whose singing the rector had adverse- Acknowledgment must be made of Sun (February 24, 1905): An effort was made this morn- ly criticized did speak to the press and vowed our archivist, Stephen Pinel, who has ing to get Mrs. Theodore Toedt, the leading soprano of 13 the St. Bartholomew choir, either to corroborate or con- never to sing in St. Bartholomew’s again, a built the Organ Historical Society’s tradict the story that Dr. Parks had found fault with her brave decision considering the many voice American Organ Archives into the finest singing and that she had vowed never to sing in St. Bartholomew’s again. At her home the door was opened students she attracted because of her presti- institution of its kind in the world. Who by a gentleman with a pair of gray mustaches. “I am gious position.14 else, within five minutes time, could put sorry,” he explained, with a foreign accent, “but it is Having succeeded in eliminating the in your hands the church’s original 1872 impossible to see Mrs. Toedt––quite impossible. The claims of art, you know, are imperative. The claims of two people he wanted removed, Parks called Odell Organ contract, pull down a histo- art...” and he gesticulated toward the back parlor, where a meeting of the choir during the first week ry of the church, give you the 1890’s a young lady pupil was emitting vigorous top notes. 15. New York Sun, March 7, 1905. of March. He told them that he “never had organist’s scrapbook, and put you in 16. “Church Choir to Stay” any notion of calling the Boston organist to touch with Martin Walsh, the Hutchings 17. The “Affair St. Bartholomew” was well covered in the New York,” that there was “no intention of Organ Company historian who produced following 1905 newspapers: “St. Bartholomew’s Organist Resigns,” New York Sun, February 13; New instituting a boy choir at St. Bartholomew’s, the earliest copy of the Hutchings specifi- York Tribune, February 19; “St. Bartholomew’s Choir to at least not for a year, [italics added] and per- cation. Surely the American Organ Disband on May 1,” New York American, February 21; “Vanderbilts Urged to Pacify Pastor and Organist,” haps not at all.” He then asked the choir to Archives is a remarkable example of the New York American, February 23; “Discord Rules remain for another year and they voted to Organ Historical Society’s far-reaching Choir,” New York Evening Journal, February 22; stay.15 It was reported that Arthur Hyde was network of members willing to share their “Economy in Vanderbilt Organist’s Retirement,” New York Evening Telegram, February 23; “Great Church coming to New York to superintend the information and expertise. OHS Choir to Resign,” Evening World, February 23; “Church organization of a boy choir.16 Choir Stirred Up,” New York Herald, February 23; “St. Bartholomew’s Choir May Resign in a Body,” New Warren left the first of May, after hav- Rollin Smith, DMA, is a performer, lecturer, York Press, February 23; “Choir Master to Quit ing served St. Bartholomew’s for 19 years.17 and author of eight books, many articles, and Vanderbilt Church,” New York Times, February 23; Two years later, when Charles Heinroth numerous musical editions. He is a member “Trouble Over Choir,” New York Evening Sun, February 24; Utica [New York] Observer, March 4; “Choir Near was engaged as organist of the Carnegie of the Board of Governers of the OHS a Strike in 5th Ave. Church,” New York American; “St. Institute in Pittsburgh, Warren succeeded American Organ Archives and chairman of Bart’s Choir Sticks,” New York Sun, March 7; “Church Choir to Stay,” New York Times, March 7; “The Choir him as organist and choirmaster of the the Archives Grant Committee. to Stay,” New York Tribune, March 7; “NewYork Choir Changes,” Musical Courier (May 3, 1905), 31. 46 The TRACKER Vol. 47, No. 1 COMPILED BY JERRY MORTON index
The Tracker, Volume 46 (2002)
Entries are cited by Volume : Number : Page. P=Illustration; R=Reviewer; S=Stoplist. Church and institution names appear under the state and city of their locations. Organs are listed under the names of their builders. The names of authors of articles appear under “Authors, articles.” Titles of articles are given under the entry “Articles.”
Abel, Louise 46:4:7 April 24-26, 2003” (Wallmann) Towe, Teri Noel 46:4:11 California, Sacramento Good Adcock & Pether organs ca.1755 46:3:19 Wallmann, James L. 46:3:19 Shepherd Lutheran Church Adcock & Pether (London), European Organ Symposium Warren, Wayne 46:3:35 46:1:23P, 25P; 46:2:17 Governor’s Palace, Demands New Protection for Watson, John R. 46:3:22 Carl, William C. 46:4:10 Williamsburg, VA 46:3:27, 27P Our Cultural Heritage (Peeters Wyly, James 46:2:29 Casavant organs 1964 Casavant Aeolian Company 46:1:20 and Tobin) 46:3:16 Avery organs 1792 John Avery, Frères, St. Mary of the Lake R. C. Aeolian organs 1930 Aeolian Organ Hammer-Reuter, A Brief Association Museum of Fine Arts, Boston, Church, Gary, IN 46:2:36, 14P Co., Disciples Divinity House, (Sievert) 46:1:23 MA 46:3:28, 28P Clark, Robert 46:4:20 Chicago, IL 46:2:9P New Materials on Samuel Wesley Aylesworth, William 46:2:7 Cole organs ca.1895 James Cole, Aeolian-Skinner organs (Ogasapian) 46:4:23 Bach, Johann Sebastian, portraits Bethel Armenian Congregation 1933 Aeolian-Skinner (console), Oaxaca Congress 2001: The compared 46:4:16P Church, Methuen, MA Girard College, Philadelphia, PA Restoration of Organs in Latin Bach, Johann Sebastian: 46:1:36P 46:1:15, 15P America (Wyly) 46:2:29 Weydenhammer Portrait Cowan, Ken 46:2:14 1954 Aeolian-Skinner, St. John’s Online Access to the Cataloging of Fragment 46:4:1P Crawford, Jesse 46:3:36 Lutheran Church, Forest Park, the AOA (Bewley) 46:1:10 Bach organ works: documented U. Crossley, Dee Ann 46:1:17 IL 46:2:39P, 39; 46:3:20 The OHS American Organ Archives S. performances prior to 1900 Crowell, Gregory 46:2:37 Alabama, Demopolis Alabama is 40 (Pinel) 46:1:4 46:4:13 Dahl, David 46:2:37 Historical Commission 46:3:30. The Organs of Christ Church Bach organs on disk 46:4:20 District of Columbia, Washington 30P Cathedral, Lexington, Kentucky Balduf, MaryAnn Crugher 46:2:8 St. Mary’s Church 46:3:20, 20P Alden, Jason 46:2:16 (Leist) 46:3:38 Barckhoff organs Dobson Organ Builders 46:2:37 American Organ Archives, interior The Portrait of Bach that Belonged to 1886 Barckhoff Church Organ Co., Dolive, Louis, conservator at work 46:1:5P ff, Kittel (Towe) 46:4:14, 1P, 14P St. Mary’s Church, New Albany, 46:3:31P Andover, MA, list of organs, 1956 Saving the Old Organs (Reich) IN 46:1:16 Dresel, Otto 46:4:6 and 1999, Andover 46:1:33 46:1:30 1892 Barckhoff Church Organ Co., Dresel, Otto, et al. 46:4:7 Andover organs Austin Organ Co. 46:1:20 Christ Church Cathedral, Dwight’s Journal of Music 46:4:7 1979 Andover Organ Co., Cochran Austin organs Lexington, KY 46:3:39, 40P Dwight, John Sullivan 46:4:7, 7P Chapel, Phillips Academy, 1906 Austin Organ Co., St. Paul Barnes, William H. 46:2:41 Eddy, Clarence 46:1:18; 46:2:11 Andover, MA 46:1:32P, 35P Community Church, Lincoln Bauer regal 1692 Simon Bauer Edgington, Rhonda 46:2:14 Articles Park, Chicago, IL 46:2:43, 44P regal, Museum of Fine Arts, Eichberg, Julius 46:4:9 Aeolian-Austin Almost (Ochse) 1915 Austin Organ Co., Boston, MA 46:3:26, 26P England, London Alexandra Palace 46:1:20 Medinah Temple, Chicago, IL Beal, Fred 46:2:39 46:2:26, 26P The Alexandra Palace Concert 46:3:1P, 4P, 5ff., 11S Berghaus Organ Co. 46:2:44 Erben, Henry 46:3:38 Organ (F. Clarke) 46:2:26 1928 Austin Organ Co., St. Mary of Bethlehem Bach Choir 46:4:11 Erben organs 1862 Henry Erben, Austin Organ of the Medinah Perpetual Help R. C. Church, Bewley, John 46:1:10 St. Peter’s R. C. Church, Temple, Chicago (Schnurr} Chicago, IL 46:2:10P, 11P, 14 Biggs, Sally Cherrington 46:2:45 Brooklyn, NY 46:2:20; 46:3:36 46:3:5 Authors, articles: Bishop, John 46:2:20 European Organ Symposium (June Bach in America: The Reception of Bewley, John 46:1:10 Blanchard, Dr. Homer 46:1:6 2001) 46:3:16 his Organ Music in the United Clarke, Fred 46:2:26 Blanchfield, David, conservator at Farmer, Kristin 46:2:43 States (Stevens and Orr) 46:4:5 Friesen, Michael D. 46:2:5 Colonial Williamsburg 46:3:25P Fresco, Roberto 46:2:32P Bach organs on Disk: Naumburg, Knijff, Jan-Piet 46:4:20 Böhme, Ullrich 46:4:20 Friesen, Michael 46:2:16 Leipzig, Arnstadt, etc. (Knijff) Leist, Stephen 46:3:38 Bradford Organ Co. 46:2:39 Friesen, Susan 46:2:11 46:4:20 Ochse, Orpha 46:1:20 Brown, James 46:2:39 Fritts organs 2001 Paul Fritts & Chicago and the 2002 OHS Ogasapian, John 46:4:23 Brown, Thomas 46:2:36 Co. Opus 20, Miller Chapel, Convention: A Second Time for Peeters, Paul, and Henrik Tobin Browne, J. Lewis 46:3:6 Princeton University, Princeton, the “Second City” (Friesen) 46:3:16 Buck, Dudley 46:2:41; 46:4:8, 8P NJ 46:3:19P 46:2:5 Pinel, Stephen 46:1:4 Bunjes, Paul 46:2:36; 39 Gehring, Philip 46:2:41 Conservation of Six Historic Organs Reich, Robert J. 46:1:30 Burlington Pipe organs 1903 Gerber, Ernst Ludwig 46:4:14 at Colonial Williamsburg Schnurr, Stephen 46:3:5 Burlington Pipe Organ Co., Germany, Berlin Kirche zum (Watson) 46:3:22 Sievert, Jack 46:1:23 Living Sanctuary of Faith Heiligen Kreuz 46:2:20 Current Perspectives on Organ Stevens, Mark, and N. Lee Orr Church of God, Oak Park, IL Germany, Leipzig Thomaskirche Research: AOA Symposium 46:4:5 46:2:38P, 39 46:4:20
47 Vol. 47, No. 1 The TRACKER index VOLUME 46 (2002)
Germany, Naumburg St. Wenzel’s Holden, Kenneth 46:3:36 46:2:43, 43P Indiana, Valparaiso Church 46:4:20 Hook organs Lincoln Park Presbyterian Church Chapel of the Resurrection, Gifford, Mary 46:2:11 1869 E. & G. G. Hook, First 46:2:43, 43P Valparaiso University 46:2:15P, Gotwals, Vernon D. Jr. (obit.) United Presbyterian Church, (Lincoln Park) St. Paul Community 36 46:2:35 Lawrence, MA 46:1:38P Church 46:2:43, 44P St. Paul R. C. Church (Chapel) Gouwens, John 46:2:37 1870 E. & G. G. Hook, Kirche zum Lutheran Church of the Good 46:2:13P, 36 Green, Samuel, organs 1785 Heiligen Kreuz, Berlin, Shepherd 46:2:38P, 39 Iowa, Ottumwa First Lutheran Samuel Green, Colonial Germany, 46:2:20 Medinah Temple 46:3:1P, 4P, 5ff., Church 46:1:24P, 25P Williamsburg 1871 E. & G. G. Hook & Hastings, 11S Jardine organs 1864 George Foundation/Instrument Union Park Congregational, Pullman United Methodist Church Jardine, First Baptist Church, Conservation, Williamsburg, VA Chicago, IL 46:2:45 46:2:8P, 14 Hudson, WI 46:1:17, 17P 46:3:24P 1872 E. & G. G. Hook & Hastings Rockefeller Chapel, University of Jensen, Helen 46:1:17 Guilmant, Alexandre 46:4:11 Opus 667, New England Chicago 46:2:9P, 14 Johnson organs Göteborg Resolution 2001: Conservatory, Boston, MA Scottish Rite Cathedral 46:2:4P,5P, Wm A. Johnson/H. Hall/Estey, European Organ Symposium 46:1:14S 7; 46:3:5 Christ Presbyterian Church, 46:4:31 1875 E. & G. G. Hook & Hastings, St. James R. C. Church 46:2:37, Lawrence, MA 46:1:39P Hall, Harry, organs Scottish Rite Cathedral, 37P 1883 Johnson & Son, St. Paul R. C. Hall-Frazee-Laws, South Chicago, IL 46:2:4P,5P, 7 St. Joseph’s R. C. Church 46:2:44, Church (Chapel), Valparaiso, IN Church, Andover, MA 46:1:34P 1907 Hook & Hastings, Ballardvale 45P 46:2:13P, 36 Hall, Jonathan 46:2:39 Congregational Church, St. Mary of Perpetual Help R. C. 1888 Johnson & Son, Lincoln Park Hammann, James 46:2:44 Andover, MA 46:1:33P Church 46:2:10P, 11P, 14 Presbyterian Church, Chicago, Hammer, Emil, Orgelbau 46:1:23 Huehl, Harris W., and Richard G. Temple Sholom 46:2:16, 12P IL 46:2:43, 43P Hammer-Reuter organs Schmid 46:3:5 Union Park Congregational 46:2:45 Kassler, Michael, and Philip Hammer-Reuter, Good Shepherd Hull, Dana, and John Cawkins University Church, Disciples of Olleson 46:4:23 Lutheran Church, Sacramento, 46:3:36 Christ 46:2:9P, 14 Kimball organs CA 46:2:17 Huntington, Scot 46:2:20 Illinois, Evanston 1916 Kimball Organ Co., First Hammer-Reuter, First Lutheran Hutchings organs First Congregational Church Church of Christ, Scientist Church, Ottumwa, IA 46:1:24P, 1892 Hutchings Organ Co., St. 46:2:42P, 43 (form.), Oak Park, IL 46:2:39, 25P Joseph’s R. C. Church, Chicago, St. Andrew’s Episcopal Church 40P 1969 Hammer-Reuter, Good IL 46:2:44, 45P 46:2:41, 41P 1920 Kimball Organ Co., St. Mary’s Shepherd Lutheran Church, 1893 George S. Hutchings, St. St. Luke’s Episcopal Church of the Angels R. C. Church, Sacramento, CA 46:1:23P, 25P Mary’s Church, Washington, 46:2:42P, 43 Bucktown, Chicago, IL 46:2:44, 1971 Hammer-Reuter, Chapel, DC 46:3:20, 20P Illinois, Forest Park St. John’s 44P Cottey College, Nevada, MO 1910 Geo. Hutchings, St. Mary’s R. Lutheran Church 46:2:39P, 39; 1927 Kimball Organ Co., First 46:1:22P, 25S C. Church, Woodstock, IL 46:3:20 Baptist Congregational Church, 1972 Hammer-Reuter, University of 46:2:11 Illinois, Oak Park Chicago, IL 46:2:45, 45P Houston, Houston, TX Illinois, Barrington Hills Arts Center (see First Church of Kentucky, Lexington Christ 46:1:25S Sanfilippo Plum Tree Farm Christ, Scientist) Church Cathedral 46:3:38ff., Handel & Haydn Society 46:4:9 46:2:!P, 7P, 14 First Church of Christ, Scientist 39, 39P, 40P, 41S Haussmann, Elias Gottlob 46:4:14 Illinois, Buffalo Grove St. Mary’s (form.) 46:2:39, 40P Kittel, Johann Christian 46:4:14ff. Headlee, Will 46:2:36 R. C. Church 46:2:6P, 11 Living Sanctuary of Faith Church of Knijff, Jan-Piet 46:2:23R; 46:4:20R Hicks organs 1859 George Hicks, Illinois, Carpentersville Zion God 46:2:38p, 39 Kraemer, Christine 46:2:43 Alabama Historical United Church of Christ Illinois, Palatine St. John’s United Lancashire-Marshall organs 1891 Commission, Demopolis, AL 46:2:6P, 11 Church of Christ 46:2:5P, 8 Lancashire-Marshall, Lutheran 46:3:30. 30P Illinois, Chicago Illinois, Skokie St. Paul’s Lutheran Church of the Good Shepherd, Hildebrandt organs Hildebrandt, Auditorium Theatre 46:3:6 Church 46:2:40P, 41 Chicago, IL 46:2:38P, 39 St. Wenzel’s Church, Basilica of Our Lady of Sorrows Illinois, Woodstock St. Mary’s R. Lang, Benjamin J. 46:4:9 Naumburg, 46:4:20 46:2:38P, 39 C. Church 46:2:11 Lawrence, MA, list of organs 1956 Hilgenfeldt, Carl Ludwig 46:4:14 (Bucktown) St. Mary’s of the Angels Index The Tracker Vol. 45 46:1:27 and 1999, Lawrence, MA Hinners organs R. C. Church 46:2:44, 44P Indiana, Gary St. Mary of the Lake 46:1:36 1911 Hinners Organ Co., Zion Chicago Theatre 46:3:36 R. C. Church 46:2:14P, 36 Laws organs 1924 W. W. Laws, United Church of Christ, Disciples Divinity House 46:2:9P Indiana, Lagro St. Patrick’s Catholic First Calvary Baptist Church, Carpentersville, IL 46:2:6P, 11 Epworth United Methodist Church Church 46:2:37 Lawrence, MA 46:1:39P 1914 Hinners Organ Co., St. John 46:2:41 Indiana, La Porte St. Paul’s Lemare, Edwin H. 46:4:6 Lutheran Church, New Haven, First Baptist Congregational Church Episcopal Church 46:2:37, Letters: MI 46:3:36, 36P 46:2:45, 45P 16P; 46:3:20 Bond, Richard 46:2:17 Hodges, Edward 46:4:6 Holy Family R. C. Church 46:2:11P, Indiana, Michigan City First Clark, Don 46:3:20 Holtkamp organs 1949 Holtkamp 12P Congregational Church Fitzer, Joseph 46:2:17 Organ Co., Christ Church Holy Trinity R. C. Church 46:2:44, 46:2:36P Gehrke, Rodney 46:3:20 Cathedral, Lexington, KY 45P Indiana, New Albany St. Mary’s Huntington, Scot 46:1:14 46:3:38ff., 39P, 41S Lake View Presbyterian Church Church 46:1:16 Lawrence, Arthur 46:1:14
48 The TRACKER Vol. 47, No. 1 Libin, Laurence 46:1:17 Mathews, W. S. B. 46:4:9 Murray, Thomas 46:2:43 Chicago, a preview 46:2:5 Norrington, Keith 46:1:16 Methuen, MA, list of organs 1956 Naegele, Elizabeth 46:2:43 OHS National Council Minutes: Rowe, Michael A. 46:1:17 and 1999, Methuen, New England Conservatory (exteri- Clemmons, NC (June 2001) Smith, Rollin 46:2:17 Massachusetts 46:1:35 or) 46:1:14P 46:1:44ff. Tempest, Bob 46:2:17 Methuen Organ Co. organs New Jersey, Princeton Miller Princeton, NJ (Oct. 2001) 46:3:43 Thomas, Thom 46:1:15 Methuen Organ Co., First Church Chapel, Princeton University Richmond, VA (March 2002) Wahl, Christoph 46:3:20 of Christ, Scientist, Lawrence, 46:3:19P 46:4:35 Wright, George 46:1:16 MA 46:1:38P New York, Brooklyn St. Peter’s R. OHS Publications Oversight Lowell, MA, list of organs 1889 Methuen Organ Co., St. C. Church 46:3:20, 36 Committee (April 2002) 1827-1999, Lowell, George’s Ebenezer Primitive New York, Hyde Park Reformed 46:3:47 Massachusetts 46:1:40 Methodist Church, Methuen, Dutch Church 46:3:37P OHS Roster of Historic Citations Lyon & Healy organs MA 46:1:37P Nickels, Derek 46:2:14 46:4:32 1898 Lyon & Healy, Lake View Mexico, Oaxaca City Obituaries: Organ Update (Warren) 46:3:35 Presbyterian Church, Chicago, Basilica of la Soledad 46:2:34S Gotwals, Vernon D. Jr. 46:2:35 Orr, N. Lee 46:2:41; 46:4:5 IL 46:2:43, 43P Oaxaca City Cathedral 46:2:29P, 32, Robinson, Albert F. 46:1:43, 43P Osborne, William 46:1:18; 46:2:11, 1902 Lyon & Healy, Basilica of Our 34S Schoenstein, Lawrence L. 46:2:35 14 Lady of Sorrows, Chicago, IL Mexican organs Stalford, Ronald P. 46:3:43 Owen, Barbara 46:1:18R 46:2:38P, 39 ca.1650 unknown builder, Church Wick, Martin M. 46:4:35 Paine, John Knowles 46:4:8, 8P 1905 Lyon & Healy, St. Andrew’s of Sta. María de la Natividad, Odell organs Parkhurst, H. E. 46:4:9 Episcopal Church, Evanston, IL Tamazulapan, Mexico, 46:2:33, 1888 J. H. & C. S. Odell & Co., Pennsylvania, Philadelphia Girard 46:2:41, 41P 33S Reformed Dutch Church, Hyde College 46:1:15, 15P Marrin, Kevin C. 46:1:17 ca.1690 unknown builder, Church Park, NY 46:3:37P Phelps, Lawrence 46:2:36 Massachusetts, Andover 46:1:33 of Santo Domingo, Vanhuitlán, 1897 J. H. & C. S. Odell & Co., Phelps organs 1974 Lawrence Ballardvale Congregational Church Mexico, 46:2:34S First Baptist Church, Andover, Phelps, St. Paul’s Lutheran 46:1:33P ca.1690 unknown builder, Oaxaca MA 46:1:33P Church, Skokie, IL 46:2:40P, 41 First Baptist Church 46:1:33P City Cathedral, Oaxaca, Ogasapian, John 46:4:23R Pilcher, Henry, & Sons 46:3:39 Cochran Chapel, Phillips Academy Mexico, 46:2:34S Ohio, Cleveland Crawford Rd. Pinel, Stephen 46:1:4; 46:2:22R, 36 46:1:35P ca.1690 unknown builder, Oaxaca Christian Church 46:3:35, 35P, Pipedreams Receives Award Phillips Academy 46:1:32P City Cathedral, Oaxaca, 35S 46:2:27 South Church 46:1:34P Mexico, 46:2:29P, 32, 34S Oklahoma, Tulsa All Saints Preller, Gottfried 46:4:20 Massachusetts, Boston 18th c. unknown builder, Basilica of Anglican CHurch 46:3:35 Roosevelt organs Museum of Fine Arts 46:3:26, 26P, la Soledad, Oaxaca City, Olleson, Philip 46:4:23 Frank Roosevelt, St. James R. C. 28, 28P Mexico, 46:2:34S Opinion: Church, Chicago, IL 46:2:37P New England Conservatory 46:1:14S ca.1720 unknown builder, Church Alcorn-Oppedahl, Allison Crown 1889 Frank Roosevelt Opus 400, Massachusetts, Lawrence 46:1:36 of San Jerónimo, Jewel of the OHS 46:1:3 Auditorium Theatre, Chicago, Christ Presbyterian Church Tlacochahuaya, Mexico, Dahl, David 46:2:3 IL 46:3:6 46:1:39P 46:2:31P, 33S Morana, Frank [The dismantling 1891 Frank Roosevelt, First First Calvary Baptist Church Mexico, Tamazulapan Church of and relegation to storage of the Congregational Church, 46:1:39P Sta. María de la Natividad historic Austin] 46:3:3 Michigan City, IN 46:2:36P First Church of Christ, Scientist 46:2:33, 33S Morana, Frank Was Bach a Quimby Pipe Organs, Inc. 46:3:35 46:1:38P Mexico, Tlacochahuaya Church of Polyphonist? 46:4:3 Rakich, Christa 46:2:39 First United Presbyterian Church San Jerónimo 46:2:31P, 33S Organ Clearing House 46:2:20 Redstone, William 46:3:38 46:1:38P Mexico, Yanhuitlán Church of OHS AOA Governing Board Reviews: Books Judson Memorial Southern Baptist Santo Domingo 46:2:30P, 34S Minutes (October 2001) Clarence Eddy (1851-1937), Dean of Church 46:1:36P Michigan, New Haven St. John 46:3:44 American Organists (Osborne) St. Patrick’s R. C. Church 46:1:37P Lutheran Church 46:3:36, 36P OHS Annual Meeting 46:1:18 Massachusetts, Lowell 46:1:40 Missouri, Nevada Chapel, Cottey Clemmons, NC (June 24, 2001) Johann Sebastian Bach, The Learned Holy Trinity R. C. Church 46:1:40P College 46:1:22P, 25S 46:2:46 Musician (Wolff) 46:4:19 St. Jean Baptiste R. C. Church Mitchell, Franklin 46:1:23 Oak Park, IL (June 2002) 46:4:34 Organs of Savannah (Clarke & 46:1:30P, 31P Mitchell, Louis, organs 1870 Louis OHS Chapter News: Minnesota Royal) 46:2:22 Massachusetts, Methuen 46:1:35 Mitchell (facade only), Holy 46:1:17 Organ Building, Journal of IBOB, Bethel Armenian Congregation Family R. C. Church, Chicago, OHS Distinguished Served Award Vol. 1 (2001) 46:2:25 Church 46:1:36P IL 46:2:12P 2002, Julie Stephens 46:4:30 Sound and Harmony: On the occasion Methuen Memorial Music Hall Möller organs OHS Distinguished Service of the 10th Anniversary of the 46:1:1P, 34P; 46:2:17P 1894 Möller Organ Co., Crawford Awards, list of recipients Organbuilding Workshop of St. Andrew’s Episcopal Church Rd. Christian Church, Cleveland, 46:4:30 Anton Skrablvv(Skrabl) 46:2:22 46:1:37P OH 46:3:35, 35P,35S OHS Donors & Gifts 2001-2002 Samuel Wesley (1766-1837): A Source St. George’s Ebenezer Primitive 1930 Möller Organ Co., Epworth 46:4:26 Book (Kassler and Olleson) Meth. Ch. 46:1:37P United Methodist Church, OHS Endowment Fund 46:1:44; 46:4:23 Massachusetts, Woburn Unitarian Chicago, IL 46:2:41 46:2:47; 46:4:39 The Letters of Samuel Wesley Church 46:2:20 Morgan, George 46:4:8 OHS National Convention: (Olleson) 46:4:23R
49 Vol. 47, No. 1 The TRACKER index VOLUME 46 (2002)
Reviews: Recordings Steinmeyer organs 1879 Steinmeyer, Bach at Naumburg 46:4:20 Holy Family R. C. Church, Bach, J. S.: Life and Works (DVD) Chicago, IL 46:2:11P, 16 46:4:20 Stephens, Julie, awarded 2002 Historical Baroque Organs of Distinguished Service Award Luxembourg 46:2:23 46:4:30 New Bach Organ at the Stöcker, Wolfgang, and Christian Thomaskirche, Leipzig 46:4:20 Eickhoff 46:1:25P Robinson, Albert F. (obit.) 46:1:43, Sykes, Peter 46:2:45 43P Tattershall, Susan 46:2:32P Robinson, Dana 46:2:39 Texas, Houston University of Rowley, Naomi 46:2:14 Houston 46:1:25S Schaefer, Bernard 46:2:11 Thayer, Eugene 46:4:9 Scherer, John 46:2:41 Thomas, Theodore 46:4:10 Schlicker, Herman 46:2:36 Tremmel, Phyllis 46:1:23 Schlicker Organ Company 46:2:36 Tucker, H. G. 46:4:11 Schlicker/Dobson organs 1959/96 Tuckerman, Samuel P. 46:4:7 Schlicker/Dobson, Chapel of Tweeten, Ruth 46:2:41 the Resurrection, Valparaiso Unknown builder ca.1750 University, Valparaiso, IN unknown English builder, Wren 46:2:15P, 36 Chapel, College of William and Schnurr, Stephen 46:2:37 Mary, Williamsburg, VA Schoenstein, Lawrence L. (obit.) 46:3:23P 46:2:35 Van Dinter organs 1909 Louis Van Schrader, David 46:2:36 Dinter & Sons, Holy Trinity R. Searles, Edwin E., piano in C. Church, Chicago, IL Methuen Memorial Music Hall, 46:2:44, 45P Methuen, MA 46:3:20 Virginia, Smithfield St. Luke’s Shawgo, Michael 46:2:14 Church 46:1:16 Sievert, Jack 46:2:17 Virginia, Williamsburg Simmons organs Colonial Williamsburg. ca.1870 Wm. B. D. Simmons (?), Foundation/Instrument Holy Trinity R. C. Church, Conservation 46:3:22P,23P, 24P Lowell, MA 46:1:40P Governor’s Palace 46:3:27, 27P 1877 Wm. B. D. Simmons, St. Wren Chapel, College of William & Patrick’s R. C. Church, Mary 46:1:45, 45P; 46:3:23P Lawrence, MA 46:1:37P Walcker organs 1863 E. F. Walcker, Skinner organs Methuen Memorial Music Hall, 1927 Ernest M. Skinner, First Methuen, MA 46:1:1P; 46:2:17 Congregational Church, Warren, Samuel P. 46:4:9 Evanston, IL 46:2:42P, 43 Warren, Wayne 46:3:35 1922 Ernest M. Skinner, St. Luke’s Wesley, Samuel 46:4:23 Episcopal Church, Evanston, IL Weydenhammer, Edward 46:4:16 46:2:42P, 43 Wick, Martin (obit.) 46:4:35 1928 E. M. Skinner, University Willcox, John Henry 46:4:9 Church, Disciples of Christ, Wilson, Clark 46:3:36 Chicago, IL 46:2:9P, 14 Winter, Cicely 46:2:32P Smith, Timothy 46:2:44 Wisconsin, Hudson Speller, John B. 46:2:25R First Baptist Church 46:1:17, 17P Stalford, Ronald P. (obit.) 46:3:43 Phipps Center for the Arts 46:1:17 Stark, Kenneth 46:3:37 Wolff, Christoph 46:4:19 b 46:3:6 Wolle, Fred 46:4:11 Steere & Turner organs 1872 Steere Woodworth, Robert 46:2:11 & Turner, St. Paul’s Episcopal Zerrahn, Carl 46:4:1 Church, La Porte, IN 46:2:16P, Zundel, John 46:4:7 37; 46:3:20 Zwisser, Emil 46:4:9 1882 Steere & Turner, Pullman United Methodist Church, Chicago, IL 46:2:8P, 14 obituaries
Noehren, including reprints of his articles and was head flue voicer, and enjoyed a long and other essays, with a discography. He gave a fruitful relationship with tonal director John recital at the Cleveland Museum of Art on the Schantz. During his postwar music training he eve of his 80th birthday in 1990. Recent aspired to become an organist-choirmaster, but recordings include The Robert Noehren his true calling was tonal work in organbuild- Retrospective (Lyrichord LYR-DC-6005, 1999) ing. He possessed a fine ear, good judgment, and Johann Sebastian Bach (Fleur de Lis FL and enjoyed the many people he met on his 0101-2, 2001), both on organs he built. various trips. In 1974–75, in addition to day In 1998 he and Eloise Southern Noehren work at Schantz, he undertook the complete Noehren organ with its builder, First United Unitarian Church, San Francisco celebrated 60 years of marriage. She died April tonal renovation and releathering of the 1952 (1967 photo, courtesy Arthur Noehren) 14, 2002. He is survived by a son, Arthur Möller organ at St. Paul’s Episcopal Church, Noehren, daughter Judith Varnon of Portland, Akron. He was long active in AGO activities in Oregon, brother Theodore Noehren, M.D., of the Akron-Canton-Cleveland area. ROBERT NOEHREN, prominent organist, Salt Lake City, sister Betty Smith of Westport, Robert became acquainted with the Organ teacher, scholar of organ history, and organ- Connecticut, granddaughter Aimee Varnon- Historical Society when Schantz undertook the builder, died August 4 in San Diego, Welch and grandson Pan David Varnon, both rebuilding of the 1892 Frank Roosevelt organ California, at the age of 91. He taught at the of Portland. at the Cathedral of the Immaculate University of Michigan from 1949 to 1976, —Arthur Noehren Conception, Syracuse, New York Since this serving as head of the organ department and was the first historic work Schantz participated University Organist, and was named professor in, it became almost a lab experiment. Robert emeritus in 1977. endeared himself to the OHS consultants on Born on December 16, 1910, in Buffalo, ROBERT BURTON MAYE, 78 years old, the job, not just by being a good finisher, but, New York, Noehren studied organ with Gaston August 31, 2002, of esophageal cancer, at the before new pipes were added, by strongly sug- Dethier (Institute of Musical Art, later named Arbors Fairlawn, in Fairlawn, Ohio. Born July gesting that the scaling of new pipework match Juilliard), Ernest Mitchell, in 1930–31 with 3, 1924 in Westbrook, Maine, Robert’s love of that of the existing Roosevelt ranks. The organ Lynnwood Farnam (at the Curtis Institute, organs was fostered in early childhood by his has always been considered a great success. Philadelphia), and composition with Paul organist mother, who took him to the summer After retirement in June 1989, he continued Hindemith (at the University of Buffalo). Early weekday recitals on the 1915 Austin organ in working on organs in Akron, performing free- in his career he served as a church organist in the Portland City Hall auditorium. The present lance voicing, tuning and service work, at vari- Germantown, Pennsylvania; Buffalo, New York; on his 16th birthday of Barnes’s Contemporary ous times for Tim Henry of Cleveland, Ken and Grand Rapids, Michigan. Prior to his American Organ was read cover to cover in one Yukl of Akron, and Harry Ebert of Pittsburgh. appointment to the University of Michigan he sitting. After high school, he enlisted in the He married again, in 1998, to Frances Gray. taught at Davidson College, North Carolina, Navy, serving 1943–46 as Yeoman 2nd Class on Finally “retiring from retirement” in December which later (1957) awarded him an honorary the aircraft carrier USS Bunker Hill. The next 2000, he focused on enjoying his second mar- doctorate degree. Noehren made over 40 record- three years were spent studying piano, organ, riage. Although he was diagnosed with cancer ings, and was the first organist and one of only and choir directing with Dr. Alfred Brinkler, five months later, he enjoyed a high quality of two non-French organists to receive the Grand organist-choirmaster at the Cathedral of St. life nearly until his death. At the request of his Prix du Disque (1953), for his recording of the Luke’s (Episcopal), Portland, Maine, who created son, Philip, he compiled a complete list of his Bach Trio Sonatas. In 1978 he received the first the Brinkler School of Organ so that G. I. Bill finishing trips for Schantz, as well as any mem- Performer of the Year Award from the New York funds could be used. ories he had of them. The first part was donat- City Chapter of the American Guild of He followed his parents to Pittsburgh, and ed to the OHS American Organ Archives in Organists. was introduced to pipe organ servicework June, 2002 and the latter part will follow. His Through grants from the Carnegie through his longtime friend, Harry J. Ebert, at great legacy to the organ world has been not Foundation and the University of Michigan, the Baptist church where he and his first wife just his own career, but what he passed on to following World War II, Noehren toured Elizabeth Bryner met. They were married in those around him: his first wife, Elizabeth, pro- France, Germany, and the Netherlands exten- 1952 and had three boys. Elizabeth passed away duced hundreds of client proposal drawings for sively, gathering scaling and voicing data on after 44 years of marriage, from cancer in 1996. Schantz; son Paul was a pipemaker for many historic organs of those countries. Articles During his four years in Pittsburgh, Robert years; son Philip, an organ historian, has serv- based on these experiences appeared in The worked for two service firms, Morehouse, iced and restored organs, and made pipes; and Diapason beginning in 1948. Noehren per- Bowman & Brandt and Peloubet & Sons. The son Kenneth, while briefly involved in organ formed recitals throughout Europe, Canada, latter was the local agent for the Schantz Organ work, became a full-time church musician. and the United States. He performed the com- Co. and when sent there to pick up a console, he Robert is survived by his wife, Frances; sons plete organ works of Bach at the University of decided that that was where he wanted to work. Paul, Philip and Kenneth; brother Philip, and Michigan in 1955–57. Robert began his 35 years at Schantz in sister Alice Maye-Davies. A memorial service Noehren formed his own organ company April 1954. He was trained by the Englishman was held on Saturday, September 7, at St. at his home in Ann Arbor and built 20 organs Jack Cook, founder of Schantz’s pipe shop, and Andrew’s Episcopal Church, Akron, the music between 1954 and 1978, including large four- the one tangible contribution of E. M. being played on the 1979 Schantz. Memorial manual instruments at St. John’s Cathedral, Skinner’s brief publicized association with the contributions in Robert’s name may be made to Milwaukee; First Presbyterian Church, Buffalo; firm. After two years as voicer and finishing the St. Luke’s Episcopal Church Missions and First Unitarian Church, San Francisco. In assistant, he began 33 years as one of the firm’s Fund, St. Luke’s Episcopal Church, 565 South 1999 Harmonie Park Press (Warren, Michigan) principal finishers, totaling 320 organs. Cleveland-Massillon Rd., Akron OH 44333. published An Organist’s Reader: Essays by Robert During the majority of his time at Schantz he —Philip Maye
51 Vol. 47, No. 1 The TRACKER minutes
Minutes of the National Council Meeting Monday and Tuesday, June 24-25, 2002 The Joffrey Ballet Room of the Hotel Allegro Randolph and Wells Streets, Chicago, Illinois
These minutes follow the order of Murphy. A Solicitation Marchesano also provided further ularly in North America.” the agenda and do not necessarily Committee for the Endowment details on the Archives Symposium Motion passed, one opposed. follow the order in which they were Fund is in the process of forma- mentioned above. discussed. tion. Discussion of approaching Moved: Alcorn-Oppedahl; sec- persons for gifts to the The meeting recessed for luncheon ond-Schnurr, that the National Call to Order: The meeting was Millennium Campaign of the at 12:30 p.m. The meeting recon- Council approve the Job called to order by President OHS Endowment Fund ensued. vened at 2:30 p.m. Description for the Organ Barone on Monday, June 24, Historical Society Director of 2002, at 9:09 a.m. Present: Archives: Allison Alcorn- OLD BUSINESS Publications as developed by the Michael Barone (President), Scot Oppedahl. Councilor Alcorn- Ten-Year Plan: Huntington. Publications Oversight Huntington (Vice-President), Oppedahl presented a written There was no report. Committee, and as amended by Stephen Schnurr (Secretary), report. Plans for the Archives National Council. Motion passed Allison Alcorn-Oppedahl (arrived Symposium for April 23-27, Guidelines for Restoration: unanimously. 2:30 p.m.), David Dahl, Mary 2003, in Princeton, New Jersey, Huntington. There was no report. Gifford, Paul Marchesano, Patrick are progressing. Moved: Gifford; second- Murphy (arrived 9:14 a.m.), Fiftieth Anniversary: The Huntington, that National David Barnett (Treasurer), and Organizational Concerns: President and the Secretary are Council approve the Procedures William Van Pelt (Executive Thomas Brown. Councilor directed to work together to draft for Evaluation of Completed Director). Also present (at vari- Brown presented a written report. a letter regarding the prospect of Manuscripts and Procedures for ous times): Stephen Pinel The By-laws Revision Committee sponsorship of a major recital at Evaluation of a Proposal to Write (Archivist), Joseph McCabe continues its work. Committee the 2006 National Convention of a Book, as developed by the (Chair, 2004 Convention), members are: Councilor Brown the American Guild of Organists Publications Oversight Jonathan Ambrosino (Organ (chair), Scot Huntington, Agnes in Chicago. Councilor Alcorn- Committee and presented its Handbook Editor). Armstrong, and James Wallmann. Oppedahl indicated that the April 2002 meeting minutes. American Musical Instrument Motion passed unanimously. Approval of Minutes: Moved- Research and Publications: Society is open to discussion Marchesano; second-Dahl, to Mary Gifford. Councilor Gifford regarding an OHS-sponsored Convention Sourcebook approve minutes of the submitted a written report. The paper session at its 2006 Annual Revision: Dahl reported on the Richmond, Virginia, meeting, Publications Oversight Committee Meeting. continuing work of the March 1-3, 2002. Motion passed has held its first meeting and has Convention Sourcebook Review unanimously. formulated policies for submission Archives Operating Procedures: Committee. of manuscripts and monographs Alcorn-Oppedahl. Progress on REPORTS for consideration of publication by drafting the Procedures are on Moved: Dahl; second- Executive Director: William Van the Society. hold until further work by the Marchesano, to remove from the Pelt. The Executive Director pre- Society’s By-laws Review table the following motion: sented a written report. Member- Conventions: David Dahl. Committee. Moved: Marchesano; second- ship income has increased. Appr- Councilor Dahl presented a writ- Huntington, that the National oximately 300 persons have regis- ten report, with a supplemental Director of Publications: Conventions of the Organ tered for the Chicago Convention. report by Kristin G. Farmer, Gifford. Advertising for the Historical Society be limited to a Catalog sales have been brisk. Convention Coordinator. A Director of Publications position maximum of six days and one report on progress of the has commenced. evening, excepting any conven- Treasurer: David Barnett. The Convention Sourcebook Review tions which already have contracts Treasurer submitted a written Committee was included. Moved: Alcorn-Oppedahl; sec- in force. Motion to remove said report. An increase in Net Worth ond-Brown, that National motion from the table passed is recorded at 15.3%. The Education: Paul Marchesano. A Council adopt the Mission unanimously. Motion to limit Society’s books for Fiscal Year written report was submitted by Statement for the publications of duration of Conventions passed 2000-2001 are in the hands of Councilor Marchesano. Ten appli- the Organ Historical Society as unanimously. Huzek and Creech, C.P.A.’s, who cations were received for the Biggs submitted by the Publications will report to the National Council Fellowship, of which two were Oversight Committee: “The mis- Moved: Dahl; second- and prepare the federal tax returns. awarded, to Charles Creech, of sion of the Organ Historical Marchesano, that a honorarium of Louisiana, and Michael Banks, of Society Press is to publish periodi- $2,500 be established for COUNCILORS’ REPORTS Indiana. Ten Historic Organ cals, books, music, and other National Convention Chairs, to Finance and Development: Citations have been awarded in the media that encourage, promote, be provided at the conclusion of Patrick Murphy. A written report past year, three additional applica- and further an active interest in the Convention, to be effective was submitted by Councilor tions were declined. Councilor the organ and its builders, partic- immediately.
52 The TRACKER Vol. 47, No. 1 Moved: Huntington; second- increased to $300 for lectures of Schnurr-no. Motion failed. excellent efforts in preparing and Brown, to amend motion to forty minutes or less and to $600 presenting the Chicago increase amount of honorarium to for lectures of forty-one minutes NEW BUSINESS Convention. Resolution passed. $5,000. Vote for amendment by or more, effective with the 2003 Moved: Marchesano; second- roll call: Alcorn-Oppedahl-yes; National Convention, to be paid Gifford, that National Council UPCOMING MEETINGS Barnett-no; Brown-yes; Dahl-no; upon submission of a manuscript adopt the budget for Fiscal Year Friday-Saturday, October 18-19, Gifford-no; Huntington-yes; for publication. Motion passed 2002-2003 with income of 2002, at the American Organ Marchesano-yes; Murphy-no; unanimously. $270,907 and expenses of Archives in Princeton, New Jersey. Schnurr-yes. Amendment passed. $268,321. Motion passed unani- Beginning on Friday at 1:30 p.m. The Council discussed in depth The meeting recessed for the day at mously. until 6:30 p.m., and from 7:30 the recommendations of the 8:45 p.m. p.m. until 9:30 p.m., resuming Sourcebook Review Committee. Discussion about the organiza- Saturday morning at 9:00 a.m. All aspects and the impacts of the The meeting reconvened on Tuesday, tional structure of the Organ until 4:00 p.m. The Archives motion were discussed in detail. 25 June 2002, at 9:15 a.m. Historical Society ensued. Governing Board invites the Vote for amended motion, by roll Present: Michael Barone National Council to luncheon call: Alcorn-Oppedahl-yes; (President), Scot Huntington (Vice- President Barone stated that he before commencement of the Barnett-no; Brown-yes; Dahl- President), Stephen Schnurr will engage a consultant for the National Council meeting. abstain; Gifford-no; Huntington- (Secretary), Allison Alcorn- Endowment Fund to meet with yes; Marchesano-yes; Murphy-no; Oppedahl, Thomas Brown, David National Council at its next meet- Friday-Saturday, March 7-8, 2003, Schnurr-yes. Amended motion Dahl, Mary Gifford, Patrick ing in Princeton, New Jersey. in the Minneapolis-Saint Paul, passed. Murphy, Paul Marchesano, David Minnesota, area. The Publications Barnett (Treasurer), and William Moved: Huntington; second- Oversight Committee will meet on Moved: Dahl; second-Huntington, Van Pelt (Executive Director). Also Dahl, that the Councilor for Wednesday and Thursday, March that a Convention Committee may present (at various times): Stephen Finance and Development cause 5-6, 2003, also in the same vicinity. petition National Council for up to Pinel (Archivist), Joseph McCabe to be printed by October 1 a five complimentary hotel rooms for (2004 National Convention membership brochure, based on Tuesday, Wednesday, and the year of its Convention. Motion Chair), Jonathan Ambrosino the mock-up already produced, in Thursday, June 17-19, 2003, in passed unanimously. (Organ Handbook Editor). cooperation with the Executive Pennsylvania. Director, printing sufficient copies Moved: Dahl; second- Moved: Gifford; second-Barnett, for a major mailing. Motion Friday-Saturday, October 17-18, Huntington, that National that no person who plays an passed unanimously. 2003, in Richmond, Virginia. Convention recitalist honoraria be organ at an Organ Historical increased to $300 for recitals of Society National Convention will The Councilor for Education will ADJOURNMENT forty minutes or less and to $600 receive payment from any source conduct research on available grant Moved: Marchesano; second- for recitals of forty-one minutes in excess of $300.00 for a recital funding and report to National Huntington, to adjourn. Motion or more, effective with the 2003 of forty minutes or less or Council at its next meeting. passed unanimously. Meeting National Convention. Motion $600.00 for a recital of forty-one adjourned at 1:10 p.m. passed, three opposed. minutes or more. Vote by roll Resolved: Dahl; second- —Respectfully submitted, Stephen call: Alcorn-Oppedahl-no; Huntington, that National Schnurr, Secretary. Moved: Huntington; second- Barnett-no; Brown-no; Dahl-no; Council thanks Chair Stephen —Approved Friday, October 18, Alcorn-Oppedahl, that National Gifford-yes; Huntington-no; Schnurr and the 2002 National 2002, in Princeton, New Jersey. Convention lecturer honoraria be Marchesano-no; Murphy-no; Convention Committee for its
Minutes of a Meeting of the Governing Board of the American Organ Archives of the Organ Historical Society A regular meeting of the The outline of these minutes fol- (Dr. Smith), it was suming work of preparing subject Governing Board (“GB”) of the lows the agenda of the meeting. headings for the catalog records. American Organ Archives of the All actions taken by the GB were RESOLVED: That the minutes of The books and Mr. Pinel’s prelimi- Organ Historical Society was held unanimous. a meeting of the Governing Board nary records are then turned over on Friday, April 26, 2002, at the of the American Organ Archives to CCS for professional cataloging. offices of the American Guild of 1. Welcome. The Chair called the of the Organ Historical Society Mr. Pinel receives the proposed cat- Organists in New York, New meeting to order at 2:12 p.m. An held on October 27, 2001, be, alog records from CCS and reviews York. Present were governors agenda for the meeting and hereby are, approved. them for accuracy. The catalog Allison Alcorn-Oppedahl (Chair), (Attachment A) was distributed. records are then entered into the Laurence Libin, Rollin Smith, and 4. Cassidy and backlog update. The CCS and OCLC databases, Mr. James Wallmann; Stephen Pinel, 2. Establishment of quorum. A Archivist reported that cataloging Pinel receives catalog cards, and the the Archivist; and Paul quorum of the GB was present to for 701 of 800 backlog items has books are processed for shelving in Marchesano, member of the conduct business. been completed by Cassidy the collection. National Council of the Society Cataloguing Services (“CCS”). The and Councillor for Education. 3. Approval of minutes. The min- remaining 99 items are expected to CCS had made an error in com- Governors Lynn Edwards and utes of the October 2001 meeting be finished by early summer. Mr. puting the cost of cataloging Elizabeth Towne Schmitt were of the GB had previously been Pinel described the procedures fol- records for the Archives. See the absent and excused. circulated. Upon motion duly lowed for producing these records. memo from CCS (Attachment B). made (Mr. Libin) and seconded He does the difficult and time-con- The error was $2,092 in favor of
53 Vol. 47, No. 1 The TRACKER minutes
the Archives. The GB agreed with how long CCS would honor its three short papers. The sense of Wurlitzer-Bruck to have the man- Mr. Pinel that the overpayment prices. Mr. Pinel contacted CCS the GB was that all papers should uscripts appraised. should simply be applied to the and received a three-year commit- be by invitation only, not open to next invoice from CCS. ment to hold the monthly fee at all comers. Transportation on 9. Tracker articles. Mr. Wallmann the quoted level. The GB was Thursday night to the recital in (July 2002 issue; copy due May The Archivist’s Report included inclined to approve the OPAC but New Brunswick was needed. Mr. 15), Dr. Smith (October 2002 some examples of pre-cataloging wished to consider the budgetary Pinel will see about hiring a bus. issue), and Mr. Libin (January 2003 by the Archivist and final catalog impact of such a move. issue) agreed to provide articles for records by CCS. The GB discussed The GB questioned the projected the next three issues of the Tracker. cataloging (with a spirited Upon motion duly made (Dr. income of the symposium––60 reg- exchange on the fact that the Oppedahl) and seconded (Mr. istrations at $120 seemed opti- 10. Archives edition series. The Walcker organbuilding family Wallmann), it was mistic. The first Archives sympo- Society has a new committee to name was correctly shown as sium in October 2000 was the ben- oversee the publishing activities of Valkers in the catalog record of a RESOLVED: That, subject to eficiary of several contributions that the Society. Ms. Edwards is a book in Latvian) and expressed its available budget funds, the helped underwrite the event but member of this committee. The satisfaction with the procedures Archives establish an online pub- the National Council has recently committee is interested in a series used by the Archivist and the lic access catalog independent of directed there be no special fund- of reprints of books and organ- efforts of CCS. Mr. Pinel pointed Rider University. raising while the Millennium builder catalogs. Mr. Wallmann out that we are over budget on cat- Campaign for the OHS and Mr. Pinel had already given aloging expenses because CCS has RESOLVED FURTHER: That Endowment Fund is underway. some thought to specific titles and cataloged (or will catalog) 800 the Archivist be, and hereby is, Mr. Pinel pointed out that when they were directed by the GB to titles, not the 500 titles projected directed to negotiate with Cassidy funds were solicited to move the prepare a list of five books and for this year’s budget. Reserve Cataloguing Services to establish collection and remodel the space five organbuilder catalogs to be funds or savings in other parts of an online public access catalog for for the Archives within Talbott attached to these minutes and to the budget are available to cover the Archives and to take all Library three years ago, donors be given to Dr. Orr of the publi- this additional expense. Whether actions consistent with the forego- were specifically told that any cations committee. Several mem- in this year’s or next year’s budget, ing direction including, without monies left over after the move and bers expressed the hope that the the books will need to be cataloged limitation, the execution of an remodel would be used to support books and catalogs published at some time; the GB felt that with appropriate agreement with a conference at the Archives. About would be high-quality reprints reserve funds available, it was Cassidy Cataloguing Services. $4,500 remains in the moving worthy of the original. (The list is appropriate for all 800 titles to be account and some or all of this appended as Attachment D.) cataloged during this fiscal year. 6. Card catalog. The Archivist amount could be used to support expects that the Archives will add the symposium if income does not 11. 2001-2002 budget. The cur- Dr. Smith pointed out that as the about 250 new records per year in meet projections. (These funds rent budget was reviewed with the collection of the Archives achieves the future. To prepare catalog were not needed for the October help of the Treasurer’s Report for international prominence, we may cards for this many records will 2000 symposium.) The GB felt the quarter ending 12/31/01 receive travel grant requests from cost about $380. Few libraries that the symposium could best be (Attachment E) and the worksheet scholars outside North America. keep their card catalogs current sponsored through the education prepared by Mr. Pinel This has budget implications for and most researchers are familiar committee of the Society. Mr. (Attachment D to the Archivist’s the Archives. with electronic searches to locate Marchesano concurred and agreed Report). The Archivist’s worksheet books. If the decision is made to to make a budget request of $2,500 shows total expenses through April 5. OPAC. The GB was referred to freeze the card catalog, some from the National Council to sup- of $44,735.30 against a 2001- Attachment F of the Archivist’s method of consulting the current port the symposium. 2002 budget of $59,400 (should Report for CCS’s proposal to create catalog of the collection will be be $59,460). Mr. Pinel explained an online public access catalog necessary ––most likely via com- The GB was generally pleased with that most of the expenses of the (OPAC) for the Archives. Although puter and/or by printed catalog to the planning for the symposium Archives are in the first two-thirds the holdings of the Archives are, in reflect records not in the card cat- that had been done and directed of the fiscal year and that we are theory, available via Rider alog. The GB deliberately took no Mr. Wallmann and Mr. Pinel to close to budget. Cataloging University’s OPAC, experience has decision on the card catalog, pre- use their best judgment in finaliz- expenses are high (see the discus- shown that the Rider OPAC is not ferring to see if an OPAC for the ing plans for the symposium. sion in item 4 above). Mr. Pinel always current with Archives hold- Archives is developed and what was given some constructive criti- ings. Having control of its own the financial implications are of 8. Appraisal of collection. Earlier cism on how his worksheet could OPAC will allow the Archives to keeping the card catalog current. that day, Mr. Pinel and Mr. better reflect projected versus actu- make its records much more cur- Wallmann had met with Gene al expenses and he was encouraged rent and available to the public. As 7. 2003 Symposium. A proposed Bruck and Marianne Wurlitzer of to consult with the Treasurer of the collection of the Archives schedule for a symposium to be Wurlitzer-Bruck in New York to the Society for assistance. becomes a major resource for organ held at the Archives from April 23 discuss the appraisal of manu- research, having an OPAC becomes to 27, 2003, was circulated scripts in the collection of the 12. 2002-2003 budget worksheet. more important to the mission of (Attachment C). The keynote Archives for insurance purposes. Attachment G to the Archivist’s the Archives. CCS’s CassidyCat is speaker, Dr. Uwe Pape, and the Mr. Bruck and Ms. Wurlitzer Report with Mr. Pinel’s proposed available as an OPAC to host the two recitalists, Ms. Edwards and were prepared to appraise the budget for 2002-2003 was dis- records of the Archives. CCS pro- Joan Lippincott, have accepted manuscripts. The more informa- cussed. As a preliminary remark, posal shows a one-time charge of invitations to participate. Most tion they could be provided about Mr. Libin suggested that the $1,150 to set up the OPAC and a participants for the two panels are the items being appraised, the eas- Archives through the GB direct monthly maintenance fee of $250. lined up. There are open slots for ier, cheaper, and more accurate the investment of funds designated (One-time set-up expenses with two papers and a 45-minute block their appraisal would be. Mr. to it as is usual with the fiduciary OCLC are $1,325.) The GB asked of time, originally conceived for Pinel was directed to work with responsibilities of any group––or at
54 The TRACKER Vol. 47, No. 1 Institute for least that the GB ask how the will not be difficult to finalize the tion and move to future successes. funds allocated to and/or con- Governing Procedures once revised The Chair and Secretary will con- Pipe Organ trolled by the Archives are invested Society by-laws are approved. sider the matter further. by the Society. Dr. Oppedahl said that she would ask the Treasurer of Mr. Wallmann also expressed his 15. Ratify raise for Archivist. Research and the Society about this matter. views on the issue of whether the Subsequent to the previous meet- National Council had improperly ing of the GB the National Education After considerable discussion, a delegated authority to the GB Council had amended the Archives motion was made (Mr. Libin) and under Pennsylvania law. In the budget submitted to include a 4% The Institute for Pipe Organ seconded (Dr. Oppedahl) and it was opinion of Mr. Wallmann, there increase in compensation for the Research and Education, Inc. has been no such improper delega- Archivist. Earlier this year the (IPORE) is a new non-profit RESOLVED: That the following tion of authority, but even if there Treasurer of the Society had organization which has been creat- had been, the National Council requested that the GB formally budget for the fiscal year 2002- ed to fulfill the following missions: 2003 be presented to the National has been kept fully informed of approve the increase to Mr. Pinel. Council for adoption by that body the activities of the Archives and Members of the GB had given as the budget of the Archives. has, in practice or effect, ratified their consent via e-mail but it was 1. To increase, refine and dissemi- and approved the actions of the felt best to formalize the GB’s nate knowledge of the pipe organ, * See budget below GB. Accordingly, this issue is not approval of this action. Upon including its history, construction, a problem for either the National motion duly made (Dr. Oppedahl) literature, and music, for use by The requested total represents a Council or the GB. and seconded (Mr. Libin), it was scholars, organists, organbuilders, 9.95% increase over the previous organ enthusiasts, and the general year. One-time expenses are a pay- 14. Resignation of Kristin Farmer. RESOLVED: That the four per- public. ment to Westminster Choir Ms. Farmer had tendered her res- cent (4%) increase in compensa- ignation to the Chair in an e-mail tion to the Archivist effective College for systems expenses 2. To make this information freely ($775), the appraisal ($2,500), the message dated April 23, 2002 October 1, 2001, is hereby rati- CassidyCat setup ($1,150), and (Attachment F). fied, confirmed, and approved. available via the World Wide Web, OCLC set-up expenses ($1,325). as allowed by law and permitted by Subtracting $5,750 in one-time Upon motion duly made (Mr. 16. Dates for next two meetings. available funds. expenses, the 2002-2003 budget is Libin) and seconded (Dr. The next meeting of the GB will $59,630, only 0.2% greater than Oppedahl), it was be held at the Archives in 3. To rank among the most com- the 2001-2002 budget. The GB Princeton on Friday, October 18, plete and most respected on-line feels justified in requesting RESOLVED: That the Governing 2002, from 9:30 a.m. to 12:30 sources for information about the $65,380 for the Archives, particu- Board accept the resignation of p.m. (The National Council will pipe organ. larly because the Archives will not Ms. Farmer with deep regret, with meet that afternoon and Saturday seek to raise funds for exceptional profound gratitude for her service at the Archives.) IPORE’s first projects will be to items in light of the Millennium to the Archives, and with the Campaign. hope that she may again serve the In connection with the sympo- sponsor further work on the Archives in an official capacity. sium to be held in 2003, the Encyclopedia of Organ Stops (in par- 13. AOA governing procedures/OHS meeting after next will be held at ticular, the addition of sound sam- by-laws revision update. Mr. The Chair will send a letter of the Archives in Princeton on ples) at