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Volume 53, Number 4, Fall 2009 THE TRACKER JOURNAL OF THE ORGAN HISTORICAL SOCIETY O r g a n H i s t o r i c a l s O c i e t y 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

The National Council CONVENTIONS Officers and Councilors Term Expires Pittsburgh, June 21–26, 2010 Washington, D.C., June 27–July 2, 2011 Scot L. Huntington ...... president 2011 J.R. Daniels Jim Stark Carl Schwartz P.O. Box 56, Stonington, CT 06378 401-348-8298 [email protected] [email protected] [email protected] [email protected] Chicago, July 8–13, 2012 Vermont, June 24–29, 2013 Joseph M. McCabe ...... vice president 2013 Dennis Northway Marilyn Polson 1612 Blossom Park Ave., Lakewood, OH 44107 716-881-1428 [email protected] [email protected] [email protected] Stephen J. Schnurr Jr...... secretary 2011 Saint Paul Church, Box 1475, Valparaiso, IN 46384 219-531-0922 [email protected] James M. Stark (ex officio) ...... treasurer appointed American Organ Archives 6408 Kentucky Ave., Pittsburgh, PA 15206 412-363-0462 [email protected] At Talbott Library Christopher Marks ...... councilor for archives 2013 Westminster Choir College, 101 Walnut Lane, Princeton, NJ 08540 3022 Browning St., Lincoln, NE 68516 402-472-2980 [email protected] Stephen L. Pinel ...... Archivist Allen Kinzey ...... councilor for conventions 2011 629 Edison Dr., East Windsor, NJ 08520-5205 609-448-8427 [email protected] 5831 E. 9th St., Tucson, AZ 85711 520-571-1691 [email protected] James H. Cook ...... councilor for education 2011 HONORARY MEMBERS Box 549033, Birmingham-Southern College, Birmingham, AL 35254 [email protected] Randall E. Wagner . . . . . councilor for finance and development 2011 †E. Power Biggs; †Joseph E. Blanton; †Alan Laufman 242 Old Mill Road, Erie, PA 16505 814-833-5924 [email protected] Barbara Owen; Orpha Ochse; †John Ogasapian Dana Robinson . . . . councilor for organizational concerns 2013 † † 709 West Washington St., Champaign, IL 61820 217-333-0607 [email protected] Albert Robinson; Albert Schweitzer Dennis Northway . . . . . councilor for research and publications 2013 William T. Van Pelt; †Martin Vente; Randall E. Wagner 2501 West Lunt Ave., Chicago IL 60645 773-764-5003 [email protected] Daniel N. Colburn II (ex officio) ...... executive director ADVERTISING IN THE TRACKER 926 Stauffer Circle, West Grove PA 19390 [email protected] The Tracker, Journal of the Organ Historical Society, is pub- OHS HEADQUARTERS lished four times a year. It is read by over 4,000 people who shape the Daniel N. Colburn II ...... executive director course of the art and the science of the pipe organ. For nominal cost, David M. Barnett ...... controller you can support the publication of The Tracker and keep your name Jason J. McHale ...... administrative assistant before these influential readers by advertising. For additional information, contact [email protected]. OHS CATALOG STAFF Rates and technical requirements are available on the OHS Web Thomas L. Johnson, Matthew A. Gillis, Steven M. Oyork, David E. Fielding site, at www.organsociety.org. THE TRACKER Members may join any number of chapters Rollin Smith ...... director of publications, editor 313 Fulton St., Westbury, NY 11590 [email protected] Chapter Name �� FOUNDING DATE Len Levasseur ...... pre-press and design Inquiries [email protected] TBA ...... advertising manager CHICAGO-MIDWEST �� 1980 MIOHS, MICHIGAN �� 1994 [email protected] DEREK NICKELS CARL BALDUF Church of the Holy Comforter 1046 Coleman St. 222 Kenilworth Ave. Ypsilanti, MI 48198-6308 Kenilworth, IL 60043 [email protected] Committees and boards [email protected] Alan Laufman Research Grant ...... James L. Wallmann, chair MID-HUDSON, New York �� 1978 5121 Mystic Hollow Court, Flower Mound, TX 75028 [email protected] EASTERN IOWA �� 1982 RODNEY LEVSEN Stuart L. Ballinger American Organ Archives Governing Board ...... vacare 221 Maple Street, P.O. Box 542 11 Lown Ct. Buffalo, IA 52728 Poughkeepsie, NY 12603-3321 Endowment Fund Advisory Board ...... Randall E. Wagner, chair [email protected] [email protected] E. Power Biggs Fellowship ...... Derek Nickels, chair HARMONY SOCIETY �� 1990 NEW ORLEANS �� 1983 Church of the Holy Comforter, 222 Kenilworth Ave., Kenilworth, IL 60043 Western PA & Ohio Valley Rachelen Lien [email protected] Walt Adkins 1010 Nashville Avenue Historic Organ Citations ...... Stephen J. Schnurr Jr., chair 476 First St. Heidelberg, PA 15106 New Orleans, LA 70115 Historic Organ Recitals ...... Scott Carpenter [email protected] [email protected] 806 Madison Ave., Winston-Salem, NC 27103 336-748-9354 [email protected] HILBUS �� 1970 PACIFIC-NORTHWEST �� 1976 Membership ...... vacare Washington-Baltimore David Dahl Carolyn Booth Nominating (ad hoc, expires 2011) ...... Jack M. Bethards, chair [email protected] Schoenstein & Co., 4001 Industrial Way, Benicia, CA 94510 707-747-5858 [email protected] OHS Pipe Organ Database ...... James H. Cook, chair MEMPHIS �� 1992 WISCONSIN �� 1988 Dennis S. Wujcik Phyllis Frankenstein Publications Governing Board ...... James L. Wallmann, chair 45 N. Belvedere #101 1253 Riverton Dr. Memphis, TN 38104-2517 Mukwanango, WI 53149 Publications Prize Committee ...... Bynum Petty, chair [email protected] [email protected]

THE TRACKER (quarterly) and the same rates. Add $15 for postage to the International Index to Music Periodi- ADVERTISEMENTS are paid and do not ORGAN ATLAS (annual) are published Canada or Mexico; $30 for delivery cals, [email protected]. imply OHS endorsement. Advertising is by the Organ Historical Society, a non- outside North America; $10 for First not accepted for electronic substitutes for profit, educational organization. Class US delivery. EDITORIAL CORRESPONDENCE the organ. P.O. Box 26811, Richmond, VA 23261. may be addressed to the editor 804-353-9226. www.organsociety.org. BACK ISSUES of The Tracker are available at [email protected]. The ORGAN HISTORICAL at $5 each, $18 per volume. Back issues of Responsibility for facts and opinions SOCIETY is not obligated to any ANNUAL MEMBERSHIP DUES the annual Organ Atlas are $15.00 (2007-9), expressed in articles rests with the commercial interest. The Society will (includes The Tracker and the Organ $35 (2006). The annual Organ Handbook (28 prevent or prosecute: 1) any use of Atlas): Regular Member $60; Age issues through 2005) are $5.00 each. Index authors and not with the Organ its material to imply endorsement or 65 or over $50; Age 25 or under $20; to Volumes 1-33 is $7.50. Order at www. Historical Society. Material accepted discredit; 2) misuse of the name The Tracker Additional Member in household $45; ohscatalog.org/ohspress.html. The Tracker for publication in The Tracker and the or the Organ Atlas; 3) misuse of the name Contributor $100; Donor $250; Sponsor is indexed (Vols 32 to present, annually) Organ Atlas becomes the property of ORGAN HISTORICAL SOCIETY. The $500; Patron $1,000; Benefactor $2,500. in print and online by The Music Index, the Organ Historical Society, and may Tracker is a registered trademark. Payment over $33 is deductible as charitable www.harmonieparkpress.com/Musicin not be reproduced in whole or in part contribution. Institutions and businesses dex.asp. Also indexed (from Volume 37) in any form without permission from Copyright © 2009, Organ Historical may be members with no vote at the with abstracts on CD-ROM and online by the editor. Society, The Tracker ISSN: 0041-0330. Discover the Renaissance City OHS Pittsburgh 2010 June 21–25

Peter Guy Opens our convention on this instrument Monday, June 21, 2010, 8 p.m.

Organ Historical Society www.organsociety.org/2010 calvary episcopal church 1963/1991 casavant iv/138 donors Cincinnati music hall fundraising project

John A. Hupcey Peter Romans Isaiah Hyman Richard E. Rowe Foley-Baker, Inc. Nancy Russell Jazzmuze, Inc. W.J. Ryan Lee Jessup A.E. Schlueter Eric D. Johnson Schoenstein & Co. James H. Johnston Donald P. Schroeder Wayne Kallstrom Preston Schultz Kerner & Merchant R.B. Scoggins Pipe Organ Co. Stylianos P. Scordilis Allen B. Kinzey Dorothy M. Scott Frank L. Kuhlmann Scott Shaw John Kuzma Annette Sims Mary F. Landrum David C. Sinclair Norman Lane Gerald R. Skeels Norman Lane & Co., LLC Jane Scharding Smedley The Publications Governing Board of William F. Czelusniak Gregory E. Leonardo Donald W. Smith the Organ Historical Society would like David P. Dahl Fernand Letourneau Emmet G. Smith to thank the following individuals and Ivan E. Danhof Len Levasseur Rollin Smith firms for their continuing support of the John A. Deaver Jim Lewis Jay W. Snodderly OHS Press and their generous response William Degan Joan & Curtis Lippincott Paul Spalla to the Cincinnati Music Hall reprint Herbert A. Lohr Lydia Agnew Speller fund drive. Bruce E. Dersch Michael A. Detroy Robert S. Lord James M. Stark Michael Lubrant Georg F. Steinmeyer Ron Aaron A. Eugene Doutt Brantley A. Duddy Tim Ludwig Charles A. Stewart Richard B. Ahlvin Wesley C. Dudley Ken Lundberg Laurence A. Stith Murry Alewine Joseph F. Dzeda Joey D. Manley John B. Stoltzfus Charles D. Allman Charles R. Eames Joseph M. McCabe Earl E. Strausser Jonathan E. Ambrosino Dexter & Jane Edge Charles McClain Robert Sunkel Christopher S. Anderson Martin Wayne Eich Richard McKinley Frederick L. Swann Margaret Angelini Bradford H. Elker Robert W. Meister Jon H. Thieszen George H. Ashley Jane Errera Thomas P. Miles David L. Thomas Donald C. Auberger Donald K. Fellows Richard G. Miller Kathleen Thomerson Stanley Ball Charles Ferguson Norman D. Miller Burton K. Tidwell Cryder H. Bankes Vic Ferrer Milnar Organ Company Richard H. Tietjen John Barr Philip R. Frowery John S. Mitchell Michael J. Timinski Josephine K. Bennington Kenneth J. Garber Rosalind Mohnsen Terrence A. Tobias Malcolm Benson Roberta S. Gary Mary Monroe Gordon Turk B.P. Bogert Susan T. Goodson Alan Morrison Donald C. Ulm Ola Borg John Goodwin & Family Richard G. Morrison Andrew Unsworth Hugh L. Bradshaw Rachel Gragson Grant R. Moss John T. Vernieu John J. Breslin Paul L. Gray Anthony E. Napolitano William M. Via Kristine Breunsbach John Groff Mark R. Nemmers Herbert L. Vieira Bennett & Carol Britt Kevin Grose Fritz Noack E. Robert Vogt Raymond A. Brubacher Timothy E. Guenther Orpha Ochse Randall E. Wagner Fred N. Buch Stephen A. Gutridge Gluck Orgelbau Ronald A. Wahl Charles E. Buchner Belmon H. Hall William N. Osborne James R. Walker Horst Buckholtz Robert L. Hanlin Barbara Owen James L. Wallmann Lynn R. Clock Kurt R. Hansen William Paul Pacini Charles R. Ward Matthew J. Collins Richard D. Harman Larry Palmer Kenneth W. Warren James Cook Calvin N. Harrid Peebles-Herzog, Inc. Barry Weiss Chester Cooke James Doug Hatton Howard L. Penny Charles R. West William F. Coscarelli Philip Haywood Tom Perkins Martin Wiegand John E. Courter Robert C. Hebble Stephen L. Pinel Marshall S. Wilkins Carroll F. Craft Carl L. Hillyer Michael Quimby Barbara Wilson David Craighead Norman Holmes Douglas Reed Gerald M. Womer Gray F. Crouse Irving Holtz Lois Regestein Harry E. Woodell Andrew N. Crow Charles H. Horton Ann Reibenspies William K. Wymond Gregory F. Crowell James R. Houston Steven L. Rice Ronald L. Yeater Richard Cummins Dana J. Hull Paul L. Ritzmann Hugh D. Young Christopher R. Cusumano Scot L. Huntington Donald C. Rockwood Emmett Zediker

4 the tracker vol. 53, no. 4 scot l. huntington president’s message the Tracker Volume 53, Number 4 STEPPING INTO A NEW OFFICE is always a chal- FALL 2009 lenge after being accustomed to a previous situation, but it is a challenge that comes with bright hopes for the future, a familiarity with ongoing issues, and the natural ambition to move forward, leaving a situation better than it was found. It has C O NT E NT S been a privilege to serve the Organ Historical Society in various capacities since 1984, particu- PRESIDENT’S MESSAGE larly as a member of National Council for the past 5 by Scot L. Huntington twelve years, but a distinct honor to be writing you now as your President. PITTSBURGH ORGAN Eleven years have passed since the Society last HISTORY examined its priorities and established long-range The Other Carnegie Music Halls goals. In 1998, as we rode the crest of the dot.com 8 by James M. Stark boom, who could have predicted the tragedy of 9/ll, war in the Middle East, four-dollar-a-gallon Glimpses of the gasoline, the staggering number of church closings, the glut of pipe organs american organ needing homes, or the most severe financial crisis since the Great Depres- and its use sion of the 1930s? While roughly 90 percent of the original ten-year plan 1820–1850 has been realized in one form or another, the project was allowed to at- by Beverly Jerold 14 rophy without a continuing plan for the Society’s future. For better or for worse, our world is now a very different place than it was a decade ago. As it’s all about the echo by Rollin Smith we enter the second decade of the new millennium, we must make prep- 26 arations for the future. Our most important debates will center around NEW OHS GUIDELINES FOR how to position the OHS as a more effective champion of the pipe organ CONSERVATION in the New World Order; how best to meet the needs of all our loyal 28 by John Watson members with the resources available to us; and most importantly, how to plan for the Society’s financial future and that of its most important asset, reviews the American Organ Archives, the largest repository of its type in the New Books and CD Recordings world and our crown jewel. As the first order of business, I am going to 34 work with Council to begin afresh the task of long-range goal setting to ensure the Society’s continued health and well-being in an ever-chang- Anniversary ing world. I welcome your input and participation in the process—we are 39 Dudley Buck all in this together— as we continue to build the Society as a major force in visiting, recording, documenting, conserving, and protecting the pipe INDEX 2008-2009 organ, the instrument we love with such passion and devotion. 40 Compiled by Rollin Smith In spite of the challenging economic times and the cutbacks we are all forced to make, it has been gratifying to see so many loyal OHS mem- ARCHIVES CORNER bers coming forth to help the Society financially in whatever way they 45 by Stephen L. Pinel can. We are not out of the woods, and, in spite of cautious predictions that the economy has hit bottom and is now on the way to a tentative re- covery, the good works of the Society still rely on you, its loyal members, as the primary source of support. Recent events have demonstrated how vital the OHS remains. Late o n t h e c o v e r last summer, the American Organ Archives held a sell-out tour in the The 1907, 4-manual, 54- lake region of New Hampshire. The tour was reminiscent of earlier con- rank Kimball organ at Temple ventions, passing through picture-postcard New England scenery to visit Rodef Shalom, Pittsburgh. small 19th-century instruments in quaint country settings. The tour was This instrument will be featured during the OHS a financial triumph for the Archives, and made the Society’s leadership 2010 Convention. aware that this type of simple country fare still resonates with a portion of the Society’s membership, the whole more diverse in its interests than PHOTOgraph by LEN LEVASSEUR it was a generation ago. Future events will continue to capitalize on the

vol. 53, no. 4 the tracker 5 president’s message continued

success of this return-to-yesteryear adventure in an effort to the OHS, and it was a triumph for the Publications Governing broaden OHS programs as we continue explore all avenues in Board and the many individuals who contributed to its success. order to better serve all our members. It gives me great pleasure to announce to you this year’s The membership’s response to the Publications Govern- recipient of the Distinguished Service Award: Randall E. ing Board reprint of the delightful and extremely rare book- Wagner of Erie, Pennsylvania. Well known in the OHS, let, The Cincinnati Organ, was overwhelming. In the midst of Randy is one of the original founding members of the Society the darkest days of last year’s economic slowdown, through who met in New York City one fateful day in 1956. He was the generous support of OHS members, the Board realized its an active member serving on National Council in the early financial goal to help subsidize the production of a substantial years of the Society, and now is serving as the Councilor for list of publication projects now waiting in queue. Finance and Development. Randy is an avid supporter of the This year’s convention in Cleveland was one of the most vi- Society’s programs, notably the American Organ Archives, brant in the Society’s history, and financially the most success- the Publications Governing Board, the Biggs Fellowship, and ful. The list of instruments, large and small, was so compelling, the Möller Collection, and has attended too many conven- with an ideal combination of performer to instrument, that the tions to count. During the 2006 anniversary year, the mem- convention attracted the largest turnout ever for an OHS event. bership voted to make him an Honorary Member in recog- Vice President McCabe, who so successfully planned the popu- nition of his Founding Member status and years of devotion lar 2004 convention in Buffalo, was the mastermind behind the to the Society. It was particularly fitting that Randy was hon- Cleveland convention. Congratulations, Joe, and many thanks ored this year during a convention which visited several in- to your entire committee for a monumentally successful event struments that shaped Randy’s youthful interest in the organ that drew a large and diverse crowd and left them all want- and his eventual life career in organbuilding. Congratulations ing more. The 2009 Organ Atlas is the flagship publication of friend, colleague, and loyal member of our OHS family.

M AJOR SUPPORTERS Jack M. Bethards Kenneth H. Kerr A.E. Schlueter OF THE ORGAN Dr. Stephen B. Black Dr. Arthur P. Lawrence Dr. Stephen J. Schnurr Jr. HISTORICAL SOCIETY Living Trust of Brian L. Buehler Fernand Letourneau A.R. Schopp’s Sons, Inc. The Society expresses its profound Herbert R. Buffington Dick Lewis Seattle Chapter, AGO gratitude to the following individuals and Robert E. Burns Laurence Libin James M. Stark organizations whose support totaled $500 Thomas A. Burrows Robert D.C. Long Martin F. Stempien Jr. or more during the 2007-2008 fiscal year Mark H. Carson J.O. Love Kerry Symes James F. Clark (October 1, 2007 through September 30, Dr. Diana Lee Lucker The Rev. Dr. J. Richard Szeremany 2008). All members are challenged and Kevin M. Clemens Estate of Forrest C. Mack Michael J. Timinski encouraged to join this group during the Lynn R. Clock Dr. Gerard R. Manecke Terrence A. Tobias 2009-2010 year. Chester W. Cooke Master Card Worldwide Jon L. Townsend David P. Dahl Douglas Mayer Jonathan E. Ambrosino Leland A. Dolan Bradley A. McClain Dr. Kenneth W. Usher American Institute of Organbuilders Charles N. Eberline Marian Ruhl Metson Father Edward Wagner Margaret Angelini Vic Ferrer Chris C. Nichols Randall E. Wagner Anonymous Paul Fritts Dr. Dennis E. Northway Richard B. Walker Rachel W. Archibald Kevin E. Gilchrist Roy D. Perdue Bruce J. Westcott Bank of America Matching Gifts Dr. Van L. Hardison Kay Stroup Philson Herb K. Williams J. Michael Barone William O. Headlee Stephen L. Pinel Richard E. Willson Dr. Paul A. Bender Charles H. Horton Michael Quimby Gerald M. Womer

Gr a nt A pplications Ava il a ble The San Francisco ago Chapter’s Special Projects Com- be considered for grants to be announced June 1, October 1, mittee announces that applications are now available for con- and February 1, respectively. Grant application/questionnaire sideration for grants of $500 to $3,000 to help underwrite ini- forms and guidelines, including a description of favored proj- tiatives that further the cause of the organ and its music. The ects, are contained on the Chapter’s Web site at or by following the SF/AGO Special Proj- ings from a Special Projects Fund made possible by the success ects Committee program link at the bottom of the Web site of the 1984 AGO National Convention organized and hosted Home page (www.sfago.org). These forms may still reflect by the San Francisco AGO Chapter. Applications received by the prior maximum grant amount, which has been increased. the cutoff dates of April 15, August 15, and December 15 will Applicants may be either groups or individuals.

6 the tracker vol. 53, no. 4 from the executive director fyi

OHS Legacy Society Grows Results of the Charter Membership Still Open OHS National Council 2009 ElectioN Ballots were counted at the Boston Organ Library on June 8, 2009, by tellers Bar- I am pleased to report that the ohs legacy society is bara Owen and Lois Regestein and announced at the Annual Meeting of the Organ growing, and that anyone who joins before the end of 2009 Historical Society on July 8, 2009, in Cleveland. will be considered a Charter Member. PresIDENT Scot L. Huntington The OHS Legacy Society is the group formed to honor Vice PresIDENT Joseph McCabe OHS members who have included the OHS in their wills or C o u nc i l o r s other estate plans. By adding the Organ Historical Society as Archives Christopher Marks a beneficiary of a will, life insurance, or retirement plan in- Organizational Concerns Dana Robinson vestment, the 29 people listed below have shown their loyalty Research and Publications Dennis Northway to, and generous support of, the Organ Historical Society. V o t e C o u n t s The charter membership includes both deceased mem- PresIDENT bers whose bequests have already provided significant finan- Scot L. Huntington–558; Stephen Schnurr–355 cial support of the Society, and living members who have Vice PresIDENT committed a part of what they will leave in their estates to Joseph McCabe–640; Frederick W. Morrison–247 support the OHS. We are extremely grateful to these gener- Councilor, Archives ous OHS members for their vision and confidence in the fu- Christopher Marks–502; Keith Williams–373 ture of the Society. Councilor, Organizational Concerns Dana Robinson–446; Daniel Schwandt–432 Please consider this valuable means of supporting the Councilor, Research and Publications OHS, and if you have already remembered the OHS in your Dennis Northway–451; John L. Speller–443 will, please let us know so that we can add your name as a member of the OHS Legacy Society. For information on how to include the OHS in your es- Bylaws Balloting Results Announced tate planning or to let us know you have done so, please con- In April 2009, Organ Historical Society President Laurence Libin announced that the amendments to the Bylaws and Articles of Incorporation of the Organ Histori- tact me at [email protected]. cal Society that were proposed by the National Council and presented to the mem- —Dan Colburn bership for ratification in February 2009, were approved by a wide margin and would take effect immediately. A total of 756 ballots were returned. Tellers Derek Nickels and Allison Al- corn, who counted the ballots in Chicago on April 9, 2009, reported the results Charter Members of the OHS Legacy Society as follows: 1. Proposed Amendments to the Bylaws updated august 2009 Yes-729, No-27. 2. Proposed Amendment to the Articles of Incorporation Herbert D. Abbott† William L. Huber† Yes-718, No-38. A new, complete, official copy of the Bylaws, including both these member- Freeman Bell Dana J. Hull approved changes and other amendments that have been enacted by the National Paul A. Bender Mark Jameson Council since the major restatement of the Bylaws in 2004, will be prepared and Mrs. E. Power Biggs† David L. Junchen† posted on the OHS Web site. Paul Birckner Preston J. Kauffman† The amendment to the Articles of Incorporation will be filed with the State of Brian Buehler† Pennsylvania by the Society’s corporate attorney. The Organ Historical Society was Forrest C. Mack† Randell Franklyn Busby incorporated in York County, Pennsylvania, in 1961. Earl L. Miller† John Rice Churchill† Dennis E. Northway Richard Ditewig Correction: Douglas W. Craw has pointed out that on Barbara Owen A. Graham Down page 186 of the Cleveland ATLAS it is stated that “the late Sam- Stephen L. Pinel James A. Fenimore, MD uel Koontz moved the console of the Skinner organ of the Cathedral Linda P. Fulton Clark H. Rice† of the Most Holy Rosary to the sanctuary floor and placed it on a Thomas Garbrick Stephen J. Schnurr Jr. movable platform.” This work actually was performed by Ken and John J. Geller The Rev. Dennis Steckley Dorothy Holden who also began releathering the organ. They also Belmon H. Hall James A. Tharp made restorative repairs prior to Samuel Koontz’s involvement with the instrument.

vol. 53, no. 4 the tracker 7 Pittsburgh Organ History The Other Carnegie Music Halls

James M. Stark

of Allegheny, which merged with Pittsburgh in 1906, soon followed. Pittsburgh was offered the privilege in 1881 but did not agree until the early 1890s. Homestead, site of one of the bloodiest labor disputes in United States history, followed in 1898 and then the Borough of Carnegie, formerly Mansfield and renamed for its benefactor, followed a year later. The Carnegie Free Library of Braddock opened in 1889, but without the music hall. The initial building was designed by William Halsey Wood of Newark, N.J., and the 1893 addition, a music hall, swimming pool and gymnasium, was designed by the Pittsburgh firm of Alden & Harlow.2 The organ was to come later. The Carnegie Free Library of Allegheny, now the Allegheny Branch of the Carnegie Library of Pittsburgh and the second to be commissioned, was designed by the Wash- ington, D.C., firm of Smithmeyer & Peltz, architects of the Library of Congress.3 The Allegheny library building, includ- DURING THE Pittsburgh OHS Convention in 2010, we will ing the music hall, opened on February 12, 1890. The organ gather in Carnegie Music Hall, part of the main library/mu- was built by the Frank Roosevelt Organ Company of Phila- seum complex located in the Oakland section of the city, to delphia at a cost of $10,000.4 discuss the history of the now-unplayable 126-rank Aeolian- By the 1920s, the Roosevelt had become obsolete, and Skinner organ. The Pittsburgh area has, or had, four other a new organ was built by the Skinner Organ Company of Carnegie Music Halls, three of which have, or had, pipe organs. Boston (Op. 452, IV/59). Although installed five years after In the 1880s, Andrew Carnegie offered several communi- Carnegie’s death, this appears to be his last organ gift since it ties with which he was associated the opportunity to obtain, was funded by the Carnegie Corporation, a foundation estab- at his cost, a library building if they would agree to support lished by Andrew Carnegie.5 a free public library through tax revenue.1 The Borough of

Braddock, Pennsylvania, where Carnegie had located his first 2. Walter C. Kidney, Landmark Architecture, Pittsburgh and Allegheny County (Pitts- steel mill, was quick to accept his offer. Carnegie’s home town burgh: Pittsburgh History and Landmarks Foundation, 1985), 286. 3. Ibid., 177. 1. Braddock, Duquesne, and Homestead libraries were exceptions in that they 4. Edward G. Baynham, A History of Pittsburgh Music 1758–1958, manuscript, were subsidized by Carnegie’s company and later supported by an endowment Carnegie Library of Pittsburgh (1970), 207. Carnegie had established. The endowment has since been dissipated and the 5. Orpha Ochse, The History of the Organ in the United States (Bloomington: In- Duquesne library has been closed. diana University Press, 1975), 196.

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A series of free recitals was begun on May 17, 1890, by Carnegie Library of Homestead newly appointed city organist Leonard Wales. Wales was suc- Munhall , Pa. ceeded a year later by Henry P. Ecker.6 In 1904, Casper Koch Votey Organ, Opus 858 (1899) was appointed city organist and, after Allegheny merged with Pittsburgh, continued to serve until 1953 when his son Paul suc- GREAT SWELL 16 Double Open Diapason 16 Bourdon ceeded him. Paul Koch played the 3,000th recital on May 14, 8 First Open Diapason 8 Stopped Diapason 1967, very near the end of the series, with his 94-year-old father 8 Second Open Diapason 8 Geigen Principal in attendance.7 At the conclusion of the North Side (Allegheny) 8 Gamba 8 Hohlflute 8 Clarabella 8 Salicional recital series, Koch moved to the Oakland (Pittsburgh) Music 4 Octave 8 Aeoline Hall where he played the 4,737th, and probably the last, recital 4 Flute Harmonique 4 Octave in that parallel series on Sunday, December 20, 1981.8 22/3 Twelfth 4 Flute Traverso During the 1970s, the North Side hall was gutted and re- 2 Super Octave 2 Flautina Mixture III–IV Mixture III–IV–V configured to provide space for the newly formed Pittsburgh 8 Tromba 16 Contra Posaune Public Theater. The organ was dispersed.9 8 Cornopean The Carnegie Library of Homestead was also de- PEDAL 8 Oboe 16 Contra Bass 8 Vox Humana signed by Alden & Harlow and was opened in 1898. Com- 16 Bourdon pletion was promised by 1889 but was delayed because of the 16 Gross Gedeckt CHOIR strained relationship between the local community and An- 16 Violone 8 Dolce 10 8 Octave 8 Concert Flute drew Carnegie that resulted from an 1892 labor dispute. 8 Geigen Principal 8 Vox Celestis Space was provided in the music hall for an organ, but it was 8 Hohlflute 4 Swell Violine (replaced disc) not installed until later. 8 Violoncello 4 Fugara 8 Viola 4 Flute d’Amour 16 Trombone 2 Piccolo Harmonique 6. Henry Bowfield Scott, ed., Sesqui-Centennial and Historical Souvenir of the 8 Corno di Bassetto Greater Pittsburgh (Pittsburgh, 1908), 177. 7. Baynham, 211–20. Paul Koch was also primarily responsible for the installation of the 1962 Beckerath organ at St. Paul’s R.C. Cathedral, Pittsburgh. Source: Clariana, Journal of the Harmony Society, vol. 4, p. 11. 8. Concert Program, Free Organ Recital, December 20, 1981, Carnegie Li- brary of Pittsburgh. Opposite: Andrew Carnegie 9. Allen Kinzey and Sand Lawn, E.M Skinner/Aeolian-Skinner Opus List (Richmond, Va.: Organ Historical Society, 1997), 52. Above: Carnegie Library of Homestead. Undated photograph courtesy 10. Kinzey and Lawn, 284. of Carnegie Library of Pittsburgh

vol. 53, no. 4 the tracker 9 T H IS IS PL ACEHOLDE R T E X T ON LY

The Andrew Carnegie Free Library of Carnegie A llegheny Free Library was designed by Pittsburgh architects Struthers & Hannah A llegheny ( Pittsburgh ), Pa. and opened in 1899.11 As far as can be determined, no space Frank Roosevelt Organ, Opus 79 (1890) was provided for an organ in the music hall. GREAT SWELL Andrew Carnegie later provided the Braddock and 16 Double Open Diapason 16 Bourdon Homestead Music Halls with organs that were com- 8 Open Diapason 8 Open Diapason pleted in 1900. In 1899, Edwin Votey was commissioned to 8 Gemshorn 8 Stopped Diapason build two, almost identical, organs for these halls, each cost- 8 Viol di Gamba 8 Salicional 8 Doppel Flöte 8 Spitz Flöte 12 ing $10,250. Although similar in tonal design, they differ in 4 Octave 4 Gemshorn configuration: at Braddock, the entire organ speaks through 4 Hohl Flöte 4 Flute Harmonique a pipe fence facade (absent in the accompanying photograph) 22/3 Octave Quint 2 Flageolet 2 Super Octave Cornet III at stage left, while at Homestead the Great speaks through an Mixture IV 8 Cornopean opening at stage left (also fenced with a pipe facade after the 8 Trumpet 8 Oboe present photograph was taken) and the Swell and Choir speak 8 Vox Humana CHOIR into the stage area. Both organs are extant, but unplayable. 8 Geigen Principal PEDAL The Braddock organ has suffered severe damage both from 8 Dolce 16 Open Diapason the passage of time and vandalism. The Homestead organ is 8 Concert Flute 16 Bourdon probably restorable, and is in strong hands, but no effort has 8 quintadena (prep.) 8 Violoncello 4 Flute d’Amour 16 Trombone been made to restore it. 4 Fugara (prep.) The concept of a library with a music hall, and sometimes 8 Clarionet a swimming pool and gymnasium, is unique to the Pittsburgh area. These facilities were meant to be community centers Source: Edward G. Baynham, A History of Pittsburgh Music and continue to serve that function today even if the organs 1758–1958, manuscript, Carnegie Library of Pittsburgh are no longer usable. (1970), 208.

11. Kinzey and Lawn, 301. Above: Allegheny Library Music Hall. Undated photograph courtesy of 12. Robert A. Frank letter book, February 20.1900, Library of Congress. Carnegie Library of Pittsburgh

10 the tracker vol. 53, no. 4 Pittsbu rgh Orga n H istory: T he Othe r Ca r ne gie Music H a lls

A llegheny Free Library A llegheny ( Pittsburgh), Pa. E.M. Skinner Organ, Opus 452 (1924)

GREAT CHOIR 16 Bourdon (Ped.) 8 Diapason 8 First Diapason 8 Concert Flute 8 Second Diapason 8 Dolce 8 Doppel Flöte 8 Unda Maris 8 Waldflöte 4 Flute d’Amour 8 Erzähler 22/3 Nasat 4 Octave 2 Piccolo 4 Hohlflöte 13/5 Tierce 22/3 Twelfth 11/7 Septième 2 Fifteenth 8 Cor Anglais Mixture IV 8 Clarinet 8 Trumpet 8 Harp 8 Harp 4 Celesta 4 Celesta Chimes (Echo) SOLO 8 Gross Gedeckt SWELL 8 Viola da Gamba 16 Bourdon 8 Viole Celeste 8 Diapason 4 Hohlpfeife 8 Claribel Flute 8 Orchestral Oboe 8 Gedackt 8 French Horn 8 Spitzflöte 8 Tuba Mirabilis 8 Flute Celeste 8 Salicional PEDAL 4 Voix Celeste 32 Bourdon 4 Octave 16 Diapason 4 Flûte Harmonique 16 Violone 2 Flautina 16 Bourdon Cornet V 16 Gedeckt (Sw.) 16 Fagotto 8 Octave 8 Cornopean 8 Violoncello 8 Oboe 8 Bourdon 8 Vox Humana 8 Gedeckt (Sw.) 4 Clarion 51/3 quint 4 Flute ECHO 16 Trombone 8 Rohrflöte 16 Fagotto (Sw.) 8 Vox Humana 8 Tromba Chimes Chimes (Echo) Source: Annual Report, Carnegie Hall, Pittsburgh, 1948–49. This stoplist differs somewhat from the specification given in www.aeolian-skinner.110mb.com drawn from the factory records at the American Organ Archives, and may represent a later configuration.

Top: Carnegie Free Library of Braddock. Undated photograph courtesy of Carnegie Library of Pittsburgh

Above: Homestead Nampelate Bottom: Votey console at the Homestead Carnegie Music Hall

vol. 53, no. 4 the tracker 11 news organ in playboy mansion

Williamson-Warne & Associates of idence on Franklin Avenue, in Holly- ing extensive damage. Hollywood, California, has been com- wood, California. In 1926, Aeolian was Williamson-Warne & missioned to restore the Aeolian pipe contracted to dismantle, crate, and in- Associates was contracted organ, Opus 1516, for the residence stall the organ in Letts’s new mansion in in January of 2009 to re- of Hugh M. Hefner in Holmby Hills Holmby Hills. During construction of store the instrument. (Bel-Air), California. The house, bet- the home and installation of the organ, The organ has been re- ter known as “The Playboy Mansion,” Letts died, and the project was com- moved from the mansion has been featured in numerous mov- pleted by his son, Arthur Letts Jr. Hugh and will be restored in the ies and television program, including Hefner purchased the house in 1971. company’s facilities and reinstalled and recently, the reality show “The Girls In the fall of 2008, a water pipe in operational in early 2010. Next Door” (in Europe, “The Girls of the closet off Hefner’s bedroom sprang For further information, and pictures of The Playboy Mansion”). a leak inside the wall. The water found the ongoing restoration, visit the Web site at: The organ was built for Arthur its way down to the floor below, com- Letts, and installed in 1923 in his res- pletely inundating the organ and caus- www.williamsonwarne.com

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Beverly Jerold

Central Congregational Church, Boston

DURING THE FIRST HALF of the nineteenth century, oppo- of the instruments. According to the Boston Musical Gazette sition to organs in worship in the United States was diminish- (March 20, 1839), the results of local production were mixed: ing. After praising the use of the organ in Europe, William S. Porter, in 1834, described the progress made in its American We know there have been many attempts at organ building acceptance: without success. These fabricators have too much vanity to be taught any thing, and seem to imagine that, all that is nec- Most of the protestant churches on the continent of Europe essary in the builder is to be able to make a pipe that will and the church of England concur in the use of this heavenly make a noise. It is the lack of knowledge and education that instrument; and the Scotch presbyterians and English dissent- causes the failure. So, they go to work, and fadge up an ar- ers are consequently alone in their aversion to its sacred use. ticle that may as well be termed a baggage-wagon, as a musi- This same spirit of hostility to the organ which our forefa- cal instrument. thers imbibed in England, when the organ was desecrated and abused by the then impure English church, and which they Stoplists and registr ation brought with them to these shores, we are glad to see is gradually giving way. 1 During this period, Americans continued to follow Eng- lish registration practice, as seen in the frequent plagiarizing He was concerned that the style of organ music be “grave, of John Marsh’s Eighteen Voluntaries, for the Organ (London, severe, and majestic,” and that churches not employ organists [1791]). In 1820, for example, The Euterpeiad or, Musical Intel- “connected with places of public amusements. . . . Such an ligencer (Boston) reprinted nearly the whole of his substan- organist, coming into the church for his sabbath duties, after tial preface without credit, even though its references to the thus spending the week . . . evinces by the first touch of his Anglican service and cathedrals marked it as a British pub- finger on the obedient instrument, the profane habitude of lication.2 According to Marsh, a complete organ usually has his mind.” A few wealthy churches at the time continued to import 2. “The Organ, and a Description of Its Use,” The Euterpeiad or, Musical In- organs from England, but American builders supplied most telligencer 1, nos. 6, 7, 8 (Boston, May 6, 13, 20, 1820): 21f., 26, 29f. Barbara Owen’s assistance in identifying the author as Marsh is gratefully acknowl- edged. Marsh’s text appears also in several subsequent publications, such as 1. William S. Porter, The Musical Cyclopedia: or the Principles of Music (Boston: “The Organ” in The American Magazine of Useful and Entertaining Knowledge James Loring, 1834), 289, 291. (1834–1837) (June 1, 1835): 1, 10; and S.P. Taylor’s Practical School for the Organ

14 the tracker vol. 53, no. 4 gLI M P SE S of the a M E r ica n Orga n a nd I ts Use , 1820–1850 three manuals (in ascending order): Choir, Great, and Swell, church and congregation permits, this grand, powerful (that seldom extends lower than F or G below middle C). In chorus can be further augmented by adding the Furni- 1791, a Pedal division was some decades in the future. Marsh ture. When the Trumpet is intended to imitate the real numbers the stops, which tend to be standardized in this pe- trumpet [as in voluntaries], it is combined with only the riod, and describes the registration of the Great Organ (para- Diapasons. phrased here): (9) The Clarion or Octave Trumpet makes the chorus more brilliant but must never be used without all the preceding (1) and (2) The Open Diapason and Stopt Diapason are the stops, and only for particular festivals, very large congre- foundation of the whole mixture and must always be gations, or a great many voices. drawn when other stops are added, although they may themselves be used alone. While the Open Diapason Marsh’s statements concerning the Trumpet and the use of is louder, its bass pipes are generally slow to speak, so “Full Organ” for choral accompaniment suggest either that it is combined with the softer Stopt Diapason; this also choirs sang with much greater volume than would be accept- strengthens the tone. able today or that organs were more lightly voiced. Because (3) The Principal, tuned an octave above the Diapasons, is oc- the term “Full Organ” in a score leaves too much to the or- casionally added to them for strengthening and brilliance. ganist’s discretion, thereby making the organ dominant over (4) and (5) The Twelfth must never be drawn without the the voices, he stresses that five degrees are available: three previous stops and the Fifteenth. 1. The Sesquialtera, with the five preceding stops. These five stops form a proper mixture for accompanying the 2. The Furniture added to the Sesquialtera. choral parts of cathedral services or a small congregation sing- 3. The Trumpet added instead of the Furniture. 4. The Trumpet and Furniture both added. ing Psalms in parish churches. 5. The Clarion added to the whole.

(6) The Sesquialtera is a compound stop of three, four, or five Marsh then continues with additional stops in the Great Organ: pipes for each note, tuned in thirds, fifths, and eighths so that every note is a common chord. It must never be used (10) and (11) The Tierce and Larigot can be used properly only without the five preceding stops, or at least the Diapa- in the Full Organ, for they “only encumber an organ, and sons and Principal. This combination is sufficient when- consume wind for little purpose.” ever Full Organ is prescribed, and for accompanying the (12) The Cornet, which has five pipes for each note and is choral parts of services and anthems in cathedrals on Sun- tuned like the Sesquialtera, is only a treble stop, and days or Psalms in a parish church. thus should never be used in the Full Organ, but only (7) The Mixture or Furniture likewise has two or more ranks with Diapasons for playing voluntaries, giving out Psalm of pipes, but is shriller than the Sesquialtera and therefore tunes, symphonies of anthems, etc. should be used only in combination with it. It is useful for a large church or congregation. Turning to the Choir Organ (“vulgarly called the Chair (8) The Trumpet may be used instead of the Furniture. If not Organ”), he lists the following stops: too powerful for the voices, it always improves and increases the chorus by strengthening the Diapason foun- (1) The Stopt Diapason, which for lack of an Open Diapason dation and making the thirds and fifths in the Sesqui- may be joined with: altera less predominant. In cathedrals, this combination (2) The Dulciana (whose range is seldom below Gamut [G]). should be used only to accompany choruses of verse ser- It may be used alone. vices or anthems (which should be very full to better (3) The Principal [4ʹ] added to these stops is the proper ac- contrast the verse portions) and in Gloria Patris, Hal- companiment in full services when the sides sing alter- lelujahs, etc., where “the drowning of the words is of nately (when they sing together, the full organ is neces- no great consequence.” In parish churches, it is useful sary), to which may also be added (especially if there is no only for a single verse or two for contrast, or when the Dulciana): congregation and church are very large, or when some (4) The Flute [4ʹ], whose pipes are stopped, and is in unison score of charity children add their voices to the chorus. with the Principal, but softer. It is frequently used alone, Then the Trumpet’s deep, powerful bass mitigates “the in imitation of the common flute or flageolet, but is more shrillness of the Children’s Voices.” If the size of the properly combined with the Diapason. These two stops (and the Dulciana at pleasure) are the proper accompani- (New York: Firth & Hall, 1844–47). ment for solo or verse parts of anthems.

vol. 53, no. 4 the tracker 15 gLI M P SE S of the a M E r ica n Orga n a nd I ts Use , 1820–1850

(5) and (6) The Twelfth and Fifteenth may be added to the will be a time when it will be esteemed disgraceful for an above to accompany chants in full services (except when organ not to possess them, and an organist not to know how to use them.3 the two sides sing together), when the congregation is large or the singers numerous; and in parish churches, for some middle verses of a plain Psalm tune. Generally speaking, pedalboards in these early years were re- (7) The Bassoon, in unison with the Diapason and Dulciana, stricted to larger organs, and independent Pedal stops to the is combined with them “when used as a fancy Stop in very grandest organs. Voluntaries.” Instead of a Bassoon, some organs have a Thomas Loud’s Organ Study (Philadelphia, 1845) gives the Vox Humana or Cremona, which, because of their very pedalboard compass as one to two octaves, with the lowest rough, disagreeable bass, should be used only with the note usually being CC; it occasionally descends to GGG, an Diapasons and not in the full Choir Organ, as the Bas- octave below the lowest note of the manuals. Independent soon may. Pedal stops may comprise:

For the Swell Organ (limited compass), the usual stops are: Double Open Diapason, an open wood pipe tuned an octave below the Diapasons; (1) and (2) The two Diapasons, which when used alone pro- Sub Bass, a stopped pipe in unison with the Double Open duce much the same effect as the Dulciana in the Choir Diapason; Organ, and are therefore generally combined with at 8ʹ Violoncello, a delicate open pipe of wood in unison with least the Diapasons; (3) The Principal [4ʹ]. 8ʹ Principal, an open wood pipe in unison with the Diapasons.4 (4) and (5) The Hautboy and Trumpet may be used either sin- gly or together, but always with the Diapasons. (6) The Cornet is added to all the above to obtain a Full “ Various-sized Org a ns” Swell, as an echo to the Full Organ. It is best used in this While Loud notes that European organs sometimes have four capacity, for as a solo stop, it is much inferior to the Great and even five manuals, he defines the three-manual organ as Cornet, which has more ranks of pipes plus the Diapa- the largest to be found in this country. The compass of the sons to qualify it. Great and Choir Organs is GGG (omitting GGG-sharp) in According to Marsh, the Swell is often used to accompany the bass to F in alt [two and a half octaves above middle C]; voices because of its expressive capability, but it principally some organs descend only to CC, which is considered “very serves for voluntaries, giving out Psalm tunes, or as an echo objectionable” [but soon would become standard]. In con- to the Trumpet, Cornet, etc. The use of the swell pedal has trast, the compass of the Swell Organ is only from F or G to be left to the player’s discretion: “He should however con- below middle C to F in alt, however, the lowest note in some sider that the mere see-sawing the Pedal up and down at ran- organs is middle C and in others, the C below middle C. For dom, and without meaning, can have no better effect than those today interested in pursuing the matter further, Loud what is produced by a peal of Bells ringing on a windy day.” offers a fuller description of the stops and their construction Marsh furnishes meticulous registration instructions for each than is usually found. Fig. 1 reproduces his “Description of of his voluntaries, and in the preface to his Fifth Set of Vol- various sized Organs:” untaries (London, 1822) adds this note: “whenever the word According to Loud, smaller organs were sometimes fur- swell occurs, I always mean, the two diapasons and hautboy (or nished with Pedals or Shifting Movements to take off the cremona) of that part of the Organ to be used, as whenever I loudest stops, and sometimes with Composition Pedals to pull mean that the reed stop should be omitted, I always use the on various arrangements of the stops without the hand having words ‘Swell diapasons’ or ‘diapasons and principal.’” to leave the keys.5 A fuller description of shifting movements is offered in the preface to Marsh’s Fifth Set of Voluntaries: The introduction of pedalboards And where there are not three sets of keys, the Organist According to John R. Parker, writing from Boston in 1825, will find a great convenience in a double shifting movement, organs sometimes had a fourth division for the pedals, or, in addition to the pedal taking off the usual, chorus stops, another shorter pedal close to it (so as to be used with the same foot) to take off the Open Diapason and Principal, leav- the grandest part of the organ. Till within these few years, ing on therefore, when both pedals are down, only the Dul- pedals were scarcely known in England, and even now are generally what are termed ‘sham;’ i.e. they are only a range 3. John R. Parker, A Musical Biography: or Sketches on the Lives and Writings of of sticks for the feet, connected with the keys of the great Eminent Musical Characters (Boston: Stone & Povell, 1825), 220f. organ. Even these are of such use, that a person accustomed 4. Thomas Loud, The Organ Study: Being an Introduction to The Practice of the to them can scarcely endure the emptiness of the perfor- Organ (Philadelphia: Loud’s Piano Forte & Music Store, 1845), 1–4. mance, which is manifest when they are wanting. . . . There 5. Loud, Organ Study, 1–4.

16 the tracker vol. 53, no. 4 gLI M P SE S of the a M E r ica n Orga n a nd I ts Use , 1820–1850

ciana and Stopt Diapason, the proper stops to accompany the swell. By means of these two pedals, four different mixtures can be used, namely the full organ, full choir organ, soft choir organ, and the swell, which is a greater variety than can be made, on an Organ with three rows of keys, without touching the stops by hand. The short pedal is also particularly useful when only the Diapasons and Dulciana are drawn, as by occasionally putting on and taking off the Open Diapason, a forte and piano, or echo, is produced. After listing the organ’s principal stops, the Boston Musi- cal Gazette continues with the solo stops, which may be drawn alone or combined with one of the diapasons:

Dulciana, which may be used in place of one of the Choir Diapasons. Flute, formerly made of metal, but now generally of open wood pipes. Hautboy, a “fancy reed-stop” whose range seldom extends below the F below middle C. Claribel, “of modern invention . . . not unlike the clarinet;” a half stop from middle C, and usually accompanied by the Stop Diapason bass; sometimes both are combined under the name of Stop Diapason. Cromorne (“commonly, but improperly, called cremona”), which is useful for solo passages in the tenor range. Vox-humana, a reed stop intended to resemble the human Fig. 1: Thomas Loud, “Description of Various Sized Organs.” voice. Bassoon, a reed stop in unison with the Diapason, and seldom extending higher than G above middle C. The cost of an org a n For the Pedal, the writer lists the Double Diapason, a set of In 1830, Henry Erben’s essay in Psalmodia Evangelica (New open metal or wood pipes tuned an octave below the Diapa- York) describes organs of various sizes with their prices, sum- sons; sometimes the pedal is connected to the manuals. The marized as follows:8 Double Trumpet (Trombone), tuned in unison with the Dou- ble Diapason, is the organ’s most powerful stop. The era of One manual: Open Diapason, Stop’d Diapason, Principal, adding more exotic stops has begun, for he enumerates a very and Fifteenth (GGG to F in alt), plus shifting movement: long list of stops lately added in imitation of European or- $475. Adding a Flute, Twelfth, Dulciana, and Trumpet: $850. Alternately, five stops for $525, six stops for $650, gans, such as Tenoroon Diapason, Corno Clarion, or Contra or seven stops for $750. A recent improvement to small 6 Shawm. organs has been the addition of a swell [enclosing the In American Church Organ Voluntaries (1852), H.S. Cut- whole in a swell box], which increases the cost about $75. ler and A.N. Johnson offer a sample specification for a three- Two manuals with limited Swell compass: $1,250. manual organ, in which the Swell now includes a Night- When the number of stops exceeds eight, a Swell manual extending from G below middle C to F in alt (Stop’d Horn, a Clarinet, and a Double Stopt Diapason, pitched an Diapason, Dulciano, Principal, and Trumpet) is usually octave below the Open Diapason. Noting that the English added. The Great comprises Open Diapason, Stop’d Di- first introduced this 16ʹ manual register about ten or twelve apason, Principal, Twelfth, Fifteenth, and Cornet. years ago, they call it the “most valuable stop in the swell.”7 Two manuals with full Swell compass: “When the com- On the other hand, Loud mentions that some large organs in- pass of the upper set of keys, is continued through in the Bass, it increases the cost of this class of organ, to clude in the manuals a Double Open Diapason and Double $1,500.” Stop’d Diapason, pitched an octave below the Diapasons, but Two full manuals with the following stops for $1,750: adds: “They certainly require an Instrument of the Largest Great: Open Diapason, Stop’d Diapason, Principal, Twelfth, Class, to make their effect satisfactory.” Fifteenth, Cornet, and Sesquialtera. Swell: Dulciano, Stop’d Diapason, Principal, Flute, and Trumpet. 6. “Description of the Organ,” Boston Musical Gazette 2, no. 9 (May 24, 1847): 68. 7. H.S. Cutler and A.N. Johnson, American Church Organ Voluntaries, 2nd edi- 8. Henry Erben, “On the structure and method of using the organ” in Psalm- tion (New York: S.T. Gordon, 1856/reprint, Richmond: Organ Historical odia Evangelica. A Collection of Psalm and Hymn Tunes (New York: Elam Bliss, Society, 1987), 5. Originally published by A.N. Johnson in Boston in 1852. 1830), 53–56.

vol. 53, no. 4 the tracker 17 gLI M P SE S of the a M E r ica n Orga n a nd I ts Use , 1820–1850

Two full manuals plus pedals: $2,500: “playing in” and “playing out,” which might with great pro- Great: Open Diapason, Stop’d Diapason, Principal, Twelfth, priety be termed prelude and postlude. All three require much Fifteenth, Cornet, Sesquialtera, and Trumpet. the same style, excepting that it may be allowed in “playing Swell: Open Diapason, Stop’d Diapason, Dulciano, Principal, out” to employ occasionally a somewhat brisker movement Flute, and Hautboy. than in the other two. Pedal: [compass of one octave, apparently with no independent stop.] After offering instructions for playing style similar to those by Three manuals for $3,000; if a Pedal Bass is added, Marsh below, he refers to the custom in some Dutch churches $3,300: of organists playing for a full hour after the service, with most Great: Open Diapason, Stop’d Diapason, Principal, Twelfth, Fifteenth, Cornet, Sesquialtera, and Trumpet. of the congregation staying to listen. Considering that this Choir: Stop’d Diapason, Dulciano, Principal, Flute, and was probably the only music usually heard all week, it may Fifteenth. well have been an attraction. Parker also relates an anecdote Swell: Open Diapason, Stop’d Diapason, Dulciano, Principal, about George Frideric Handel: Trumpet and Hautboy. The very largest organ: $4,500: In a country church he once asked the organist to permit Great: Stop’d Diapason, two Open Diapasons, Principal, him to play the people out; to which with a politeness char- Flute, Twelfth, Fifteenth, Tierce, Cornet, Sesquialtera, acteristic of the profession, he of course consented. Handel Mixture, Trumpet, and Clarion. accordingly sat down to the organ, and began to play in such Choir: Dulciano, Stop’d Diapason, Principal, Violano, Flute, a masterly manner as instantly to attract the attention of the Fifteenth, and Cremona or Bassoon. whole congregation, who, instead of vacating their seats as Swell: Open Diapason, Stop’d Diapason, Dulciano, Principal, usual, remained for a considerable space of time, fixed in si- Flute, Cornet, Trumpet and Hautboy. lent admiration. The Organist began to be impatient (perhaps Pedal: Double Open Diapason and Violoncello. his wife was waiting dinner), and at length, addressing the Couplers: Choir/Great and Great/Pedal. Performer, told him that he was convinced he could not play the people out, and advised him to relinquish the attempt; A Mixture appears only on the last stoplist. According to which being done, a few strains in the accustomed manner operated like the reading of the Riot Act by instantly dispers- Erben, the pedals sometimes have a compass of two octaves, ing the audience. and prices may vary according to the type of exterior desired. In comparison with the cost of an imported organ (see below), This anecdote is typical of American music journals of the these figures are modest. period, for the reader learns more about European music and Erben also offers principles for “blending the stops.” Be- musicians, past and present, than about American musical cause the Diapasons form the foundation, one or the other, or news.9 sometimes both, should always be drawn. In 1820, the Euterpeiad published an anonymous letter addressed to the Rev’d. Doctor White, Rector of Christ’s We will then suppose the Stop’d Diapason to be first drawn Church in Boston (today, “Old North Church”) and St. Pe- out; after which, to increase the power, add the Open Dia- ter’s, voicing a complaint seen with some frequency in other pason; next the Principal; then the Fifteenth; afterwards the publications: Twelfth. These five stops constitute what is called the Posi- tive Organ, and are generally of sufficient power for congregational music. Should more be required, the Sesquialtra, Unless the real design for which an organ is placed in a Cornet, Trumpet, and lastly the Clarion, may be drawn: this church be constantly kept in view, nothing is more likely to forms a powerful chorus. happen than an abuse of this noble instrument, so as to ren- der it rather an obstruction to, than an assistant in, the good purpose for which the hearers are assembled. . . . The organ- For accompanying solos, “the proper stops are, first, Dul- ist should always keep in mind, that neither the time nor place ciano alone; the Dulciano and Flute; the Dulciano, and is suitable for exhibiting all his powers of execution; and that Stop’d Diapason; or the Dulciano, Stop’d Diapason, and the congregation have not assembled to be entertained with Hautboy on the swell.” For pieces having a solo stop, the his feats. . . . The voluntary previous to reading the lessons . . . should be done with great discretion and dignity, avoid- Open Diapason is added to the Trumpet, and the Stop’d ing the appearance of every thing light and trivial, but rather Diapason (and sometimes also the Dulciano) to each of the endeavoring to compose the minds of the audience . . . All other reeds. sudden jerks, strong contrasts of piano and forte, rapid execution, and expressions of tumult should be avoided. . . . The The voluntary and the full organ should seldom be used on this occasion, nor should the voluntary last more than five minutes of time. Some relax- proper use of the org a n ation, however, of this rule may be allowed, on festivals and Besides the voluntary between the Psalms and the first lesson, grand occasions. . . . In general, the organ should ever pre- Parker discusses the other main parts of the organist’s duty, called 9. Parker, Musical Biography, 226.

18 the tracker vol. 53, no. 4 gLI M P SE S of the a M E r ica n Orga n a nd I ts Use , 1820–1850

serve its dignity, and upon no account, issue light and pointed with the right hand playing from about C below middle movements which may draw the attention of the congrega- C upward, and the left hand using the Diapasons. Be- tion and induce them to carry home, not the serious senti- cause of the expression obtained with the swell pedal, ments which the service should impress, but some very pretty the human voice may be better imitated on the Swell air which the organist has been so good as to entertain them. Organ than with the Vox Humana. The bass part is gen- It is as offensive to hear tilts and jiggs from a church organ, erally played on the Stopt Diapason and Flute of the as it would be to see a venerable matron frisking through the Choir Organ (with or without the Principal, to balance public street with all the fantastic airs of a columbine.10 the Swell stops). The Bassoon’s style resembles that of the above reeds, except that it can be used down to Gamut [GG] or lower be- The restriction of the voluntary to five minutes (cited by oth- cause its bass is so much better. ers as well) might provide a clue to tempo in those English and American voluntaries of similar length comprising a slow While the Euterpeiad indicates that this article is to be introduction followed by a faster section. continued, it was not. Doubtless it would have comprised the final portion of Marsh’s preface, which mainly concerns ex- Pl ay ing st y le tempore playing, but adds: “Voluntaries . . . before the first Continuing now with Marsh’s suggestions for using the stops lesson should be generally introduced with the Diapasons, or and the style to be employed with each, as reprinted by the Swell, after which the Trumpet, Vox Humana or Bassoon Euterpeiad (and paraphrased here), we find: may be used with intermediate passages (for the sake of variety and contrast) on the Swell or Choir organ.” He cautions With Diapasons, the style should be grave and sustained, glid- young players “against being led away by their ideas into a ing from note to note, or chord to chord, almost always rapid hurry-scurry style of playing, which is neither proper holding a note, whether in the treble, tenor or bass. If for the Organ or the Church. In order to make the audience the Principal is added, the style may be more brilliant and the fingering more staccato. Quicker passages have feel, they must have time so to do, which cannot be the case a better effect than with the Diapasons alone. “The Bass in a quick succession of fleeting passages, which make no im- also being rendered more distinct by the Principal, it is pression, but leave the mind in the same (if not worse) state usual (as well as to avoid the shrillness of the upper notes) than it found it in.” to keep both hands lower down, than when the Princi- pal is not drawn.” For the Trumpet [when used as a solo], the style should also Org a ns in Boston be grave and majestic, and retain the natural compass Since none of the organs described in this section has sur- of the real trumpet, on which rapid and chromatic pas- vived, all the information presented derives from the original sages cannot be executed. The bass part is played chiefly sources, unless indicated by brackets. on the Diapason, Dulciana, Principal, and Flute of the After his brief history of the organ in Europe, Porter Choir Organ. Occasionally, particularly in a grand finale, the Trumpet Bass (with the Principal) or Full (1834) observes that the art of organbuilding has made great Organ may make a great effect. strides in America. He calls the organ recently built in Bos- For the Cornet, quick music in a brilliant style without ton by Thomas Appleton for the Bowdoin Street church— double notes or chords is appropriate. Although fre- perhaps the New Jerusalem Church (Swedenborgian)—at a quently used in voluntaries before the first lesson, it is cost of $4,000, probably not inferior to any in this country, too light and airy for the church. It thus should be used sparingly and only in a minor key, except on festivals and comparable to the best imported organs for power and ef- and joyful occasions. The bass part may be played on fect. Its Sub-Bass was particularly grand and solemn; the larg- the same manual, provided that it remains below mid- est pipe was 24 feet in length for the pitch of G, two octaves dle C. below the violoncello’s G string.11 The Flute is used in much the same style as the Cornet. “This In 1847, the Musical Gazette profiled some of Boston’s also being of too light and trifling a nature to be much used in Churches, I think entire Flute pieces should be churches and their music, including specifications for most of avoided, and the Flute only used as an echo, or by way of the organs, the order of service, and information about their relief to the more noble parts of the Organ.” The Stopt choirs. Further details appear in Cutler’s and Johnson’s pub- Diapason/Principal combination is likewise capable of lication, cited above, and a few of their remarks are included handling rapid passages, and is recommended over the here, together with the Gazette’s material. Because the com- Flute, “it being by no means so trivial in effect.” The style for the Dulciana resembles that of the Diapasons, pass of a manual or a pedalboard is rarely given, it is impos- but it seldom has a full bass compass. It requires a “ten- sible to know how many of the following organs had a full der, soothing style.” Swell compass, and, if they did, whether its stops were divided For the Cremona, or Vox Humana (“if it be worth using, into treble and bass. which is not always the case”), a cantabile style is proper,

10. Euterpeiad 1, no. 10 (June 3, 1820): 37f. 11. Porter, Musical Cyclopedia, 279.

vol. 53, no. 4 the tracker 19 Nearby was the Salem Street Church (Congregational) built in 1828 and renovated in 1846 to include gas lighting. The original two-manual, 16-stop organ was built by Apple- ton, “one of the finest organs of its size we ever saw,” and then sold to the Congregational Church in Manchester, Mass., at the time of the church’s renovation. It was replaced by a “su- perb” three-manual, 40-stop organ built by Simmons & Mc- Intire of Boston. Among its features were a Mixture on the Great, a 16ʹ Stopped Diapason on the Swell, a Tremulant, a Pedal compass from CCC to C (no Pedal stops were listed), and couplers: Great/Pedal, Choir/Pedal, Swell/Great, Choir/ Great, plus pedal check. “The organ stands in an arched niche, which is admirably adapted to throw out the sound, both from the organ and choir,” which numbered 62 members. The organist’s salary was $300 per year. In the same vicinity was the Baldwin Place Baptist Church, one of the largest in the city, which had an Appleton organ (1834): ten stops on the Great, a Great/Pedal coupler, “with a sub-base to CCC ;” and six on the Swell “with a stop diapason base,” plus Swell/Great coupler. It was “by no means so loudly voiced as is the fashion in building organs at the present time; yet such is its advantage of position, that it is more efficient than many larger instruments not so favorably situated.” The choir numbered 40, and $550 was appropriated annually for the singing (which may have included salaries for the music director and organist).13 The organ in the Old South Church (Congregational) by Thomas Elliot, Builder to His Majesty’s Chapels Royal, Lon- don, was imported in 1822 at a cost of between $9,000 and $10,000. Cutler, who was this church’s organist in 1852, and Johnson supply its specification (summarized here):

Great: eleven stops, including a Double Diapason (16ʹ), a Mix- ture, a Trumpet treble and bass, and a Pedal Diapason; Above: The facade of the C.B. Fisk organ in King’s Chapel, Boston, is a Choir, six stops; Swell, five stops plus Tremulant; replica of the church’s 1756 case. Photo: Len Levasseur Couplers: Swell/Choir, Great/Pedal, Choir/Pedal.

Beginning in the city’s North End, the Gazette discusses According to the Gazette, the organ included an octave and a the New North Church (Unitarian; today, St. Stephen’s half of Pedal pipes that were used at the coronation of George Roman Catholic Church), whose organ with nine stops on IV in Westminster Abbey. Appleton added a Tremulant and the Great and six on the Swell (extending to F below mid- a Sub-Bass to CCC, and Cutler had a Swell/Choir coupler dle C) was built by Appleton in 1827. The Swell bass had a added. The choir had about 40 members, including two or Stopped Diapason, Principal, and Flute, which implies that three professionals, and the music budget was $800 per year.14 the remaining stops were treble only. The organ also had a The Gazette describes the history and music of King’s Sub-Bass from GG to F-sharp (because Erben’s essay uses Chapel, the first Episcopal church in New England, which in “GG” to identify a note given on the staff as GGG, this, too, the late eighteenth century became the first Unitarian church may have been GGG), a coupler for keys and pedals, and a in America. The organ, imported from London in 1756, com- check pedal to take off all but the two Diapasons from the prised a Great of eight stops, a Swell of five stops, and a Choir Great. The choir comprised a quartet, one voice per part, and of six stops. Its Cornet and Sesquialtera both had four ranks, the organist’s salary was $300 per year.12 but each rank was drawn by a separate knob. “It is believed

12. “Churches in Boston,” Boston Musical Gazette 2, no. 1 (February 1, 1847): 5f. 13. Ibid., 2, no. 2 (Feb. 15, 1847): 12f. This serialized article includes other churches not treated here. 14. Ibid., 2, no. 7 (April 26, 1847): 52.

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this organ contains the first, or one of the first swell organs, seven; and the Swell, seven. “The keys project two or three ever built.” The writer then comments on the inveterate dis- feet from the front of the organ, which places the organist in like of the early settlers for the Episcopal service: the centre of the choir, and enables him to hear the full effect of the organ.” Organist’s salary: $1,000. “In this church the Probably to no part was more objection made than to the hymns are selected by the organist (they are in whole or in part chanting, and the “chest full of whistles,” as organs were con- in some of the other churches which we have described).”17 temptuously called. The first organ used in New England was erected in this church, and it was undoubtedly an object of “Formerly the Tremont Theatre until three or four years pious horror, to our worthy forefathers and fore-mothers. ago,” continues the Gazette, “Tremont Temple (Baptist) seats 2,500 and has a splendid E. & G.G. Hook organ.” The specifi- Quoting from the Rev. F.W.P. Greenwood’s History of King’s cation listed can be summarized as follows: Chapel, Boston, he continues: Great: thirteen stops, including a Stop Diapason treble and There is a very current tradition respecting this organ, bass, a Mixture and a Trumpet treble and bass; that it was selected by Handel himself. Taking into consid- Choir, eight stops; eration the above reference to “the most eminent masters in Swell, eleven stops, including a Double Stop Diapason (16ʹ), England,” we may receive this tradition as founded in truth. plus a tremulant; And moreover, as the organ was designed for the king’s cha- Pedal, from GGG to A, two octaves and two notes, compris- pel in New England, we may readily suppose that his maj- ing a Double Open Diapason (24ʹ) of wood; a Double esty’s favorite musician would at least be desired to give his Stop Diapason of wood and an Open Diapason of metal. opinion of its merits; and this opinion, being favorable, might Couplers: Swell/Great, Choir/Great, Swell/Choir, Great/ 18 be called a selection, even if the “mighty master” gave him- Pedal, Choir/Pedal. self no farther trouble with its purchase. Built in 1845, this organ played a key role in establishing E. According to the Gazette, “the choir has comprised five pro- & G.G. Hook’s leadership in New England by mid-century. fessional singers (two on the bass part) for the past 16 years, In its original location on Summer Street, Trinity Church and the organist, Thomas Comer, has written music well (Episcopal) had “one of the most expensive organs in the suited to such an ensemble.”15 city,” built by John Gray & Son of London in 1837. The choir The Park Street Church (Congregational) between Bos- comprised a professional quartet, and the annual music bud- ton Common and the Granary Burying Ground had a three- get was $1,300.19 Shortly after its installation, the Boston Musi- manual Appleton organ (1838), which included a Sub-Bass to cal Gazette (May 2, 1838) reported: CCC and three shifting pedals for the Great, unusual in a three-manual organ. A summary of the stoplist provided is as This instrument has excited many speculative opinions and follows: has caused an unusual degree of curiosity . . . The Diapasons of this fine Organ are voiced in that peculiar round tone, for Great: ten stops including a Double Open Diapason (16ʹ), a which its builder is unrivalled . . . It differs from all other Stop Diapason treble and bass, a Mixture, and a Trum- Organs in this country, and is so arranged that the Organ- pet treble and bass; ist fronts the pulpit and the auditory, and sits with his back Choir: seven stops; including a Stop Diapason treble and bass; towards the instrument. There is a small miniature organ in Swell: seven stops; the front, ornamented with false pipes, and in external finish, Couplers: Swell/Great, Great/Pedal, Choir/Pedal, plus a somewhat resembles the large instrument. In this miniature pedal check. concern are contained the keys, registers and stops, the action is placed upon the right and left hand of the Organ, and the While this organ was painted white, with gilt front pipes, the communicating machinery with the great Organ is under the previously described instruments all had real or imitation ma- Organist’s feet. The great Organ has a splendid trumpet stop, hogany or rosewood cases. The choir had 50 volunteers and with a power divested of all harshness, and the swell organ is the organist’s annual salary was $600.16 a compound of extremely sweet stops, (particularly the reed stops.) . . . There is one stop in this Organ, the quality of Nearby was Central Congregational Church, where Low- which, is between that of the stopt diapason and the flute: ell Mason was organist and conductor of a 50-voice volunteer it is called Clarabelle; we do not recollect to have heard this choir. The church was erected in 1841 and the organ was an- stop introduced in any other organ, possessing such beauty of other three-manual Appleton with two octaves of pedals to tone.—The largest metal pipe weighs 250 pounds: the three CCC and couplers: Swell/Great, Swell/Choir, Choir/Great, stopt diapasons and the flute are of wood, the basses are stopt, but the trebles are open, with coupling stops to the Great, Swell/Great 8ʹ, 4ʹ Pedals and Keys, and Pedals and Keys 8ʹ, 4ʹ. Choir, and Swell Organs. Its contents are, viz: The Great had eleven stops, including a Mixture; the Choir,

17. Ibid., 2, no. 10 (June 7, 1847): 76f. 15. Ibid., 2, no. 8 (May 10, 1847): 61f. 18. Ibid, 2, no. 11 (June 21, 1847): 84. 16. Ibid., 2, no. 9 (May 24, 1847): 68. 19. Ibid., 2, no. 15 (August 16, 1847): 118.

vol. 53, no. 4 the tracker 21 gLI M P SE S of the a M E r ica n Orga n a nd I ts Use , 1820–1850

GREAT ORGAN St. Paul’s Episcopal Church (which became the Cathedral in First Open Diapason, metal 1912), Goodrich: 1825, 30 registers, the first three-man- Second Open do. do. and wood ual organ in Boston of American manufacture. Stopt Diapason, with Clarabelle, Treble, Dover Hall on Washington Street, 52 registers, under con- wood and metal struction by Simmons in 1852. Compass of 56 notes on Principal, metal the Great and Choir, 44 notes on the Swell, and 27 notes Twelfth, do. in the Pedal. In size, eclipsed only by Erben’s organ in Fifteenth, do. Trinity Church, New York City (built in 1846 at a cost Sesquialtera, 3 ranks, metal of $15,000; 44 stops, including a 32ʹ, on three manuals Mixture, 3 ranks, do. and pedal).22 Compare this with the largest organ cited Trumpet, reed, do. in Erben’s 1830 essay above. Clarion, reed, do. Over a 30-year span, the American organ underwent re- CHOIR ORGAN markable development. After the first three-manual organ Open Diapason, wood and metal was built in Boston in 1825, the number grew to such an ex- Stopt do. with Clarabelle, Treble, wood tent that Boston alone had 21 by 1852. This number, together Principal, metal with the smaller instruments that must have been built, im- Cremona, reed, metal plies a booming business. Pedalboards, introduced in Boston Dulciana, wood and metal around 1820, were at first merely pull-downs from the Great; SWELL ORGAN but then independent 16ʹ and 8ʹ Pedal stops began to be in- Open Diapason, metal corporated into larger organs and eventually, a 32ʹ stop. Pedal Double Stopt Diapason, wood compass increased from one octave to 27 notes. Another in- Stopt Diapason, wood novation was the introduction of 16-foot manual stops in the Principal, metal Trumpet, reed, metal 1840s. Hautboy, do. do. Stoplists tend to be standardized until the 1840s, when greater tonal variety was introduced and organs became Pedals and Sub-Base Double Open Diapason, two larger. While the Choir was the second most important di- Octaves, down to GG.20 vision of the organ and had a complete compass, the Swell The compass of the Great and Choir was 58 notes, and the served for more specific functions. The latter initially had a Swell, 42 notes. While this writer cited the price as $8,000, limited lower compass, ranging from middle C, the C below, Cutler and Johnson gave it as $10,000. Their stop list in- or sometimes F or G in between. Then, some organs added a cluded also a Unison Diapason for the Pedal division, as well bass register to the Swell of two or three stops. By mid-cen- as Great/Pedal and Choir/Pedal couplers. Calling this instru- tury, the old English tradition of GGG as the bottom of the ment “one of the finest in America,” they adorn the title page compass had largely been abandoned in favor of the Continen- of their publication with its engraving, adding: “The style of tal standard of CC. The American organ virtuoso had yet to music performed in this church is strictly English, and of the appear, but, according to a discourse delivered by George Ed- highest order; the excellence of the quartette is proclaimed by ward Ellis at the dedication of an organ in Harvard Church, the manner in which they sing the sublime and elaborate ser- Charlestown, Massachusetts, on September 26, 1852, foreign vices of Purcell, Kent, Arnold, and Boyce.” artists (whether he means organists or musicians in general is Cutler and Johnson considered Boston more highly fa- not clear) received a warm welcome: vored with organs than any other city in the country, in pro- portion to its population. Of its 98 churches, 64 had organs If Music can work refining and spiritual effects, as most surely it can, upon those who cannot make music—let its of various sizes, including 21 with three manuals and from 30 highest and best power be proved in the Sanctuary. Let us to 50 registers. They also provide the full specification for the have some of the benefit of it here. Let not all the enthusiasm following organs (some of which were treated above by the for it be lavished on successive foreign artists coming here Musical Gazette):21 in swift rivalry from the old world, and exacting almost the idolatry of the community, as if they really had a new Gospel in their instruments or compositions. . . . Let the organ serve Tremont Temple as a combination of pipes answering to every humble, grate- Park Street Church ful, aspiring, adoring sentiment of the human heart.23 Old South Church Methodist Episcopal Church (formerly Unitarian until 1849) on Hanover Street, Appleton: ca. 1845, 35 registers. 22. Boston Musical Gazette 1, no. 21 (November 9, 1846): 164. 20. “Musical Instruments,” Boston Musical Gazette 1, no. 1 (May 2, 1838). 23. George Edward Ellis, The Organ and Church Music (Boston: Crosby, Nich- 21. Cutler and Johnson, American . . . Voluntaries, preface. ols, 1852), 20.

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Performances in New York, Buenos Aires, Honolulu, Moscow, St. PetersbUrg, Prague, Porto, Yalta, Kharkov City, Kiev, Sophia, Plovdiv two steps going up to the elevated portion of the music room It’s All About floor. This would naturally involve getting the Echo Organ material into the place through a trap door, inasmuch as I was informed that there would be no excavation under the the Echo music room except at the end where the Main Organ is to be located. Rollin Smith Huenken finally concluded that it would be more eco- nomical for the architect, and more compact and efficient for Ray Biswanger, president of the Friends of the Wanamaker Organ, the Aeolian Company, to excavate a third chamber for the has researched the papers of Eben Smith at the Denver Public Echo division between the two for the Main Organ, and from Library. Smith was a Colorado mining mogul who financed the Los this to run Angeles Art Organ Co. and the Electrolian Organ Co. Among the papers is extensive correspondence between F.J. Huenkin, manager of a tone chute 4½ʹ wide by 2ʹ high which will carry the Echo the Aeolian Organ Company’s Chicago office and the noted Denver, Organ tone to the opposite end of the room [50 feet distant!], Colorado, architect Arthur A. Fisher. In it, the two men discuss the where it can be brought out and up at practically any desired installation of a second-hand Aeolian organ in a new residence. point, either through the risers of the stairs . . . or through a comparatively small grille in the floor which might be located directly under the piano. Lafayette Hughes was the son of Charles Hughes (1853– This chute can be constructed of a heavy gauged galva- 1911), a prominent attorney who was counsel to many of Den- nized iron properly reinforced at certain points, and can be ver’s politicians and capitalists and associated with several rail- insulated by wrapping on the outside with one of the many roads. Lafayette was involved in his father’s business ventures forms of bedding materials or quilts that are available. This and expanded some of the family’s holdings. In March 1925, scheme is not a new and untried one, but has been used successfully in many instances.5 he was building a sprawling 36-room, Mediterranean-style mansion at 41 Polo Club Circle, on property owned by the Just how successful a 50-foot horizontal tone chute proved family. The drawing room was in its own wing and intended “in many instances” would be interesting to hear. The most “primarily for music.” It was 23ʹ wide by 50ʹ long, with an el- successful tone chutes were those that conducted the tone to liptical 18-feet high vaulted ceiling and featured a raised plat- a room above. On the contrary, the Aeolian in the Frick Col- form where musicales and other entertainments were given.1 lection in New York City has pipe chambers on the second W.E. Fisher and A.A. Fisher2 was one of the largest archi- and third floors with the only tonal egress being an opening tectural firms in the Rocky Mountain region. They had de- in the wall above the landing of the staircase. At the console, signed and built the Hughes residence at 300 High Street in the 80-rank instrument sounds extremely muffled. 1913, and contacted F.J. Huenken, manager of Aeolian’s Chi- The plan for the Hughes tone chute was never put to the cago office, noting that “Whenever we have an organ installa- test because the architect found that there was an excavated tion to treat, it never occurs to us to write to any other com- space at the west end under the music room for a small ven- pany for information, as we believe the Aeolian Organs to be tilating system, and the Echo Organ chamber could be situ- the standard house organ.”3 Although a new instrument was ated next to it. proposed, by March the plans changed when the Hughes’s Huenken wrote Arthur A. Fischer that were offered Aeolian Op. 1361 that had been built for James 4 it may strike you that these openings in the risers are quite N. Wright in 1916. In the Hughes home, the organ chambers small and they are so, when compared with the opening for were to be in the basement at one end of the music room with the Echo Organ as it is situated in Mr. Wright’s Denver resi- an Echo organ at the opposite end. Huenken at first suggested dence. I believe, however, that in view of the fact that the that the Echo chamber Echo Organ is right in the Music Room, we will accomplish a very fine Echo result, which of course is just exactly what we are after.6 should be excavated under the music room at the [west] end opposite the Main Organ, and that the tone . . . could then The Aeolian organ was installed and Lafayette Hughes be brought out into the music room through the risers in the maintained the house until his death in 1958. The house was demolished in the 1970s and the land was sold for the develop- 1. James Bretz, Mansions of Denver: The Vintage Years (Boulder, Colo.: Pruett Publishing Co., 2004), 56. ment of exclusive residential properties. 2. William Ellsworth Fisher (1871–1937) and his brother Arthur Addison Fisher (1878–1965). 3. Letter of January 15, 1925, from W.E. and A.A. Fischer, Denver, to F.J. Huen- 5. Letter of April 13, 1925, from F.J. Huenken, Chicago, to A.A. Fischer, ken, Chicago. Denver. 4. A two-manual, 19-rank organ that, after additions (including a six-rank Echo 6. Letter of April 21, 1925, from F.J. Huenken, Chicago, to A.A. Fischer, division), now included 33 ranks with two sets each of Harp and Chimes. Denver.

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U.S.A. tion often include a preservation-minded approach to restoration, but it also includes examination, documentation, stabilization, maintenance, reconstruction of missing parts, and control of environmental conditions. By these definitions, re- building, modernization, and enlargements fall well outside New OHS the bounds of conservation. The Preamble states the basis of restorative conservation Guidelines for as “a preservation-minded approach to restoration that saves not only utilitarian and aesthetic qualities, but also the historical narrative encoded within an organ’s physical substance.” Conservation How to protect historical evidence during restoration is the subject of Section III, the Articles. The Guidelines refer to “restorative alterations,” which, John Watson at first, may seem a contradiction of terms. Yet, recogniz- ing the importance of significant organs as historical docu- The National Council of the Organ Historical Society ments makes clear the idea that restoration is itself a kind has ratified new “Guidelines for Conservation,” printed in of alteration. This leads directly to the importance of de- full and without copyright restrictions on the following pages tailed documentation of the restoration in order to keep the and on the OHS Web site. Drafting such a document prompts historical record clear. Sections III.A about alterations and us to reflect on the principles that guide our preservation of III.C about documentation are thus appropriate bookends significant organs, and on the challenges presented by the di- for the section on restoration, stabilization, and other types versity of perspectives within our own ranks. We all advocate of treatment. preserving the integrity of historic organs, but what kind of Guidelines for treatment (Section III.B) are at the heart integrity would each of us mean? Is it integrity of musical and of the document, and include nine principles. Preparation, visual quality, usefulness for present purposes, historical veri- collaboration, and written proposals are encouraged for the similitude, or durability for frequent use? We are the Organ planning stage. The principle of minimum intervention fol- Historical Society, so how should our middle name shape our lows and merits five bulleted subsections. Just as minimally preservation responsibilities? Although it would be possible to invasive medical procedures reduce trauma to a patient, so reduce any one, narrow concept of integrity into a list of rules minimizing the intrusiveness of intervention reduces collat- for restoration, it is more challenging to develop a set of prin- eral damage to historical evidence in an organ. Wholesale re- ciples that allows and encourages a thoughtful consideration placement of old components or unnecessary renewal of his- of all legitimate points of view, and of the specific characteris- toric surfaces, for example, can be catastrophic to an organ’s tics of each organ in its context. historical narrative. Reversibility is only partly achievable, Consensus on these issues and any specific path to preser- but it, too, takes its place among the chief principles of re- vation will be forever elusive. The new Guidelines follow the storative conservation by making room for future scholarship lead of the most widely accepted international preservation to enable later restorations to correct at least some of the mis- charters by giving greater attention to the underlying princi- takes we will inevitably make. ples of preservation. Unlike standards of practice that change The 1986 version of the Guidelines required that “all re- with the times, principles remain relevant. placement parts should conform as closely as possible to the The Preamble begins with a new and broader definition originals with regard to materials and method of construc- of “historic” to accommodate the changing criteria for which tion.” Reflecting the new emphasis on preserving historical instruments deserve the most rigorous conservation approach. evidence, the new Guidelines add that such imitative recon- Section II.B expands on the subject but leaves it to other doc- structions should be clearly identifiable on close inspection. uments to recommend when an original or historically im- Similarly, the new document recommends great caution when portant past state should be preserved intact. correcting what appear to be mistakes by the original builder. Conservation has often been misunderstood as nothing These, too, can be revealing of the historical workshop and more than preservation in an unchanging state and therefore the judgments that took place there. In the same vein, the the antithesis of restoration. In agreement with other widely Guidelines caution about recycling components from other accepted definitions, such as those published by the American organs. While this may be a necessary expedient, it is urgently Institute for Conservation and by the Canadian Conserva- important to keep the historical record clear by discreetly tion Institute, Section II of the OHS Guidelines now defines marking the parts with their true origin and recording that conservation much more broadly. Not only does conserva- alteration in the treatment report.

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Organ documentation has long been understood as the recording of measurements and other organological data, or what is termed in the Guidelines “descriptive documentation.” While this remains as important as ever in the preservation of organ history, the Guidelines place even greater urgency on documenting the treatment itself. A sufficient Guidelines for treatment report can reduce the potential loss of historical evidence caused by restoration. In short, future organ historians should be able to examine (in a virtual sense) the pre-treat- Conservation ment artifact both through the evidence of our interventions and through written and photographic treatment reports. The Organ Historical Guidelines include recommendations for the preservation and distribution of the treatment reports. Why not rules? Restoration and preservation are extraor- Society dinarily complex subjects. The literature reveals a history of debate about restoration that extends back to ancient times. Often-heated differences of opinion about recent organ res- I. Preamble torations indicate the philosophical complexities and diversity Pipe organs that have been attributed with extraordinary of perspectives on the subject. From any one narrow point of aesthetic, artistic, documentary, historic, scientific, or view, it may seem possible to reduce all these considerations to social significance are a cultural inheritance to be passed a list of things that must or must not be done in all restorations. on to future generations. Regardless of their age, it is Simplifications of this kind easily harden into strongly held ide- the nature of such instruments to be both historic and ological absolutes that pit people against each other and make artistic. Each part of this dual nature places conditions it more difficult to give due consideration to nuanced variables. on our right to enjoy the heritage, and our obligation to While strongly discouraging any new departures from an preserve it for the future. organ’s original design, the Guidelines, nevertheless, should Historic organs are an invaluable, endangered, easily damaged, and non-renewable cultural resource. Faced be able to accommodate a greatly enlarged and heavily al- with unprecedented threats from building redundancies, tered organ that subsequently accumulated significance in its electronic substitutes, improper restoration, transient altered form. Rules that demand the return of some detail to musical fashion, and severe funding shortfalls, organs its original state, for example, can prompt the destruction of are threatened as never before. Even with prospects for what may be important evidence of a significant organist, re- restoration come other potential threats to the historical storer, or design aesthetic. essence and content of organs. These guidelines recom- Whether referring to a particular organ, or just one part mend a preservation-minded approach to restoration that of it, preservation-worthiness is always a matter of judgment. saves not only utilitarian and aesthetic qualities, but also Significance is a continuum with many variables and infinite the historical narrative encoded within an organ’s physi- shades of gray. The particular web of meanings in which each cal substance. organ stands is unique. There simply cannot be a one-size- Forming the basis for these guidelines are prin- fits-all set of rules that works for every situation, and we can- ciples articulated in several broadly accepted in- not remove the role of judgment in conservation. ternational charters for historic preservation. The Auxiliary documents, less constitutional in tone, more Guidelines are provided for use by restorers, owners, easily updated, and less restricted in length, are being drafted restoration advisors, and all with responsibility for the and will be published on the OHS Web site as they become stewardship of historic organs. The document should available. Already posted is a brief, annotated bibliography of be considered in its entirety, as many of the articles are conservation books and resources. interdependent. The National Council of the OHS commends these new II. Definitions Guidelines to all of its members, all owners and caretakers of A. Conservation historic organs, and especially to all who plan and who un- All actions intended to preserve cultural property for dertake the restoration of historic organs. the future. Conservation activities include examination, (The August issue of The American Organist features a documentation, treatment, and preventive care. lengthy article by Michael Friesen, “A Selected Bibliography 1. Examination on Conservation, Restoration, and Documentation Relating The investigation of the structure, materials, rel- to the Pipe Organ.” Editor.) evant history and condition of organs, including

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the extent and causes of deterioration, alteration, B. Cultural Significance and loss. Organs are worthy of preservation in both form and 2. Documentation substance when they have been judged to have musical, (See also section III.C below) artistic, historic, or social significance. The degree of The recording in a permanent format of infor- preservation-worthiness is determined through informed mation derived from conservation activities. and careful judgment, usually based upon examina- Documentation records condition before and tion, archival research, comparative studies, and through after treatment, treatment proposals, treatment consultation with relevant experts and stakeholders. All reports (changes to the organ due to conservation forms of significance may also be represented by the activities, along with the justification for those term historic. changes), recommendations for subsequent care, C. Preservation and relevant correspondence. Records also in- The protection of organs through activities that prevent clude information revealed during examination, damage or loss of informational content and retard dete- or other conservation activities that assist in the rioration. The primary goal of preservation is to prolong understanding of the organ. the existence of organs as long as possible in an unchang- 3. Treatment ing state. Preservation involves management of the en- All interventions carried out on the organ with vironment and of the conditions of use, and may include the aim of retarding further deterioration or aid- treatment in order to maintain an organ, as nearly as ing restoration. Treatment may take one or more possible, in stable condition. forms including stabilization, maintenance, resto- D. Alteration ration, and reconstruction: All changes to an organ’s substance wrought by inter- a) Stabilization vention are alterations. Alterations are of two types: in- Interventions intended to slow deteriora- terventions that deviate from the organ’s original form, tion. and those intended to restore it to a past state. Both types b) Maintenance of interventions potentially affect the content and clarity Regular procedures required to sustain of evidence in the organ. Conservation procedures pro- preservation and appropriate use, such as vide protection of historical integrity through safeguards tuning, regulating, lubricating, or replac- detailed in the following Articles. ing air filters. III. Articles c) Restoration All direct actions intended to return an A. Alterations organ to a known or assumed past state. 1. Validity of Alterations The aim of restoration is to reveal lost Past alterations bear witness to their own time, physical and aesthetic qualities, and is and may be valid and worthy of preservation based on respect for the remaining histori- in some instances. Any removal of past altera- cal evidence, and on clear indications of an tions requires careful judgment as to the relative earlier state. significance of the altered and original states. d) Reconstruction Return to a state of complete stylistic unity sac- Reconstruction serves to depict vanished rifices the evolved state and the associated evi- or non-surviving portions of an organ. dence of subsequent history, and is appropriate Reconstruction may be undertaken when only when the removed materials are of little in- documentary and physical evidence sur- terest and the restored state is sufficient to justify vive and conjecture is minimal. To avoid the action. a false sense of history, conjectural re- 2. New Alterations construction should be avoided whenever Interventions should not modify the known aes- possible. If conjecture becomes necessary, thetic and physical characteristics of the organ, measures should be taken to avoid decep- especially by removing or obscuring historic tion about the origins of the reconstructed material or through non-essential re-voicing. En- components. largements or modernizations should be strongly 4. Preventive Conservation avoided whenever possible. When the removal All actions taken to slow deterioration by con- of historic materials is unavoidable, the affected trolling the agents of decay. Preventive activities components should first be documented in their include control of environmental conditions, pest pre-restoration state. Whenever possible, material management, control of access, and other risk removed from an instrument should be retained management. as part of the organ’s historical narrative.

30 the tracker vol. 53, no. 4 N e w OHS gU I DE LI N E S for Conse rvation

3. Preserving Historic Context 4. Making Interventions Detectable Organs that have escaped relocation bear wit- Restoration and reconstruction may imitate pe- ness to the history of that place, and should be riod work, but it is imperative that all interven- removed from their historic setting only when tions be detectable on close inspection, as well relocation is beneficial or necessary for their pres- as through treatment documentation. Deceptive ervation. imitation falsifies the historic organ as an authori- B. Treatment tative record of period construction. 1. Treatment Planning 5. Correcting Historical Work The conservation needs of historic organs should Although historical design, materials, or work- be based on adequate study of archival sources, manship may sometimes fail the current restorer’s detailed physical examinations, and collaboration standards of quality, they nevertheless give au- with stakeholders and experts with applicable ex- thoritative testimony of past makers’ knowledge, perience. Treatment proposals detailing interven- skill, or judgment, and deserve respect as histori- tions, however tentative they must be, facilitate cal evidence. Every effort should be made to re- collaboration and are appropriate means of com- tain such work whenever possible. municating with all parties. 6. Conservation Methods and Materials 2. Minimum Intervention Traditional methods and materials are preferred • Intervention potentially risks erosion or loss except when non-traditional alternatives better of historical evidence. Therefore, the most serve preservation goals (example: reversibility), appropriate action in a particular case is one without adversely affecting appearance or func- which attains the desired goal with the least tion. The advantages of treatment materials and intervention; treatments should change as methods must be balanced against their potential much as necessary, but as little as possible. adverse effects on future examination, scientific • Signs of age are evidence of historic use and investigation, treatment, and function. Materials testimony of the organ’s passage through time. newly derived from endangered species should They should be retained whenever possible. not be used in treatment. It is often sufficient, for example, to spot-treat 7. Recycling Historic Components the most distracting scars to avoid wholesale Combining components from multiple historic refinishing. organs potentially creates a falsification that can • While interventions should be minimized, mislead future forensic examination. Even when they should not stop short of making the the components are made by the same maker in instrument durable enough to fulfill its func- the same period, it is imperative that the trans- tion for a reasonable interval before the next planted parts be clearly labeled and their true ori- restoration. gins documented. • Whenever possible, treatments should be lo- calized and targeted to the specific problem. 8. Removed Materials Unnecessarily thorough restoration threatens Components and fragments that must be removed historical evidence and should be avoided. should be labeled and given archival storage • In the extraordinary event that material evi- whenever possible to preserve historic evidence. dence is so rare and important that any loss Storage inside the organ itself may be appropriate cannot be tolerated, non-intervention may when space is sufficient and there are no adverse best serve to promote preservation of the effects on the organ. historic organ. In such cases, a reproduction 9. Collaboration may serve musical needs without affecting the As artifacts, organs are unusually complex and original. diverse in materials and design; no individual can 3. Reversibility be expert in every aspect of their conservation. All restoration involves subjective interpretation, It is therefore generally desirable that treatment and submits to future re-evaluation. Whether planning involve collaboration with colleagues literally possible or not, reversibility remains and allied professionals having potential to con- a useful, albeit idealized goal in all treatment. tribute. Interdisciplinary collaboration, the use of Whenever possible, treatments should be additive independent advisors and consultants, or reliance rather than subtractive, adding to an incomplete on a balanced conservation advisory committee component, for example, rather than replacing it also provides appropriate checks and balances to entirely. safeguard against conflicts of interest.

vol. 53, no. 4 the tracker 31 N e w OHS gU I DE LI N E S for Conse rvation

C. Documentation ternatives may be provided. The primary Documentation exists in two types: Description and Con- use of the proposal is to facilitate planning servation. Although both are highly important in the and communication between practitioners, overall preservation of organs, conservation documenta- owners, advisors, and other collaboration is the first obligation in all interventions. Any sub- tors. The treatment proposal must always stantial campaign of conservation should also include full be subject to change, as new information descriptive documentation. is likely to emerge during the treatment 1. Descriptive Documentation phase. This form of recording creates a picture of an or- c) Treatment Report gan that may be superficial, or when sufficiently The restorer should keep detailed records detailed, could guide the complete reproduction of the treatments applied during the in- of the instrument. Such documentation typically tervention. Such documentation permits informs comparative studies, future restorations future investigators to identify the specific of similar instruments, or the design of new or- restorative alterations that were made, the gans. In the event of catastrophic loss of an organ, areas affected, and the materials added or descriptive documentation constitutes a form of removed. Usually based upon the treat- virtual preservation, and is therefore particularly ment proposal, a treatment report records important for the rarest instruments. Descriptive all details of the actual treatment, some documentation consists of layout, measurements, of which will not have been possible to materials identification, technical specifications, predict in the proposal. It also includes markings, decoration, and other construction and condition issues revealed during the course tonal details. Most descriptive documentation can of treatment and not represented in the be recorded independent of restorative conserva- proposal. Any descriptive documentation tion, although some details are only revealed dur- revealed during disassembly should also be ing disassembly. recorded. The treatment report should in- 2. Conservation Documentation clude preventive conservation recommen- Inasmuch as culturally significant organs bear dations, such as maintenance procedures, physical evidence of their origins and subsequent recommended environmental conditions, history, restoration necessarily overlays pres- and special handling considerations. ent interpretations and workmanship upon the historical record itself. It is therefore incumbent 3. Preservation of Documentation on restorers to preserve an organ’s informational Conservation documentation is an invaluable part integrity by recording in writing and through of the history of the historic organ and should be photographs the extent, location, and nature of produced and maintained in as permanent a man- interventions. Conservation documentation is ner as is practical. Paper documentation is recom- typically generated in three phases. mended, as short-lived electronic-based media a) Examination cannot be considered archival. (or Condition) Report 4. Distribution of Documentation This is an assessment of condition on a Copies of examination and treatment records section by section, component by compo- should be given to the owner or authorized agent, nent level. Some descriptive data are also who should be advised of the importance of germane to the extent that they shed light these materials. When access does not contravene on treatment strategies. Examination re- agreements regarding confidentiality, strongly ports identify and diagnose condition is- consider insuring preservation of the documents sues, including the materials involved, and by submitting copies to the American Organ the location and extent of deterioration, Archives. If possible, store another copy of the past alterations, and loss. document, or a summary in small type if neces- b) Treatment Proposal sary, inside the organ itself. The treatment proposal details the objec- tives of the treatment and the measures 5. Judgment in Documentation proposed for each condition issue, speci- Careful judgment is required in deciding the fying the affected component, and any thoroughness of documentation, but under no conservation materials that are to be used. circumstances should practitioners fail to record The proposal may be based upon, and interventions. Owners may require instruction in structured like the examination report. the importance of conservation documentation When appropriate, multiple treatment al- and the need to provide for its costs.

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BOOK S ginning. However, the details of that ther learning experience for Bethards first century of the firm’s history are and helped to focus national attention amply covered in Louis J. Schoenstein’s on his San Francisco firm. Then came 1977 Memoirs of a San Francisco Organ a brief spell of experimentation with Builder. By 1977, however, most of the smaller organs in the French Roman- Schoensteins were dead or retired, and tic style. However, by the early 1990s, the company was shambling along in Bethards was beginning to focus more its old San Francisco factory by doing strongly on the work of Ernest Skinner rebuilds and maintenance. How- and the symphonic tonal aesthetic. In ever, a new era began with the sale addition, the Schoenstein firm was gar- of the company in that year to a rela- nering contracts for substantial three- tively unknown entrepreneur, Jack M. and four-manual organs, which, after Bethards. Ochse introduces the reader 2000, included not only large church biographically to a trumpet-playing organs in Nebraska, Wisconsin, Texas, teenager who had boldly assayed the Massachusetts, Ontario, and Washing- restoration of a theater organ while ton, D.C., but also organs for a concert still in junior high school, but went hall in Nashville and the mammoth on to earn his MBA and enter a career Mormon Conference Center in Salt in big business, eventually establish- Like City. Truly the makings of a suc- ing his own successful consulting firm cess story. and, briefly, serving as manager of the Ochse organizes her monograph in San Francisco Opera. Yet, organs were four roughly chronological segments. never far away. In 1974, he restored one Part I deals with the firm’s history and Schoenstein & Co. Organs, Orpha for a local Catholic church, and shortly biographies of Bethards and some of Ochse. Richmond: OHS Press, afterward installed a Wurlitzer in his his key co-workers. Part II outlines 2008. 147 pp. illus., softbound, own home. In addition, in 1977 he Bethards’ organbuilding philosophy. $25.99. Available from www.ohs bought himself an organ company— Tonally, he has carved out his own catalog.org. Orpha Ochse has once the old Schoenstein firm. Bethards was niche in modern organ building by ex- more made her mark as an observant already highly experienced in busi- ploring “any and all avenues that might chronicler of American organbuilding ness and management, but with this contribute to the organ’s expressive history, particularly with regard to the acquisition came the necessity of a powers.” These avenues include not 20th century. Although only about a self-propelled crash course in practi- only voicing and scaling, but also very third of her ground-breaking History cal organbuilding that involved a lot of steady wind supply, his own patented of the Organ in the United States dealt homework and four international study “expansion cell” windchest construc- with the 20th century, her hefty study trips. Fortunately, he had Lawrence, tion (a drawing of which is included), of the Austin firm covered the entire the last surviving Schoenstein family medium to high wind pressures, and century, and her work on Murray Har- organbuilder, to help guide his steps in double (and sometimes triple) enclo- ris gave us insights into the early part the earliest days. He soon added other sures. Bethards’ consoles appear at first of it. With her monograph on Califor- experienced organbuilders to the staff glance to be elegant and relatively un- nia’s present-day Schoenstein firm, she with varied backgrounds ranging from cluttered Aeolian-Skinner knock-offs, brings us from the late 20th century Aeolian-Skinner, Möller, and Visser- which, however, are loaded with a va- into the first decade of the 21st. It is an Rowland to Berghaus, Rosales, and riety of digital registration aids, with interesting trip with one of the period’s Beckerath. plenty of programmable pistons, toe more original builders. Progress was slow at first, with studs, crescendos, and memory levels, Although the firm in question the revived firm’s initial output being and occasional unorthodox couplers for was founded in 1877 by German im- mostly small organs and rebuilds on the switching various divisions (including migrant Felix Schoenstein, and oper- West Coast, but that began to change Pedal stops) to different keyboards. ated by him and subsequently his sons significantly in the decade 1984–94. Part III describes Schoenstein or- and grandsons for a century thereafter, That period opened with the renova- gans of the 1990s, illustrating via stop- that part of the story rates only a two- tion of the famed Mormon Taberna- lists and descriptions of selected or- page thumbnail sketch at the very be- cle organ, which both served as a fur- gans the gradual evolution of Bethards’

34 the tracker vol. 53, no. 4 reviews

philosophies. These include a com- 1881–2010, a discography, bibliogra- publication, but is a substantial revision bined Solo/Celestial division of con- phies, and index. Despite the fact that of both fact and format as well. trasting colors, increased use of multi- the last organ mentioned will not be While organs were introduced ple expression, and selective duplexing. completed until 2010, this is a histori- into European churches between AD Although Bethards has little use for cal document. Regardless of where the 900 and 1100, there is iconographic ev- electronic tone generation generally, American organ scene will be fifty or idence that the organ was part of Jew- he occasionally employs it in this pe- a hundred years from now, this clear ish culture in Palestine as early as the riod for, of all things, percussion stops and concise monograph is sure to be second or third centuries AD. One (Chimes, Harp, and Celesta). He also viewed by future organ historians as a 14th-century illuminated German He- begins experimenting with new stops, unique and impartial documentation brew manuscript shows a portative especially strings and flutes, although of one of its most interesting (and even organ with part of a Hebrew prayer: “I some sound a bit like variants of such controversial) aspects at the turn of this will sing of Thy power; indeed, I will old-timers as the Doppelflöte and the century. sing aloud.” Frühauf and others suggest Erzähler. While larger organs begin —Barbara Owen that the synagogue organ made its way to predominate, the ’90s also include from Spain to northern Europe in the some creative unification in a six-rank late 14th century, and the first extant chapel organ. document showing the organ being In Part IV, we enter the 21st cen- played in a synagogue is a 15th-century tury, and encounter some of the firm’s illuminated prayer book in the posses- largest organs yet, including a con- sion of a Bohemian family. cert hall organ for Nashville. These The organ, though, remained eventually necessitated a move to a principally an instrument of Chris- new and larger factory in nearby Be- tian worship in Germany until the nicia, although the old San Francisco 19th century. From the work of Moses one remains in use also. One of the Mendelssohn1 evolved far-reaching re- smaller organs is a three-manual prac- forms that subsequently established tice organ for the Juilliard School so the organ as integral to Jewish cul- symphonic in character that it con- ture. The first known occasion on sists entirely of colorful 8ʹ ranks, which the organ was used in a German with a few 4ʹ and 16ʹ extensions (and synagogue occurred on July 17, 1810. lone Twelfth and Fifteenth exten- Through continuing and often conten- sions in the Choir). This is obviously tiously argued debates, religious reform not an organ the students are encour- made the organ a matter of fact in Ger- aged to practice their Buxtehude on! man synagogues by the mid-19th cen- The Skinner influence is present, even tury. One of the last synagogue organs down to the signature Flügel Horn. The Organ and Its Music in German- ordered before the outbreak of World Some substantial church organs con- Jewish Culture, Tina Frühauf. New War II was built by Steinmeyer for a tinue to appear, and some of them, al- York: Oxford University Press, congregation in Berlin. Completed in though in cramped and acoustically 2009. 284 pp. $74.00 (hardcover). late 1930, it was one of the largest (68 dead quarters that might scare off That any remains of German-Jewish stops) and most significant organs in all some other builders, nonetheless still organ and liturgical music survived of Germany. manage to draw praise. Kristallnacht and eventually the Ho- Eight years later, it, along with al- The book is copiously illustrated locaust is remarkable; and that Tina most all of central Europe’s synagogue with good sharp black-and-white pho- Frühauf was able to produce a com- organs, fell victim to the riots of No- tos; elegant color photos of two re- pact, fluid narrative from the paucity vember 1938. During the two days cent Schoenstein organs adorn the of extant documents at her disposal of Kristallnacht,2 more than 200 syna- covers. Appendices list members of is equally extraordinary. Originally the Schoenstein family, employees published in 2005 as Orgel und Orgel- 1. His philosophical concepts led to the Jewish of the current (since 1977) establish- musik in deutsch-jüdischer Kultur, this, Enlightenment (Haskalah) and Jewish assimila- tion in the 19th century. Mendelssohn was also the ment, complete opus lists of the “old” Frühauf’s English-language text, is not grandfather of Fanny and Felix Mendelssohn. and “new” Schoenstein companies, only her own translation of the earlier 2. Crystal Night or the Night of Broken Glass was

vol. 53, no. 4 the tracker 35 reviews continued

gogues were destroyed, thousands of gans and their music. She provides the lish the character of the organ in Jew- businesses and homes were plundered, reader with dispositions of several syn- ish worship; Heinrich Schalit; and the and about 30,000 Jews were arrested agogue organs by E.F. Walcker et Cie, polymath Arno Nadel, who was also and sent to concentration camps. In G.F. Steinmeyer and Edmond Alexan- a successful painter, poet, and play- an interview with the author, Samuel dre Roethinger—although one would wright—is comprehensive and enlight- Adler, son of the cantor and composer wish for more. Indeed, in Orgel und ening, although more examples of the Hugo Adler, gives a first-hand account Orgelmusik in deutsch-jüdischer Kultur, a music would make Frühauf’s examina- of the destruction of the Mannheim large appendix contains a chronological tion even more exhaustive. synagogue. of list of hundreds of instruments and The Organ and Its Music in German- their dispositions. These were not in- Jewish Culture is essential reading for So they set two explosive charges; one in the ark which, by the way, cluded in the 2009 English publication. students, performers and scholars of the contained the 122 Torah scrolls of These missing appendices with numer- organ and Jewish music. Certainly this all sizes, the other under the organ. ous photos and drawings are available sine qua non text sets the bar high for The first explosion blew out the online at . further research in this long-neglected entire front wall; the second blew Commenting on the nature of the field. a huge hole in the choir loft floor, 3 destroyed the balcony and blew synagogue organ, Herman Berlinski —Bynum Petty the organ [console] over the side remarks that “The organ consists so that it hung from a cable over of zinc, tin, copper, wood, leather, the balcony about 50-feet from the ivory, and a hundred other things that main floor. are neither Jewish nor Christian. It is Samuel Adler was only ten years old the creative spirit that composes and when he and his father crept into the the hand that plays that are moved synagogue hoping to save as much of by the Christian or Jewish spirit.” the music library as possible. Adler Ultimately, Frühauf demonstrates that continues: synagogue organs are not substantially Just then, since there was so much different from church organs of the dust, I sneezed. Immediately we period. heard one of the officers downstairs Jewish organ music is another mat- command a man to go upstairs and ter. Beginning in the early 19th cen- to shoot anyone there on sight. He tury, it took almost a century for had hardly finished shouting when the cable of the organ gave way composers to develop a true Jewish and the console crashed to the floor repertoire for the organ. The author barring the entrance to the door focuses on two kinds of organ music: leading upstairs. Confusion reigned those that fulfill a specific function down there while my father and I in Jewish worship and those that are weighed down with books rushed down the stairs into the secret pas- based on Jewish themes. Her analysis sage and safely reached the house of significant works—those by Moritz across the street, and miraculously Deutsch, whose compositions are simi- Organ-isms: Anecdotes from the World all in one piece we had accom- lar to those of the Cæcilianist Johann of the King of Instruments, Jenny plished an impossible deed. Gottlob Töpfer;4 Louis Lewandowski, Setchell. Pipeline Press, xviii + The tradition of organs and organ a prolific cosmopolitan composer of 265 pp. $17.25. Available from music in German synagogues no lon- Berlin and one of the first to estab- www.ohscatalog.org. ger exists. In spite of all the amusing situations While the destruction was com- 3. (1910–2001) As a prolific composer, he wrote an in which we organist’s find ourselves, plete, Tina Frühauf manages to piece abundant amount of music for the organ, making we seldom read about them. To fill that him the direct successor of the Jewish organ tradi- together fragments of documents and tion of Louis Lewandowski (1821–94) and Eman- gap, Jenny Setchell has compiled what leave the reader well informed on the uel Kirschner (1857–1938). is described as “non-fiction—humor,” essential qualities of synagogue or- 4. German organist, composer, and theorist. He a book of funny stories about our col- was organist at the Herderkirche in Weimar, and leagues, living and dead. From the story is better known to organbuilders as the one who an anti-Jewish pogrom and part of a more com- took Sorge’s logarithmic calculations of pipe scales of the donor of an organ who motioned prehensive Nazi strategy of Jewish persecution. and developed the so-called Normalmensur. to the empty organ chamber and said

36 the tracker vol. 53, no. 4 reviews

to Ernest Skinner, “There’s the hole. trary to what one might infer, this is Mendelssohn, Bizet, Lefébure-Wély, Fill it up and send me the bill,” and the not a recording of organ and brass; etc. makes no sense; this sort of pro- farmer who went up to Faythe Freese rather it is a collection of brass music gramming is a tedious trek leading no- after she had played Messiaen’s Appari- occasionally interrupted by organ where except to the end of the CD. tion de l’église eternelle and said that “the works—but, then, there’s no harm in All but one of the brass works are Occupational Safety and Health Ad- that. Further, this disc embodies good transcriptions, and the last piece on the ministration would not let him run intentions of offering music to a recep- disc, written for brass by Chris Hazell his gravel crusher that loud,” to when tive audience, most likely not intended and commissioned by the Philip Jones Édouard Souberbielle, a pupil of Vi- to go far beyond the city walls of Span- Brass Ensemble, is an odd ending for a erne and Gigout, heard a lady play the dau. Yet, as our old friend Bobby brass CD. “Mr. Jums” from Three Brass Bach Toccata, Adagio, and Fugue in a Burns wrote in 1785, we know that Cats, leaves the listener with a slight detached manner, and said, “Madame, good intentions do not necessarily suc- case of melancholy. A better ending that piece is lace; do not put holes in it,” cess make: would have been “O When the Saints this will keep you smiling, if not laugh- But, Mousie, thou art no thy lane, Go Marching In,” a toe-tapping romp. ing out loud, for hours. Many of the In proving foresight may be vain; Transcriptions of Mendelssohn’s motet stories are related by colleagues we all The best-laid schemes o’ mice an’ men for eight unaccompanied voices, Den recognize or by famous organists/com- Gang aft agley, er hat seinen Engel, and the “Kyrie” An’ lea’e us nought but grief an’ pain, from Rheinberger’s Cantus Missae, Op. posers of the past. For promis’d joy! —Rollin Smith 109, fare better than most of the other Tone of the brass ensemble is rich brass pieces on the disc. (Incidentally, CD R ecor dings and dark; even though the liner notes for a first-rate performance of Rhein- comment that there are five trumpets, berger’s Mass, look up the recording one horn, four trombones and one made by Peter Richard Conte and the tuba, I suspect that there’s a cornet or choir of St. Clement’s Church, Phila- flügelhorn hiding somewhere in this delphia.) In addition to poor texture thick texture. Indeed, the pitch and and intonation, all brass works on the color of the brass remind me of those Festlich Beschwingt disc are marred by of the Ulster Orchestra under the hand what appears to be electronically en- of Vernon Handley. Yet in the midst hanced reverberation. The decay at of the lush textures produced by the the end of each piece is unnatural and Turmbläser St. Nikolai, there’s an un- distracting. settling turgidness that obscures inner Reverberation on the organ works voices and distracts the listener from is more convincing. Despite the Eule the otherwise seductive tone. Pleas- organ (three manuals, 51 stops) sound- ant tone or not, good intonation is ex- ing like a mudslide embedded with pected of any group audacious enough mixtures, Bernard Kruse handles it to place its efforts before the public; with grace and authority. His phrasing Festlich Beschwingt: Bläsermusik and this essential element more often in Bach’s Präludium und Fuge, BWV mit den Turmbläsern St. Niko- than not is missing from this perfor- 547, is as beautiful as one would want, lai Spandau. Bernhard Kruse, lei- mance. Ultimately, intonation and although much of his effort is lost be- tung und orgel. Eule-orgel (1996) a balanced ensemble lie solely at the cause of the organ’s lack of clarity in der St. Nikolai-Kirche Spandau. feet of the conductor. Here, Bernhard the inner voices. Rupprecht Tonstudio, Berlin. €10. Kruse is conspicuously weak. The organ is a curious study in German text. Programming on the recording German tonal development, as many At the same time, this disc is en- is weak, too. The gamut goes from stops are patterned and scaled after dearing, yet repelling, with its assets Purcell to the 20th century, a con- those of Joachim Wagner’s work in the balanced by its liabilities. Brass and cept that I’ve never completely un- mid-18th century and Gottfried Sil- organ music, recorded in a late 14th- derstood. Where is the thematic and bermann. Since Eule has been building century church fitted with an organ tonal relationship in this “march of the organs in eastern Saxony since 1872, built by an old East German firm, hours?” That Purcell is followed by one would expect the firm’s mod- raises the interest of the listener. Con- Handel, then by Bach, Rheinberger, ern work to owe a debt to the region’s

vol. 53, no. 4 the tracker 37 reviews continued

great 18th-century builders. Ironically in the homes of New York’s wealthi- two CDs. In 1921, Thomas Edi- though, the organ seems better suited est citizens. As the “Millionaire’s Mae- son sent a recording crew to Charles for Lefébure-Wély’s March in F, the stro” he earned many times his church Schwab’s 75-room mansion on Riv- last organ work on the disc. Despite its salary and his services were eagerly erside Drive to record his Aeolian complete stop list with a strong nod to competed-for by patrons (never “em- acoustically (through a horn onto a the past, and the firm’s prodigious ex- ployers”) such as Schwab, Frick, Van- disc), and while we are grateful to perience (this instrument is Opus 610), derbilt, Rockefeller, Tiffany, Twombly, have these testimonies to the sound the organ doesn’t come together as a Sloane, Baldwin, Manville, and others. and interpretations, deaf Mr. Edi- musical instrument. In the end, this With Caruso, Schumann-Heink, Pa- son opted not to release them. (He CD doesn’t come together either. derewski, and Kreisler, Mr. Gibson en- also refused a contract to Enrico Ca- —Bynum Petty tertained at Saturday night soirées and ruso, saying he lacked melody!) Three Sunday afternoon musicales, accompa- years later, Gibson had a radio broad- nying the greats of the Golden Age and cast and there was a market for record engaging in a lifestyle quite different sales. After the advent of electrical re- from that of his esteemed colleagues cording via microphone, RCA Vic- in the organ world. Tall (well over six tor recorded six sides of Gibson play- feet) and handsome, he had no lack of ing the Schwab organ in 1929. In 1935, young companions up to the end of his Victor recorded a series of twelve life, and most accounts mention the at- sides on the 1918 Aeolian in Gibson’s tractive young ladies bustling about his apartment (from which he was then duplex apartment on West 86th Street. broadcasting). What was the musical magic of this There are some touching sounds artist who recorded some 75 Aeolian heard here: the Vox Humana on the player organ rolls and made hundreds Schwab organ, played alone; several of thousands of dollars a year? Well, it solos on an Aeolian free-reed Clar- must be stated that, while many a mil- inet, full organ (with and without The Complete Disc Recordings of Ar- lionaire’s wife had a box at the Met- tremolo), and Gibson’s trademark, archer Gibson. $18 postpaid. Avail- ropolitan Opera and a subscription to peggios on the Harp and Flute as ac- able from www.ohscatalog.org. If concerts of the New York Symphony companiment to a melody. There is there was ever a consummate advocate Society, they more often attended as a the distinctly-played canon against the of the Aeolian residence organ it was social activity and generally preferred accompaniment of the Franck Panis Archer Gibson. Baltimore-bred and what have come to be regarded as “ev- angelicus—playing on three and four Peabody-trained, he followed his min- erybody’s favorites.” These Archer manuals at once was Gibson’s spe- ister to New York’s Brick Presbyterian Gibson provided by the hour, playing cialty—and a particularly evocative At Church only to have the clergyman die from memory hundreds of violin and Rest by Ethelbert Nevin that begins in Florence before their first service to- piano pieces, opera excerpts (his obit- with barely-audible harp arpeggios and gether. Nevertheless, Gibson held the uary referred to his playing through gradually crescendos to a melody. In post for eight years, until Easter 1909 Parsifal at one sitting!), songs, and even, addition to the disc recordings there is when he abruptly resigned to follow when requested, the latest popular a bonus track of Opus 1598, at “Eagle’s his pregnant soprano soloist to Okla- music. All were joined with seamless Nest,” the Northport estate of Wil- homa, denying all the way (in the New improvisation so that there was a per- liam K. Vanderbilt Jr. (now the Suffolk York Times) the licentious rumors that petual background of ravishingly or- County Vanderbilt Museum) of Gibson followed them. chestral sound. And while it must be playing Victor Herbert’s “Ah! Sweet In the meantime, Gibson had admitted that his Aeolian rolls repre- Mystery of Life.” If the Victor discs earned his FAGO certificate, served sent his repertoire better than his RCA don’t impress you, this will! In all, this as sub-warden of the American Guild Victor “funeral parlor” recordings, it is is a fascinating musical tour through of Organists, and had been influen- the latter that give us the precise sound a vanished era, not the least for those tial on its committee for console stan- of the mint-condition 1920s and ’30s organ restorers who have never heard dardization. Not the least of his activi- Aeolians that he played. an untouched Aeolian organ—fast ties was what he called “housework:” Two organs and three record- tremolos and all. playing the newly-introduced organs ing periods are represented on these —Rollin Smith

38 the tracker vol. 53, no. 4 Dudley Buck, 1839–1909 anniversary

Paul’s Church (now Cathedral) and a member of the faculty of the New England Conservatory. The next year Buck was named organist of the Boston Music Hall Association where he played three one-hour organ recitals a week: at noon on Wednesday and Saturday and on Sunday evening. In 1875, Buck made his last move—to New York. He made his home in Brooklyn Heights and, after two years as organist of Saint Anne’s Church, he went to Holy Trinity Church. One of America’s premiere church musicians, Buck produced what remains the profession’s ideal handbook: Illus- trations in Choir Accompaniment with Hints in Registration, published by Schirmer in 1877. A truly remarkable treatise, it covers every aspect of organ accompaniment from registration and transcription of piano scores and “choice tones to be sustained against a staccato accompaniment” to the “downward roll” to give the illusion of reverberation in acoustically dead The most famous church musician in America, and one American churches. of the early American organ virtuosos, died one hundred As a composer, Dudley Buck knew his audience and its years ago. Dudley Buck was born March 10, 1839, the son appreciation for familiar American tunes. The finale of his of a prosperous Hartford shipping merchant, one of whose First Sonata was a fugue on “Hail Columbia.” This was fol- boats, during the Civil War, towed the Monitor to Fort Mon- lowed by variations on “Home, Sweet Home,” “The Star- roe on the momentous voyage that destroyed the Confederate Spangled Banner,” “Annie Laurie,” “The Last Rose of Sum- Merrimac. Dudley taught himself to play the piano and melo- mer,” and “Old Folks at Home” (with a variation for pedal deon, not being allowed formal lessons until he was 16. Pro- solo—an innovation at the time). gressing rapidly, he was soon hired as organist at Saint John’s Buck left Holy Trinity in 1902, after 25 years of service. Church, Hartford. At the insistence of a friend recently re- Ostensibly, he took a six-month leave of absence because of ill turned from Europe, Buck, then a junior at Trinity College, health in November 1901. The church’s newsletter recorded was sent to Germany to continue music studies. He studied his resignation because “he was incapacitated for duty by an in Leipzig (with classmate Arthur Sullivan) and Dresden and illness,” but a brief notice in the February issue of the Church spent a final year in Paris. Music Review quoted his son as saying that He returned to Hartford in 1862 and took a position at Objection to dictation in the matter of musical services the North Congregational Church. In addition to teaching by those whom he considered to be incapable of judging is organ, piano and theory, playing frequent recitals, and getting the reason for the step given by his son . . . Dr. Buck took the married, Buck began to publish works that eventually would easiest method of ending the injustice which he felt was being make his name, if not a household word (although his “Creole done to him by curtailing his authority in arranging the musical programmmes of Holy Trinity Church. Lover’s Song” almost did), at least by the turn of the century the most familiar name in American choral and organ music. He played at Plymouth Church for the next year and then The famous Motette Collection, choral works and original an- retired from active work. Thereafter he divided his time be- thems written for his choir, came out in 1864. The follow- tween Europe and America, the “play-time” of his life, as he ing year he composed the first organ sonata by a native-born called it. Shortly after his return to the United States, he died American. at his son’s home in Orange, New Jersey, October 6, 1909. On the death of his father, Buck came into a sizable in- A well-rounded musician, Buck was successful in all as- heritance. With no small reputation already established, he pects of musical activity. As a composer, his Festival Te Deum moved his family to Chicago in 1869, became organist of in E Flat (1873) was his most popular choral work, and “Fear Saint James Church, built a handsome house, and had a large not, O Israel” his best-known vocal solo. As a concert per- Johnson organ installed in an adjoining music hall that seated former, he combined musicianship with the ability to catch 200 persons. For three years, Buck taught many of the church and hold popular attention. As a teacher, he influenced many organists of the city. Then, in the fall of 1871, the great Chi- American composers and organists of the next generation: cago fire destroyed his church, his home, and all his posses- Chadwick, Shelley, Ives, Skilton, Brewer, Neidlinger, Glea- sions. In less than a week, he moved his family to Boston son, Woodman, Gaul, and Eddy. where, within a month, he was appointed organist of Saint —Rollin Smith

vol. 53, no. 4 the tracker 39 index coMPILED by rollin smith

Index to The Tracker, Volumes 52 and 53 (2008–2009), Seattle 2008 Organ Atlas, and Cleveland 2009 Organ Atlas. This Index is comprised of five parts: Organ Historical Society, General Index, Obituaries, Organ Stoplists (listed under organbuilder), and Author Index. Only organs that have been discussed in some detail have been included. Entries are cited by volume:number:page. “P” indicates photographs or other illustrations. Churches, institutions, and residences appear under the state or province and city of their location. Organs outside of North America appear under the country and city of their locations.

ORGAN HISTORICAL –Holy Cross R.C. Church, 53:2:14 It’s All About the Echo (Rollin –Cathedral of St. John the Evangelist, SOCIETY –Howard Street Presbyterian Church, Smith), 53:4:26 100 –Annual Meeting of the Membership, 53:2:9 James H. Rogers, Cleveland Com- –Church of the Covenant, 218 53:1:42 –Immaculate Conception R.C. poser (Rollin Smith), 53:2:33P –Cleveland Masonic and Performing –Special Meeting of the National Church, 53:2:12 Marklove, John G., Cleveland Atlas Arts Center, 22 Council, 52:1:38; 52:3:40; 52:3:41; –Independent Presbyterian Church, (2009), 13P –Cleveland Museum of Art, 32 52:4:47 53:2:11 Maryland –First United Methodist Church, 54 –New Guidelines for Conservation –Mark Hopkins residence, 54:4:14 Boonsboro, Trinity UCC, 52:4:17 –Franklin Circle Masonic Temple, 224 (John Watson), 53:4:28 –Metropolitan Temple, 54:4:11 Cumberland, First Christian Church, –Pilgrim Congregational Church, 70 –Guidelines for Conservation, 53:4:29 –St. Dominic’s R.C. Church, 54:4:16 52:4:17 –Severance Hall, 82 –National Council Minutes, 52:1:34; –St. Ignatius R.C. Church, 53:2:10 Massachusetts –Shrine Church of St. Stanislaus, 126 52:3:38; 52:4:44 –St. John’s Presbyterian Church, Boston, Trinity Church, Sumner –St. Augustine R.C. Church, 230 54:4:12 Street, Gray, Robert [John Gray –St. James’ Anglican Catholic Church, 94 GENERAL INDEX –St. Markus’ Lutheran Church, & Son] organ, 53:4:22 –St. Procop R.C. Church, 120 Aeolian-Skinner: Rebuilds, Restora- 54:4:13 Lowell, Branch Street Tabernacle, –Temple Tifereth Israel, 132 tions, and Relocations (James H. –St. Mary’s R.C. Cathedral, 53:2:13 Seattle Atlas (2008), 91 –Trinity Episcopal Cathedral, 140 Cook), 52:1:22 –St. Patrick’s R.C. Church, 53:2:10 Salem –Trinity Evangelical Lutheran A Young Yet Vibrant History (David –Temple Emanu-El, 54:4:10 –First Church Church, 152 Dahl), 52:1:8 –Temple Sherith Israel, 53:2:15 Avery organ, 52:3:6 –Western Reserve Historical Society, An Important Early Dutch Chamber –Trinity Episcopal Church, 54:4:8, 17 Geib organ, 52:3:7 224 Organ in an American Collection –Union Square Baptist Church, 54:4:6 Simmons & McIntyre organ, 2:3:9P Cleveland Heights, St. Paul’s Episcopal (Dominic Gwynn), 52:2:12 Cleveland: A Town of Good Organs, Hook & Hastings organ, 52:3:10 Church, 108 AOA Late Summer Tour of Vermont A Profitable Place to Visit (Joseph Mightiest Wurlitzer, The, (Joseph M. Elyria and New Hampshire Organs, The M. McCabe), 53:1:16 McCabe), 53:2:36P –St. Andrew’s Episcopal Church, 194 (Stephen L. Pinel), 52:2:18 Crow, Andy, 52:1:19P Minnesota: Fergus Falls, Bethlehem –St. Mary’s R.C. Church, 198 Archives Corner (Stephen L. Pinel) Dudley Buck 1839–1909 (Rollin Lutheran Church, 52:4:17 Lakewood, Lakewood Masonic –An Appreciation of Martin R. Walsh, Smith), 53:4:16 Montana: Helena, B.P.O.E. Lodge, Temple, 66 53:1:44 Dupré, Marcel, recital at University Seattle Atlas (2008), 117 Oberlin –Vogelpohl!, 53:2:40 Christian Church, Oct. 29, 1929, New at the OHS’s American Organ –First Church in Oberlin UCC, 158 –An Organbuilder’s Toolbox, 53:4:41 Seattle, Wash., Seattle Atlas (2008), Archives: Two Volumes of Newly- –Oberlin Conservatory of Music, California 63 Discovered German Tablatures, 172, 184 Berkeley Early Organ Culture of Cleveland, 52:3:30 –Warner Concert Hall, Oberlin Con- –Chapel of the Cross, Pacific Luther- The (Stephen L. Pinel), Cleveland New Dimensions in Organ Docu- servatory, 173 an Theological Seminary, 53:2:25 Atlas (2009), 12 mentation and Conservation: A –Fairchild Chapel, Oberlin College, Gardena Frederick G. Bourne Aeolian Organ, Symposium co-sponsored by the 177 –Roosevelt Memorial Park (Wurlitzer The (James Lewis) 52:2:6 Eastman School of Music and the –Finney Chapel, Oberlin College, 178 organ), 53:2:37 From the President American Organ Archives of the Sandusky Los Angeles –Phoenix Rising (Laurence Libin), Organ Historical Society (Octo- –First Congregational Church UCC, –Second Church of Christ, Scientist, 52:1:3 ber 11–14, 2007), Eastman School 164 52:1:26 –Rich Rewards (Laurence Libin), of Music, Rochester, N.Y. (Lynn –Holy Angles R.C. Church, 226 –Arthur Letts residence (Aeolian or- 52:2:3 Edwards Butler), 52:2:30 Shaker Heights, Plymouth Congrega- gan, Op. 1516 (1922) 53:4:12 –Mungo Among Us (Laurence Libin), New Guidelines for Conservation tional, UCC, 76. San Francisco 52:4:3 (John Watson), 53:4:28 Toledo –Calvary Presbyterian Church, 54:4:9 Gibson, Archer, 52:2:9 New York –Our Lady, Queen of the Most Holy –Church of St. John the Evangelist, Glimpses of the American Organ and New York City, St. James’ R.C. Rosary Cathedral, 186 54:4:11 Its Use, 1820–1850 (Beverly Jer- Church, 53:2:27 –Plymouth Church UCC, 76 –Church of the Advent, 54:4:13 old), 53:4:14 Oakdale, L.I., Frederick G. Bourne –Toledo Museum of Art, 206 –First Congregational Church, Holtkamp, Walter Sr. Cleveland Atlas residence, 52:2:6 Valley City, St. Martin of Tours R.C. 53:2:11; 54:4:15 (2009), 91P Ohio, Cleveland Atlas (2009) Church, 200 –First Presbyterian Church, 54:4:7 Idaho. Boise, St. Michael’s Episcopal Berea, St. Adalbert R.C. Church, 90 Wellington, First Congregational –First Unitarian Church, 53:2:12 Church, Seattle Atlas (2008), 117 Cleveland Church UCC, 168

40 the tracker vol. 53, no. 4 index

Opinion –Pacific Lutheran University, Lader- Taylor, Susanne Lowndes, 52:1:32 –Op. 25 (1981) Fairchild Chapel, –Transitions (Scot L. Huntington), quist Concert Hall, 76 Walker, Charles Norman, 52:1:32 Oberlin College, Oberlin, Ohio, 53:1:5 –Trinity Lutheran Church, 79 Watkins, Lyndell, P. Sr., 52:2:36 Cleveland Atlas (2009), 177, 262P –Wanted: Perfect Organ Historians Seattle Casavant Frères (James L. Wallmann), 52:3:3 –Alaska Theatre (Strand), 112 STOPLISTS –Op. 1163 (1926) St. James Cathe- Oregon: Salem, Holy Cross Lutheran –Arthur A Wright & Son mortuary, Aeolian dral, Seattle, Wash., Seattle Atlas Church, 52:4:28P 111 –Op. 1050 (1908), Frederick G. (2008), 37 Organ-Playing (Henry Ward Beecher), –Benaroya Hall, 57 Bourne residence, Oakdale, N.Y., –1929, University Christian Church, 53:1:8 –Blessed Sacrament R.C. Church, 14 52:2:11 Seattle, Wash., 52:1:18P; Seattle Organs in Los Angeles, Part I: Ponder- –Christ Episcopal Church, 64 –Op. 1499 (1923) John P. Weyerhaeus- Atlas (2008), 61 ing the Future of the Historic –Church of the Epiphany, 117 er mansion, Seattle, Wash., Seattle –Op. 1715 (1942), First United Meth- Organ in Second Church of –Coliseum Theatre, 113 Atlas (2008), 111 odist Church, Cleveland Atlas Christ, Scientist (James Lewis), –Duthie residence, 111 –Op. 1635 (1927) Rhodes Department (2009), 60, 254 52:1:26 –First Baptist Church, 19, 21 Store, Seattle, Wash., Seattle Atlas –1975, Green Lake Church of Organs of First Church, The, Salem, –First Lutheran Church of Richmond (2008), 114 Seventh-Day-Adventists, Seattle, Massachusetts (George Bozeman), Beach, 119 Aeolian-Skinner Wash., Seattle Atlas (2008), 119 52:3:6 –First M.E. Church, 116 –Op. 1216 (1953), First Baptist Cole & Woodberry: Op. 225 (1892), Organ Update (James Cook) –First Presbyterian Church, 116 Church, Seattle, Wash., Seattle St. John’s Episcopal Church, –Aeolian-Skinner: Rebuilds, Restora- –Frye residence, 111 Atlas (2008), 19 Kirkland, Wash., 52:1:14P; Seattle tions, and Relocations, 52:1:22 –German United Church of Christ, –1959, rebuild of Skinner Op. 844, Atlas (2008), 94 –Electronic Information Sources and 23 Church of the Covenant, Cleve- Coulter, Kenneth: Op. 6 (1982), the OHS, 53:1:16 –Green Lake Church of Seventh- land, Ohio, Cleveland Atlas Calvary Lutheran Church, Fed- –Mechanical-Action Organs on the Day-Adventists, 119 (2009), 220–21 eral Way, Wash., 52:1:14P; Seattle Move, 52:3:26 –Holy Rosary R.C. Church, 52:1:10, –Rebuilds, Restorations, and Reloca- Atlas (2008), 85 –M.P. Möller, 52:4:26P 21P tions (James H. Cook), 52:1:22 Erben, Henry: 52:1:11 –Well-Traveled Organs, 53:2:24 –John Knox Presbyterian Church, 119 –First Baptist Church, Seattle, Wash., –1851, First Presbyterian Church, San Other Carnegie Music Halls, The –Liberty Theatre, 112 52:1:20P Francisco, Calif., 54:4:7 (James M. Stark), 53:4:8 –McNulty, Dale, residence, 111 Appleton, Thomas: 1851, Union –1853, Cathedral of St. John the Evan- Our Iconic Emblem, (Scot Hun- –Our Lady of Good Help, 116 Square Baptist Church, San Fran- gelist, Cleveland, Ohio, Cleveland tington), Part I, 52:4:38; Part II, –Our Lady of the Lake, 118 cisco, Calif., 4:4:6 Atlas (2009), 100 53:2:28 –Ploeger mortuary, 11 Austin –1858, Calvary Presbyterian Church, Pennsylvania –Plymouth Congregational Church, –Op. 181 (1907) First Presbyterian San Francisco, Calif., 54:4:9P Philadelphia 26, 29 Church, Seattle, Wash., Seattle –1878, Blessed Sacrament R.C. –Municipal Auditorium in factory –Radio Station KOMO-KJR, 115 Atlas (2008), 116 Church, Seattle, Wash., 52:1:11, erecting room, 52:4:29P –Rhodes Department Store, 114 –Op. 823 (1919), Cleveland Masonic 14P Pittsburgh –St. Alphonsus R.C. Church, 31 Temple, Cleveland Atlas (2009), Estey –Allegheny Free Library, 53:4:10, 11, –St. James R.C. Cathedral, 37 26, 245 –Op. 1206 (1914), Christ Episcopal –Carnegie Library of Homestead –St. Marks’ Episcopal Cathedral, 49 –Op. 2179 (1950), Church of the Church, Seattle, Wash., Seattle (Munhall), 53:4:9 –St. Paul’s Episcopal Church, 46, 51 Epiphany, Seattle, Wash., Seattle Atlas (2008), 64 President’s Column –St. Stephen’s Episcopal Church, 54 Atlas (2008), 117 –Op. 1828 (1920), Duthie residence, –(Laurence Libin), 53:1:7; 53:2:5; –Taper Auditorium, Benaroya Hall: Avery: First Church, Salem Mass., Seattle, Wash., Seattle Atlas (2008), Cleveland Atlas (2009), 4 The Watjen Concert Organ, 57 52:3:6 111 –(Scot Huntington), 53:4:5 –Trinity Episcopal Church, 115 Balcom & Vaughan: Op. 475 (1945) –Op. 2962 (1930), Church of the Cov- Present and Accounted For: Pilcher –University Christian Church, 61 Frye residence, Seattle, Wash., enant, Cleveland, Ohio, Cleveland Activity in Brooklyn Circa 1900 –Washington Center for the Perform- Seattle Atlas (2008), 111 Atlas (2009), 222 (Jonathan B. Hall), 53:2:18 ing Arts, 103 Barckhoff, Carl: Holy Angels R.C. –ca. 1930, Radio Station KOMO- Some San Francisco Organs Before –Weyerhaeuser, John P., mansion, 111 Church, Sandusky, Ohio, Cleve- KJR, Seattle, Wash., Seattle Atlas 1906 (James Lewis), Part I, 52:4:6; Snohomish, First Lutheran Church, land Atlas (2009), 226 (2008), 115 Part II, 53:2:8 117 Bergstrom, John –Symposium on the Estey Pipe Or- Tablatures (Lynn Edwards Butler), Spanway, Spanway Lutheran Church, –1877, Independent Presbyterian gan, 52:3:32 52:3:30 107 Church, San Francisco, Calif., Farrand & Votey: Op. 719 (1894), Teschemacher Organ at Kauffman Tacoma 53:2:11 Pilgrim Congregational Church, Museum, The, Bethel College, –Buckley-King mortuary, 111 –Op. 2 (1878), Metropolitan Temple, Cleveland, Ohio, Cleveland Atlas North Newton, Kansas (Fritz –Christ Episcopal Church 52:1:14P; San Francisco, Calif., 54:4:11 (2009), 72, 239P Noack), 52:3:16 66P –Op. 35 (1886), Church of St. John the Fisk, C.B. Votteler, Gottlieb Ferdinand, Cleve- –Central Lutheran Church, 118 Evangelist, San Francisco, Calif., –Finney Chapel, Oberlin College, land Atlas (2009), 20P –First Presbyterian Church, 52:1:18P; 54:4:11P Oberlin, Ohio, Cleveland Atlas Washington, Seattle Atlas (2008) 70 Bevington & Son: Presbyterian (2009), 179, 264P Auburn, St. Matthew’s Episcopal –G Street Tabernacle, 118 Church (Oakland), San Francisco, –Kings Chapel Boston, 53:4:21P Church, 81 –University of Puget Sound, Kilworth Calif., 53:2:11, 12 –Op. 114 (2000), Taper Auditorium, Edmunds, Holy Rosary Church, 83 Chapel, 52:1:16P; 73 Bond: Op. 23 (1994), St. Stephen’s Benaroya Hall: The Watjen Federal Way, Calvary Lutheran Walla Walla, Whitman College Cha- Episcopal Church, Seattle, Wash., Concert Organ, Seattle, Wash., Church, 85 pel, 118 52:1:15P; Seattle Atlas (2008), 54 52:1:9P; Seattle Atlas (2008), 57 Kirkland, St. John’s Episcopal Church, Bosch, Werner: Op. 537 (1969), John Flentrop, D.A. 94 OBITUARIES Knox Presbyterian Church, Seat- –1965, St. Mark’s Cathedral, Seattle, Lynnwood, Trinity Lutheran Church, Baker, William Ernest, 52:1:30 tle, Wash., Seattle Atlas (2008), 119 Wash., 52:1:10P; Seattle Atlas 97, 98 Bicknell, Stephen, 52:1:31 Brombough, John (2008), 46 Medina, St. Thomas Episcopal Eaton, Sidney F., 52:2:36 –Op. 22 (1979), Christ Episcopal –1973, Trinity Episcopal Cathedral, Church, 101 Heinze, Noel, 52:2:36 Church, Tacoma, Wash., 52:1:14P; Cleveland, Ohio, Cleveland Atlas Parkland Klug, Thomas A., 53:2:38 Seattle Atlas (2008), 66P (2009), 146

vol. 53, no. 4 the tracker 41 index continued

–1976, Chancel organ, Trinity Epis- –Op. 1561 (1893), G Street Tabernacle, –ca. 1905, Church of Our Lady of –1877, Immaculate Conception R.C. copal Cathedral, Cleveland, Tacoma, Wash., Seattle Atlas Good Help, Seattle, Wash., Seattle Church, San Francisco, Calif., Ohio, Cleveland Atlas (2009), (2008), 118 Atlas (2008), 116 53:2:12 150, 260P –Op. 1690 (1895) Our Lady of the –1910, First M.E. Church, Seattle, –1878, Mark Hopkins residence, San –1977–79, Gallery organ, Trinity Lake, Seattle, Wash., Seattle Atlas Wash., Seattle Atlas (2008), 116 Francisco, Calif., 54:4:14P Episcopal Cathedral, Cleveland, (2008), 118 –1910, First Lutheran Church, Sno- Odenbrett & Abler: 1881, St. Martin Ohio, Cleveland Atlas (2009), –Op. 1772 (1898), Trinity Episcopal homish, Wash., Seattle Atlas of Tours R.C. Church, Valley City, 148, 261P Church, San Francisco, Calif., (2008), 117 Ohio, Cleveland Atlas (2009), –Warner Concert Hall, Oberlin Con- 52:4:17P –1913, First Baptist Church, Seattle, 201, 238 servatory, Oberlin, Ohio, Cleve- Hook (E. & G.G.) & Hastings Wash., Seattle Atlas (2008), 22 Pasi, Martin: Op. 4 (1995), Trinity land Atlas (2009), 173, 259 –Op. 591 (1871) St. Matthew’s Epis- –ca. 1922, St. Michael’s Episcopal Lutheran Church, Lynnwood, Fritts, Paul copal Church, Auburn, Wash., Church, Boise, Idaho, Seattle Atlas Wash., Seattle Atlas (2008), 97 –Op. 8 (1989), Kilworth Chapel, Uni- 52:1:11P; Seattle Atlas (2008), 81 (2008), 117 Pilcher, William & Charles: 1900, versity of Puget Sound, Tacoma, –Op. 841? (1876), B.P.O.E. Lodge, –Op. 6739 (1924), Temple Tifereth St. Matthew’s German Evangeli- Wash., 52:1:16; Seattle Atlas Helena, Mont., Seattle Atlas Israel, Cleveland, Ohio, Cleveland cal Lutheran Church, Brooklyn, (2008), 73 (2008), 117 Atlas (2009), 133, 249 N.Y., 53:2:18P –Op. 18 (1998), Laderquist Concert Hradetzky, Gerhard Kleuker, Detlef, & Co.: 1965, First Roosevelt, Frank Hall, Pacific Lutheran University, –1986, St. Paul’s Episcopal Church, Lutheran Church of Richmond –Op. 421 (1889) St. James’ R.C. Parkland, Wash., 52:1:13P; Seattle Cleveland Heights, Ohio, Cleve- Beach, Seattle, Wash., Seattle Atlas Church, New York, N.Y., 53:2:27 Atlas (2008), 76 land Atlas (2009), 119P, 263P (2008), 119 –Op. 79 (1890) Allegheny Free Li- –Op. 22 (2003), St. Mark’s Cathedral, –Positiv (1991), Cleveland Museum of Lane, E.W.: Branch Street Taber- brary, Pittsburgh, Pa., 53:4:10 Seattle, Wash., 52:1:14; Seattle Art, Cleveland Atlas (2009), 41 nacle, Lowell, Mass., Seattle Atlas Roosevelt, Hilborne: 1883?, Whit- Atlas (2008), 49 Hutchings, George S.: Op. 206 (2008), 91 man College Chapel, Walla Walla, Fritts-Richards: Op. 4 (1985) St. (1890), First Congregational Lodewijk (Lodovicus) de Baeck- Wash., Seattle Atlas (2008), 118 Alphonsus R.C. Church, Seattle, Church, San Francisco, Calif., er: Barrell Collection, 52:2:13 Rosales: Op. 30 (2000), St. James Wash., 52:1:18P; Seattle Atlas 52:4:15 Los Angeles Art Organ Cathedral, Seattle, Wash., Seattle (2008), 31 Hutchings-Votey: Op. 1624 (1907), –Op. 42 (1904) Holy Cross R.C. Atlas (2008), 40 Geib: First Church, Salem Massachu- St. James Cathedral, Seattle, Church, San Francisco, Calif., Reuter: Op. 138 (1925), First Pres- setts, 52:3:7 Wash., 52:1:17P; Seattle Atlas 53:2:14 byterian Church, Tacoma, Wash., Gober: 2004, First Church in Ober- (2008), 34 –Op. 45 (1905) Temple Sherith Israel, Seattle Atlas (2008), 70 lin UCC, Oberlin, Ohio, Cleve- Ibac, Rud. Sohn: Op. 150 (1875) St. San Francisco, Calif., 53:2:15 Schlicker: 1967, Plymouth Congre- land Atlas (2009), 159, 265P Patrick’s R.C. Church, San Fran- Mayer, Joseph gational Church, Seattle, Wash., Harris, Murray M., 52:1:28; 1912, cisco, Calif., 53:2:10 –Op. 3 (1858), Church of the Advent, Seattle Atlas (2008), 26 Second Church of Christ, Scien- Jardine, George San Francisco, Calif., 54:4:13 Schuelke, William: 1909, Shrine tist, Los Angeles, Calif., 52:1:27 –ca. 1837, Western Reserve Historical –Op. 12 (1865), Temple Emanu-El, San Church of St. Stanislaus, Cleve- Hillgreen, Lane: Op. 752 (1924), Society, Cleveland, Ohio, Cleve- Francisco, Calif., 54:4:10P land Atlas (2009), 129, 242P Franklin Circle Masonic Temple, land Atlas (2009), 229 Metzler & Söhne: 1971, St. Thomas Shoenstein, Felix: Op. 7 (1891), St. Cleveland, Ohio, Cleveland Atlas –1852, Trinity Episcopal Church, San Episcopal Church, Medina, Wash., Markus’ Lutheran Church, San (2009), 224 Francisco, Calif., 54:4:8 52:1:19P; Seattle Atlas (2008), 101 Francisco, Calif., 54:4:13P Hinners: Op. 2324 (1917) German Johnson, William, & Son Moline: 1885, Central Lutheran Simmons & McIntyre: First United Church of Christ, Seattle, –Op. 195 (1865) St. Mary’s R.C. Church, Tacoma, Wash., Seattle Church, Salem Massachusetts, Wash., 52:1:12P; Seattle Atlas Church, Elyria, Ohio, Cleveland Atlas (2008), 118 52:3:9P (2008), 23 Atlas (2009), 199 Möller, M.P., 52:4:26P Simmons, William B.D.: 1852, Holtkamp –Op. 394 (1873), St. John’s Presbyteri- –Op. 36 (ca. 1880), First Christian Howard Street Presbyterian –Op. 1865 (1971), Cleveland Museum an Church, San Francisco, Calif., Church, Cumberland, Md., Church, San Francisco, Calif., of Art, Cleveland Atlas (2009), 38 54:4:12P 52:4:17 53:2:9 –Portativ, 1935), Cleveland Museum of –Op. 462 (1875), First Congregational –Op. 696 (1906), Bethlehem Lutheran Skinner, Ernest M. Art, Cleveland Atlas (2009), 41 Church UCC, Sandusky, Ohio, Church, Fergus Falls, Minn., –Op. 140 (1907), Trinity Episcopal –Op. 1784 (1964), Plymouth Church Cleveland Atlas (2009), 166, 236P 52:4:17 Cathedral, Cleveland, Ohio, UCC, Shaker Heights, Ohio, –(1877) First Congregational Church, –Op. 937 (ca. 1908), Trinity UCC, Cleveland Atlas (2009), 143 Cleveland Atlas (2009), 77 San Francisco, Calif., 53:2:11 Boonsboro, Md., 52:4:17 –Op. 186 (1911), Plymouth Congre- –Op. 1657 (1952), St. Paul’s Episco- –Op. 807 (1892), Cleveland Ma- –Op. 5819 (1931), for Philadelphia gational Church, Seattle, Wash., pal Church, Cleveland Heights, sonic Temple, Cleveland Atlas Municipal Auditorium in factory Seattle Atlas (2008), 29 Ohio, Cleveland Atlas (2009), (2009), 23 erecting room, 52:4:29P –Op. 217 (1913) Alaska Theatre 113, 257P Kilgen, Geo., & Son –Op. 7766 (1949), Ploeger mortu- (Strand), Seattle, Wash., Seattle –Op. 1949 ((1949), “Martini,” Oberlin –1887, Holy Rosary Church, Ed- ary, Seattle, Wash., Seattle Atlas Atlas (2008), 112 Conservatory of Music, Oberlin, monds, Wash., 52:I:10, 21P; Seattle (2008), 11 –Op. 328 (1922), Cleveland Public Ohio, Cleveland Atlas (2009), Atlas (2008), 83 –Op. 10574 (1968), Holy Cross Lu- Auditorium, Cleveland Museum 172, 184 –1890, Trinity Lutheran Church, Ta- theran Church, Salem, Ore., of Art, Cleveland Atlas (2009), Hook, E. & G.G.: St. Ignatius R.C. coma (Parkland), Wash., 52:1:13P; 52:4:28P 46, 246P Church, San Francisco, Calif., Seattle Atlas (2008), 79 Morton, Robert: Op. 2522 (ca. –Op. 333 (1922), Cleveland Museum 53:2:10 –ca. 1900, St. Augustine R.C. Church, 1930), Arthur A Wright & Son of Art, Cleveland Atlas (2009), 33 Hook & Hastings Cleveland, Ohio, Cleveland Atlas mortuary, Seattle, Wash., Seattle –Op. 398 (1923), St. Andrew’s Episco- –First Church, Salem Mass., 52:3:10 (2009), 230 Atlas (2008), 111 pal Church, Elyria, Ohio, Cleve- –Op. 1380 (1888), First Unitarian Kimball, W.W. Müller & Abel: 1898, St. Dominic’s land Atlas (2009),194, 248 Church, San Francisco, Calif., –1902, St. Mark’s Cathedral, Seattle, R.C. Church, San Francisco, –Op. 452 (1924) Allegheny Free Li- 53:2:12 Wash., Seattle Atlas (2008), 48 Calif., 54:4:16P brary, Pittsburgh, Pa., 54:4:11 –Op. 1431 (1889), St. Mary’s R.C. –1902, Trinity Episcopal Church, Odell, J.H. & C.S. –Op. 603 (1926), Peristyle, Toledo Cathedral, San Francisco, Calif., Seattle, Wash., Seattle Atlas –1875, Church of the Advent, San Museum of Art, Toledo, Ohio, 53:2:13 (2008), 115 Francisco, Calif., 54:4:14 Cleveland Atlas (2009), 211, 250

42 the tracker vol. 53, no. 4 index

–Op. 684 (1928), St. Paul’s Episcopal –Op. 1297 (1916), Lakewood Masonic –New at the OHS’s American Organ –Organs in Los Angeles, Part I: Pon- Church, Cleveland, Ohio, Cleve- Temple, Cleveland Atlas (2009), Archives: Two Volumes of Newly dering the Future of the Historic land Atlas (2009), 110 67, 244P Discovered German Tablatures, Organ in Second Church of –Op. 820 (1931), Our Lady, Queen of –Op. 1528 and 1529 (1929), Cleveland 52:3:30 Christ, Scientist, 52:1:26 the Most Holy Rosary Cathedral, Masonic Temple, Cleveland Atlas –New Dimensions in Organ Docu- –Some San Francisco Organs Before Toledo, Ohio Cleveland Atlas (2009), 24 mentation and Conservation: A 1906, Part I, 52:4:6; Part II, 53:2:8 (2009),188, 252 –Op. 1535B (1929), St. James’ Anglican Symposium co-sponsored by the –Op. 844 (1930), Church of the Cov- Catholic Church, Cleveland, Eastman School of Music and Libin, Laurence. 52:1:3; 52:2:3; enant, Cleveland, Ohio, Cleveland Ohio, Cleveland Atlas (2009), the American Organ Archives 52:4:3; 53:1:7; 53:2:5; Cleveland Atlas (2009), 219 94, 253 of the Organ Historical Society Atlas (2009), 4 –Op. 916 (1931), Severance Hall, –Op. 1580 (1933), Cleveland Museum (October 11–14, 2007), Eastman Lorenz, Penny. Trinity Lutheran Cleveland, Ohio, Cleveland Atlas of Art, Cleveland Atlas (2009), 36 School of Music, Rochester, Church, Lynnwood, Wash., Se- (2009), 85, 251 –Op. 1596 and 1607 (1936–38), St. NY, 52:2:30 attle Atlas (2008), 96 Slajch, Vladimir: 2002, St. Paul’s James’ Anglican Catholic Church, Cook, James H. Organ Updates: Martin, Leslie. St. Stephen’s Episco- Episcopal Church, Cleveland Cleveland, Ohio, Cleveland Atlas 52:1:22; 52:3:26; 52:4:26; 53:1:10; pal Church, Seattle, Wash., Seattle Heights, Ohio, Cleveland Atlas (2009), 97 53:2:24 Atlas (2008), 54 (2009), 117 Walcker & Cie., E.F.: Op. 3472 Dahl, David McCabe, Joseph M. Späth, Gebrüder (1971) Trinity Lutheran Church, –A Young Yet Vibrant History, 52:1:8 –Cleveland: A Town of Good Organs, –Op. 730 (1961) Mr. & Mrs. Dale Lynnwood, Wash., Seattle Atlas –Seattle Atlas (2008), McNulty residence, Seattle, Wash., (2008), 98 An Overview of Organbuilding in A Profitable Place to Visit, 53:1:16 Seattle Atlas (2008), 112 Welte & Sons: see Balcom & the Pacific Northwest, 8 –The Mightiest Wurlitzer, 53:2:36P –1962, St. Paul’s Episcopal Church, Vaughan, Op. 475 Christ Episcopal Church, 64 Meers, Roger. (Seattle Atlas (2008) Seattle, Wash., 52:1:7P Wicks: Op. 2022 (1939), Cathedral of Kilworth Chapel, University of –First Baptist Church, Seattle, 16 –Op. 753 (1963), St. Paul’s Episcopal St. John the Evangelist, Cleveland Puget Sound, Tacoma, 72 –St. Matthew’s Episcopal Church, Church, Seattle, Wash., Seattle Atlas (2009), 101 Laderquist Concert Hall, Pacific Auburn, Wash., 80 Atlas (2008), 51 Woodberry & Harris: 1889, Chapel Lutheran University, Tacoma, 74 –Calvary Lutheran Church, Federal Steere, J.W., & Son: First Congrega- of the Cross, Pacific Lutheran Plymouth Congregational Church, Way, Wash., 84 tional Church UCC, Wellington, Theological Seminary, Berkeley, Seattle, 24 Noack, Fritz. The Teschemacher Ohio, Cleveland Atlas (2009), Calif., 53:2:25 Spanway Lutheran Church, Span- Organ at Kauffman Museum, 169, 240 Woodberry, Jesse, & Co. away, 106 Bethel College, North Newton, Stevens, George: Plymouth Church –1901, First Baptist Church, Seattle, St. Alphonsus Parish, Seattle, 30 UCC, Shaker Heights, Ohio, Wash., Seattle Atlas (2008), 21 St. Mark’s Cathedral, Seattle, 44 Kansas, 52:3:16 Cleveland Atlas (2009), 79, 235P –Op. 225 (1905), Spanway Lutheran St. Thomas Episcopal Church, Me- Pinel, Stephen L. 53:1:44; 53:2:40 Strumphler, Johannes: ca. 1785, Church, Spanway, Wash., Seattle dina, 100 –AOA Late Summer Tour of Vermont Toledo Museum of Art, Toledo, Atlas (2008), 107 Taper Auditorium, Benaroya Hall: and New Hampshire Organs, The Ohio, Cleveland Atlas (2009), Woods “organized piano”: Buckley- The Watjen Concert Organ, 52:2:18 214, 234P King mortuary, Tacoma, Wash., Seattle, 56 –Archives Corner, 53:1:44; 53:2:40; Tallman, F.J.N.: Blessed Sacrament Seattle Atlas (2008), 111 Trinity Lutheran Church, Tacoma 53:4:41 Parish, Seattle, Wash., Seattle Atlas Wurlitzer, Rudolf (Parkland), 78 –Blessed Sacrament Parish, Seattle, (2008), 14 –Op. 170 (1918), Coliseum Theatre, Washington Center for the Perform- Wash., Seattle Atlas (2008), 10 Vermeulen, Gebrs.: Blessed Sacra- Seattle, Wash., Seattle Atlas (2008), ing Arts, Olympia, 102 –William B. Goodwin and the Tonus ment Parish, Seattle, Wash., Seattle 113 Foster, Thomas Atlas (2008), 12 –Op. 858 (1924), Washington Center –St. Paul’s Episcopal Church, Seattle, Infra Totissimus, Seattle Atlas Von Beckerath, Rudolph: 1956, for the Performing Arts, Seattle, Seattle Atlas (2008), 50 (2008), 88 Trinity Evangelical Lutheran Wash., 52:1:19P; Seattle Atlas –St. John’s Episcopal Church, Kirk- –The Early Organ Culture of Cleve- Church, Cleveland, Ohio, Cleve- (2008), 103 land, Seattle Atlas (2008), 86 land, Cleveland Atlas (2009), 12 land Atlas (2009), 154, 258 –Op. 998 (1925), Roosevelt Memorial Guzzo, Louis R. Music Floats from Savage, James. St. James Cathe- Votey Park, Gardena, Calif., 53:2:37 Above in Seattle Church, Seattle dral, Seattle, Wash., Seattle –Op. 842 (1898), Frederick G. Bourne –Op. 3164, Hope-Jones Unit Or- Atlas (2008), 53 Atlas (2008), 38 residence, Oakdale, N.Y., 52:2:7 chestra (1914) Liberty Theatre, Gwynn, Dominic. An Important Schnurr, Stephen J. Cleveland Atlas –Op. 858 (1899) Carnegie Library of Seattle, Wash., Seattle Atlas Early Dutch Chamber Organ in (2009). Homestead, Munhall, Pa., 53:4:9 (2008), 112 an American Collection, 52:2:12 Smith, Rollin Votteler: ca. 1901, Franklin Circle –1929, Cleveland Masonic Temple, Hall, Jonathan B. Present and Ac- –Dudley Buck 1839–1909, 53:4:16 Masonic Temple, Cleveland, Cleveland Atlas (2009), 30 counted For: Pilcher Activity in Ohio, Cleveland Atlas (2009), 225 Brooklyn Circa 1900, 53:2:18 –It’s All About the Echo, 53:4:26 Votteler-Hettche AUTHOR INDEX Huntington, Scot L. 52:4:38; –James H. Rogers, Cleveland Com- –1904, St. Adalbert R.C. Church, Beecher, Henry Ward. Organ- 53:2:28 poser, 53:2:33P Berea Ohio, Cleveland Atlas Playing, 53:1:8P –The Notebooks of Eugene Nye, Stark, James M. The Other Carn- (2009), 91, 241 Blanchard, Homer. Historical Seattle Atlas (2008), 108 egie Music Halls, 53:4:8 –Op. 1215 (1912) St. Procop R.C. Notes on Odenbrett & Abler –Transitions, 53:1:5 Tietjen, Sandra. First Presbyterian Church, Cleveland, Ohio, Cleve- organ of St. Martin of Tours R.C. –President’s Message, 53:4: Church, Tacoma, Wash., Seattle land Atlas (2009), 123, 243P Church, Valley City, Ohio, Cleve- Jerold, Beverly. Glimpses of the Atlas (2008), 68 Votteler-Holtkamp-Sparling land Atlas (2009), 204 American Organ and Its Use, Wallmann, James L. Wanted: Perfect – Ops. 1630/1631 (1948), Cathedral of Bozeman, George. The Organs of 1820–1850, 53:4:14 Organ Historians, 52:3:3 St. John the Evangelist, Cleveland, First Church, Salem Massachu- Kraus, Clint. Music at St. James Ca- Ohio, Cleveland Atlas (2009), setts, 52:3:6 thedral, Seattle, 1907–35, Seattle Watson, John. New OHS Guide- 103, 255P Butler, Lynn Edwards Atlas (2008), 32 lines for Conservation, 53:4:28 –1920, De Molay Room, Cleveland –Feature Review: The Registration Lewis, James Wilen, Stephen. University Chris- Masonic Temple, Cleveland Atlas of J.S. Bach’s Organ Works by –Frederick G. Bourne Aeolian Organ, tian Church, Seattle, Wash., Se- (2009), 23 Quentin Faulkner, 53:2:42 The, 52:2:6 attle Atlas (2008), 60

vol. 53, no. 4 the tracker 43 J. Richard

  OHS Convention 2011  June 27-July 1 Give me a call and we’ll make some music!  Washington, D.C.    Anniversary Tour          Greetings from   the Hilbus Chapter  

  

THE NOACK ORGAN CO., INC. MAIN AND SCHOOL STREETS GEORGETOWN, MA 01833 www.noackorgan.com [email protected] phone 978 352-6266 stephen l. pinel, ohs archivist archives corner

An Organbuilder’s Toolbox A significant and recent gift to the American Organ Ar- chives included the intact toolbox belonging to English- American organbuilder Albert E. Lloyd. This uncommon artifact had been preserved in the basement of his grandson in New Hyde Park, New York, for more than fifty years. On August 17, 2009, I drove a small truck to Long Island, and Thomas Lloyd very graciously donated the chest and its contents to the Organ Historical Society. Mr. Lloyd had already given most of Albert’s papers to the AOA. Albert Edward Lloyd was born in Rochdale in northern Manchester, England, on October 26, 1871. He served his apprenticeship with the organbuilder George Benson (1862– 1917) of Manchester beginning in 1885, and by 1892, he was working for the Hope-Jones Electric Organ Co. in Birken- head. He married Rosetta Bent of Hulme, Manchester in 1898, and in 1907 emmigrated to New York on the S.S. Luca- nia, arriving at Ellis Island on June 23. He immediately traveled to Elmira to continue his work for Robert Hope-Jones (1859–1914). After 1910 he worked briefly for Wurlitzer, Geo. Kilgen & Son, Wicks, and Aeolian; and by 1924, he was self- employed in the New York region. In 1939, he was joined by his son, Frederick J. Lloyd (1910–2006), and he continued working until his death in New Hyde Park on April 16, 1955. He was an avid smoker, and many of his surviving images portray him as an earthy, mustachioed man, usually with a lighted stogie prominently in his mouth. Organbuilders require a host of specialized tools for their profession, and an artifact such as a loaded toolbox provides a rare, hands-on glimpse of the actual day-to-day practice of organbuilding. Many of these tools, including drills, calipers, glue pots, tuning cones, voicing tools, etc., are not dissimi- lar to those illustrated two and a half centuries ago by Dom Bédos de Celles in L’Art du facteur d’orgues. Many appear to have been made by Mr. Lloyd himself. The OHS expresses its profound gratitude to Thomas Lloyd for this thoughtful gift. It will provide tangible clues to the work of a significant twentieth-century organbuilder.

Upper: Albert E. Lloyd with his characteristic cigar. Lower right: The Hope-Jones organ in First Presbyterian Church, South Bend, Indiana, taken in March, 1909. Lower left: The open back of the console in St. John’s Cathedral, New- foundland, Canada, taken in July, 1906. Albert E. Lloyd stands at the left.

vol. 53, no. 4 the tracker 45 publications ohs press releases

the ohs book of music and its questions: THE OHS BOOK OF ORGAN POEMS COMPILED AND EDITED BY ROLLIN SMITH OHS PRESS OHS SMITH BY ROLLIN EDITED AND COMPILED POEMS OF BOOK ORGAN OHS THE THE OHS BOOK OF organ poems Essays in honor of peter ORGAN POEMS C omp i l e d a n d e d i t e d b y williams A Collection of Verse inspired by the Organ, its Players, and its Makers R oll i n S m i th e D i t e d b y COMPILED AND EDITED BY ROLLIN SMITH Over seventy-five poems inspired by T homas D o n ahu e the organ have been assembled by Rol- For over four decades Peter Williams has lin Smith into this beautiful volume. Music and its Questions been an influential and stimulating fig- Highlights include “The Organist in Essays in Honor of Peter Williams ure in the study of early keyboard in- Heaven” by T.E. Brown, “Abt Vogler” struments and their music. Such publica- by Robert Browning, “But Let My Due tions as The European Organ (1966), The Feet Never Fail” by John Milton, “The Organ Yearbook (since 1969), and The Organ Blower” by Oliver Wendell Hol- Organ Music of J.S. Bach (1984) marked Little Miss Muffet

Little Miss Muffet who sat on a tuffet, mes Sr., and so many more. An excel- him as an indispensable voice in organ Eating her curds and whey, Said it wasn’t a spider that sitting beside her Caused her to quick run away! lent gift for yourself and your friends. scholarship. This collection of essays “An Estey,” said she “was calling to me And then not a second I’d stay— $15.99 pays tribute to Prof. Williams’s contribu- To the parlor I ran when sister began On the Estey her music to play!” tions with important, fascinating articles Estey Organ Co. manufactured trade cards made as stand-up paper dolls. On the reverse of each was an Esteyized nursery rhyme. by many of the world’s top scholars. $59.99

SCHOENSTEIN & CO. ORGANS Wanted: One Crate of Lions The latest publication in The OHS by Charles W. McManis Press Monographs in American A first-person account of the post-war Organ History series is Orpha Ochse’s organ reform movement in the United definitive study, Schoenstein & Co. States written by one of the most Organs. This work takes up where beloved organbuilders of his genera- Louis Schoenstein’s Memoirs of a tion, this autobiography of Charles San Francisco Organ Builder leaves McManis chronicles a career from off: with the sale of the firm to the author’s formative years to his Jack Bethards in 1977. This study retirement in 1999. Covering a span of documents the last 30 years of the 75 years, the book provides not only company known for overseeing the technical details, but also a fascinating renovation of the Mormon Tabernacle look into the life of the man himself. organ and building the 130-rank With many illustrations and chapters organ for the Latter-day Saints devoted to topics as diverse as voicing Conference Center in Salt Lake City. philosophy and McManis’s wit and A testament to the imagination and wisdom, the book also contains foresight of the company’s president, stoplists and photographs, as well as Jack Bethards, Dr. Ochse’s book a bonus CD illustrating the sounds of describes in detail his many designs McManis organs. $35.00 for special situations, including his tonal concept of symphonic organs, double expression, the French Choir Organ, and the “multum in parvo.” An easy read for organ enthusiasts as well as organbuilders, Schoenstein & These volumes are available Co. Organs includes 41 high-quality illustrations and the stoplists of 23 organs. $25.99 through the OHS catalog at www.ohscatalog.org THE ORGAN CLEARING HOUSE

Hook & Hastings #2369

Installed at FJKM Tranvato Faravohitra, Antananarivo, Madgascar by the Organ Clearing House, November 2008. At the request of His Excellency Marc Ravalomanana, President of the Republic

The First Hook & Hastings in Madagascar

E.M. Skinner #823

Purchased in October 2008 by the Evangelische Saalkirche, Ingelheim Am Rhein. Dismantled and shipped by the Organ Clearing House.

The First Skinner in Germany

The Organ Clearing House P.O. Box 290786 ✤ Charlestown, MA 02129 617.688.9290 ✤ www.organclearinghouse.com

John Bishop Amory Atkin Joshua Wood Executive Director President Vice President Louis Vierne: Messe Solennelle A recreation of a Traditional Latin Mass recorded at Saint-Sulpice in Paris

Includes all prayers and propers of the Easter Day Mass chanted in Latin, organ improvisations & peal of the bells

Daniel Roth & Eric Lebrun, Organists Choeur D’ Oratorio de Paris, Jean Sourisse, Director Choeur Gregorien de Paris, Thibaut Marlin, Director Edward Schaefer, Hervé Lamy, Charles Barbier, Soloists

new release! 2 CDs with a 64-page book containing essays by Mark Dwyer on the Vierne Mass and Camille Haedt on 19th and early 20th century Parisian liturgical practices; full stop lists of both Louis Vierne Messe Solennelle, Opus 16 organs at Saint-Sulpice; stunning photographs; the full text from A recreation of a Traditional Latin Mass at Saint-Sulpice Sunday of the Resurrection thethe RomanRoman MissalMissal ofof thethe entireentire MassMass inin LatinLatin andand EnglishEnglish with descriptions of how the music and liturgy integrate. This unique recording will give organists an understanding of the common influence shared by the 19th and early 20th century Parisian organists and the Catholic Church. Purchase a copy at www.pipeorgancds.com/viernemass.html

Sponsored in part by A.R. Schopp’s Sons, Inc. Quimby Pipe Organs www.ARSchopp.com www.QuimbyPipeOrgans.com