Paul Callaway, Roy Perry and the Washington Cathedral Organ—A History and Memoir Neal Campbell
n preparing the outline for a volume of Imemoirs refl ecting on Aeolian-Skin- ner organs I have known, it became clear that my involvement with the organ in Washington Cathedral was suffi cient in recollection, scope, and primary sources to warrant a chapter all its own. That is what is presented here, along with enough commentary to place the topic in context. A note about the cathedral’s name: its full ecclesiastical name is the Cathedral Church of St. Peter and St. Paul in the City and Diocese of Washington. In most Serlo Organ Hall and factory of the of the cathedral’s publications today it is Methuen Organ Company called the Washington National Cathe- dral. During the era I was familiar with (1866–1960), one wonders whether he it (ca. 1964–1976), the cathedral was might have been a stronger competitor called simply Washington Cathedral in had not the Methuen factory been de- its weekly orders of service and other stroyed by fi re in 1943. For example, the publications, listings in the local newspa- Skinner organ for the new St. Thomas pers, and on all Aeolian-Skinner corre- Church in 1913, Opus 205, was built in spondence, so for ease of continuity that collaboration with T. Tertius Noble, and is how I refer to it in this article. it remained one of Skinner’s favorites. Noble was likewise devoted to Skinner. The new organ in 1937 From the Methuen factory Skinner elec- Much misinformation and technical trifi ed an old Johnson organ for Noble’s ambiguity surrounds the Washington Ca- St. Thomas studio. The company also re- thedral organ. This is due to the fact that located and revised the organ in the Brick by the time the cathedral organ was built, Church in New York when the church Ernest Skinner had left the company he moved to its new and present location founded in 1901. Also, at some point in under Clarence Dickinson’s direction the early 1930s the Skinner Organ Com- in 1940. Dickinson had also played the pany merged with the pipe organ divi- opening recital on Skinner’s Opus 150 at sion of the Aeolian Company, creating the Cathedral of St. John the Divine in the Aeolian-Skinner Organ Company. 1911. The records show that most of the The entangling alliances of these dramas work of the new Ernest M. Skinner and are beyond the scope of this article, but Son Company was limited to rebuilding it is fascinating reading, and the reader and relocating some of Skinner’s former is referred to Charles Callahan’s two organs. Of the four-manual organs Skin- books1 for the complete saga as told by ner built in Methuen, only two survive: the principals in their own words. the organ in the chapel of Mt. Holyoke In 1932 Aeolian-Skinner built a small College (built in 1938 as his Opus 511, two-manual organ as its Opus 883 and which was rebuilt from his previous or- lent it to Washington Cathedral while gan in the chapel), and the organ in St. Ernest Skinner was still with the fi rm. Martin’s Church in Harlem, a rebuilt Later in the decade, as the Great Choir Skinner from a previous location. He was nearing completion, Ernest Skin- did build a completely new four-manual The Great Choir, ca. 1932 (plate 83 from For Thy Great Glory by Richard Feller © The Protestant ner’s new company, the Ernest M. Skin- organ for St. John’s Lutheran Church in Episcopal Cathedral Foundation, used with permission) ner and Son Company, was contracted to Allentown, Pennsylvania, but it has since build a large four-manual organ for the been extensively modifi ed. And a three- with the projected completion of the cathedral, and the small organ on loan manual organ for St. Andrew’s Roman nave in sight, the cathedral began a se- was reinstalled by Aeolian-Skinner in Catholic Church in New York is extant ries of consultations with Aeolian-Skin- Lasell Junior College in Newton, Massa- and unaltered, but unplayable.5 ner regarding what steps it should take chusetts, retaining the 883 opus number. The committee to select a new or- in providing for the organ. Although G. The organ no longer exists.2 gan for Washington Cathedral included Donald Harrison designed a small, two- By this time the cathedral worship Noble and Channing Lefebvre of Trinity manual organ for the cathedral’s Beth- space consisted of the Great Choir and Church in New York, each enthusiastic lehem Chapel6 in 1951, he had nothing two side chapels, a rather sizable and im- supporters of Ernest Skinner. So it is not to do with the design of the main organ, pressive edifi ce in itself, in spite of the hard to imagine the cathedral turning and I have not discovered any comments fact that it represented but 20% of the to this new company headed by Skin- by him about it. By the late 1950s the fi nished cathedral church as planned. ner to build its fi rst organ, in spite of its crossing, transepts and fi rst three bays of The new organ was built by the Er- somewhat shaky organization. According the nave were nearing completion. The nest M. Skinner and Son Company of to Ernest Skinner, authentic Skinner or- big decision before the building commit- Methuen, Massachusetts, as their Opus gans were available only through the new tee at that time was whether to build the 510. This was the company that Ernest company building out of Methuen—and great central tower over the crossing and Skinner and his son Richmond set up in this was arguably true. Advertisements let the nave wait its turn, or complete the a factory adjacent to Serlo Organ Hall in in The Diapason and The American interior of the nave and build the tower Methuen, now known as the Methuen Organist about this time barely disguise later. There were persuasive arguments Memorial Music Hall. Edward Searles, Skinner’s contempt of the tonal philoso- for both approaches, but it was decided an eccentric organ afi cionado living in phy of the continuing Aeolian-Skinner to build the tower and let the nave wait. Methuen, commissioned Henry Vaughan Organ Company, and his letters to the With all of that in mind, it was decided to build a new music hall, completed in editor are openly hostile to G. Donald to develop a master plan for the organ 1909, to contain the old Boston Music Harrison. Harrison for his part never with a view to gradually altering and en- Hall organ. In 1889, on a site adjacent responded in kind, though his business larging the organ to accommodate the to the hall, Searles had purchased an old correspondence shows that Skinner’s full cathedral. Joseph S. Whiteford, the textile mill and had Vaughan renovate it remarks disturbed him. He ultimately new president and tonal director of Aeo- to function as an organ factory for James let his own instruments speak for them- lian-Skinner, developed this in consulta- Treat. Treat had worked for Hutchings, selves as growing numbers of younger tion with the cathedral organ committee, Plaisted & Company in Boston, which organists, many of whom had studied in which in reality amounted to Callaway is probably where Searles met him, as Europe during and after World War II, and his associate Richard Wayne Dirk- Searles had purchased an organ from found favor with his classically inspired sen, reporting to and receiving reactions The north case and Great division in Hutchings in 1880.3 From this factory instruments. Paul Callaway, the cathe- from the Dean, the Very Rev. Francis B. the triforium to the left, ca. 1940 (from the they manufactured organs under the dral’s new organist, also studied with Du- Sayre, Jr. Whiteford’s scheme specifi ed Guide Book of 1940; used with permission) name of the Methuen Organ Company. pré in Paris and later served in the war as what might be called a post-Harrison Skinner purchased the factory and the a bandmaster in the South Pacifi c. American Classic concept—a standard the scientifi c properties of physics and hall during the Depression, and ran four-manual layout, together with a large acoustics involved in the emerging ca- concerts in the hall and built several no- An organ for the completed Positiv, independent choruses on manual thedral space. table organs in the factory from about cathedral emerges and pedal divisions, along with a plethora Responding to a request from the or- 1936 until the factory was destroyed by The Ernest M. Skinner and Son Opus of imitative voices (some new and some gan committee of the cathedral in Feb- fi re in 1943. Of the organs they built, 510 organ served the cathedral well in saved from the old organ) and softer ruary 1957, he says: the one for Washington Cathedral was essentially unaltered form—albeit with sounds to accompany the choir. The by far the largest.4 additions—until 1973, at which time correspondence shows Whiteford to be The present enclosed volume of air, Given the fi erce loyalty in some cir- the major renovation began, the result in total command of the subject, includ- which has so much to do with the acoustics cles to Skinner, and given his longevity of which is the present organ. In 1957, ing convincing arguments surrounding of both the organ and choir, is between 60
26 THE DIAPASON
May 09 pp. 26-33 .indd 26 4/13/09 8:16:10 AM Washington Cathedral from the air, ca. 1965 (from the Guide Book of 1965; used with permission)
and 70% of the completed Cathedral. Fur- outcome, but important manifestations thermore, the surfaces normal, or adjacent to the organ and choir, are approximately of Aeolian-Skinner as it emerged fol- 90% complete. These are the most impor- lowing the death of G. Donald Harrison. tant surfaces and the most important air The Shreveport organ in particular de- volume, since they have the most to do with rived much of its distinction through the the projections of the sound to the listener. on-site alterations and fi nishing of Roy The air spaces and surfaces at the West end Perry and J. C. Williams8, noted Aeolian- of the Cathedral, for instance, while impor- Skinner representatives in that part of tant as a terminus, do not shape and control the country. Callaway particularly liked the sound in anywhere near the same ca- pacity as the Great Choir and Crossing. the Shreveport organ and measured The present organ is truly magnifi cent plans for Washington Cathedral against in certain respects. It has a wealth of soft its success. voices which create an extremely fi ne ef- It is true that Whiteford did not come fect. These were the high points of the to organ building through the tradi- The fl oor plan, ca. 1965 (from the Guide Book of 1965; used with permission) period in which the organ was built. Since tional apprentice method, and there is that time tremendous strides have been no doubt that many of the Aeolian-Skin- made in making instruments of this char- ner craftsmen (several of whom were acter greatly more fl exible with regard to the many periods of music . . . [which] de- old enough to be his father) didn’t re- mands primarily, highly focused and clear spond well to what some perceived as sound, rather than the nebulous, fl oating, Whiteford’s Johnny-come-lately status. ethereal sounds of many strings and fl utes But from my experience with many of in which the present organ now abounds.7 his organs, I tend to agree with Emerson Richards in his report to Henry Willis III From this point Whiteford’s letter in England when, after Harrison’s death, continues in language reminiscent of he wrote “I think that he [Whiteford] has Harrison and Emerson Richards a de- more ability than he is given credit for cade earlier. He posits that the best loca- but he is impatient and for some reason tion for the organ would be the yet-to- does not inspire confi dence—just why I be-built west gallery, but that idea never cannot say.”9 received serious consideration. He then By this time Ernest Skinner’s star had takes the cathedral through a logical set, his attempts failed to set up a shop long-range plan to accomplish the task, after the Methuen fi re, and even though beginning with the console, wiring, and he was on the scene and continued to of- relays (“the nervous system of the organ” fer his diatribes against what he consid- he says), then adding the Brustwerk and ered the desecrations of his masterpiec- Positiv divisions nearer the choir and in es, no one paid much attention to him. direct sight line to the congregation, con- Still, it is still hard not to feel a bit sorry tinuing with the replacement and reloca- for the grand old man as he saw his early tion of various portions of the remaining successes at the Cathedral of St. John the divisions. This letter remained the vision Divine, then St. Thomas Church, and statement for the work on the organ that now Washington Cathedral fall prey to culminated in 1976, when the full length advancing ideas carried out by the com- of the nave was fi nally completed some pany still bearing his name! 19 years later. The fi rst step in the lofty long-range A thorough study of Whiteford and plan was to provide a new four-manual an analysis of his extant organs has yet console to control the completed or- to be undertaken, but his contributions gan. The new console was encased in to Aeolian-Skinner in his own right are elaborate Gothic panels designed for considerable and warrant such a study. the previous console by cathedral archi- In fact, Whiteford worked very closely tect Philip Hubert Frohman, which had with Harrison during the building of pedalboard, swell shoes, and toe studs some of the company’s most successful on a hydraulic elevator. Thus, while the organs, and it often fell to him to imple- bench height remained the same, the ment the details of the schemes Harrison pedalboard could be raised or lowered. wrought. At the time when Callaway and Presumably this was to accommodate Whiteford were discussing the future of the disparate heights of the cathedral’s the cathedral’s organ in 1957–58, some organist and his associate—Paul Calla- of Whiteford’s own most successful or- way, who was unusually short, and Rich- gans were built. Opus 1308 for St. Mark’s ard Dirksen, who was unusually tall. This Church (now Cathedral) in Shreveport, 1958 console was referred to by Aeolian- Louisiana, and Opus 1309 for the Reor- Skinner as Opus 883-A, picking up on the ganized Church of Jesus Christ of Latter- opus number of the small two-manual it Day Saints (now called the Community lent the cathedral in 1932, even though of Christ), in Independence, Missouri, the original #883 was in place in New- come to mind. These were large four- ton, Massachusetts, and the Ernest M. manual organs in new, highly visible ven- Skinner and Son Opus 510 was the only ues—very different in concept, use, and organ in situ.10 Sparse in design by com-
MAY, 2009 27
May 09 pp. 26-33 .indd 27 4/13/09 8:16:35 AM parison with the digital age of multiple levels of memory, it was luxurious for the time. It had 18 generals, remote combi- nation action, and the usual couplers and pistons to make for ease in playing. The nomenclature engraved on the knobs refl ected the projected new organ and only approximately correlated to the ac- tual stops of the 1937 organ it controlled. On the Great, for example, the Prinzipal, Spitz Prinzipal, and Salicional actually drew Diapasons I, II, and III respective- ly. It was a bit confusing to the traveling weekly recitalist, but it somehow made sense and had the psychological effect of projecting the vision of the new organ. The console functioned in this way until the overhaul began in 1973. The next step was to add two unen- closed divisions in 1963 named Brust- werk and Positiv with matching pedal in the so-called musicians’ galleries11, lofts above the canopies of the stalls in the Great Choir, in the fi rst bay on either side of the Choir, carrying the job num- ber 883-B. In 1965 as Opus 883-C, the Trompette en Chamade was installed in the triforium over the high altar.12 This was the organ I knew growing up: the 4-manual Ernest M. Skinner and Son, Opus 510, plus the new console, Brust- Dirksen and Callaway (plate 252; used with permission) werk and Positiv, and Trompette en Chamade. During high school and col- lege years I attended weekly services and events at the cathedral, and I played a recital on the Sunday afternoon series in 1971 while I was a senior in high school and a student of William Watkins. Unfor- tunately, I was too young to have been The north side of the Great Choir, with considered for the extraordinary College Brustwerk in the musicians’ gallery of Church Musicians, the graduate-level (plate 202; used with permission) school founded at the cathedral by Leo Sowerby, which had closed its doors by tholomew’s when David McK. Williams the time I was of college age. I did know was forced to resign in 1946, but having several of the Fellows of the College, just returned to the cathedral following and heard all of them as they played their service in World War II, he declined, and recitals following Evensong on Sunday Harold Friedell was appointed. afternoons. Sowerby himself was often Callaway’s playing of large doses of in attendance, and recitals frequently in- Bach chorale preludes and trio sonatas cluded his music. using the Brustwerk and Positiv were While attending the University of models of accuracy, style, liturgical ap- Maryland, I did study privately with Paul propriateness, and performance prac- Callaway for a year and observed his tice not as a subject unto itself, but a rehearsals and services, and will always natural vehicle for expressive playing. be grateful to his memory for his help- The contrapuntal textures were clear ful mentorship as I began my trek into and focused, and the new Brustwerk the intricacies of the Episcopal Church. The Trompette en Chamade in the triforium over the high altar reredos (from the Guide and Positiv divisions were the ultimate Weekly attendance at Evensong and the Book of 1965; used with permission) in Joseph Whiteford’s development of organ recitals that followed left an indeli- the classic Aeolian-Skinner sound in the ble memory. The variety of the repertoire post-Harrison era. They were character- and sheer amount of it was remarkable. ized by low wind pressures, articulate The choir sang the Responses, Psalms, yet even voicing, pipes of high tin con- anthem settings of the canticles, and tent, and a location within sight lines of an anthem at the offertory. On the last the choir and congregation. The Brust- Sunday of the month there was a can- werk and Positiv could be used by them- tata or group of anthems in place of the selves in Baroque music; added to the sermon. At Evensong the Psalms were old organ they added immediacy and either sung either to Anglican chant or clarity. In combination with the main plainsong, and the service began in one organ and Trompette en Chamade, the of two ways: 1) a processional hymn, fol- combined divisions were good vehicles lowed by the Responses with the choir in for thrilling performances of Callaway’s place, followed by the Psalms to Angli- hefty doses of romantic and modern or- can chant; or 2) the Responses were sung gan music. The organ is fairly well docu- where the choir gathered in the north mented in LP recordings accompanying transept, and the Psalms were sung to the choir and in solo repertoire, includ- plainsong in processional accompanied ing a multi-volume complete perfor- by handbell changes. mance of the Bach Clavierübung, Cal- In addition to the standard cathedral laway playing Part III on the cathedral repertoire of the late 19th and early 20th organ, and Ralph Kirkpatrick playing century, Callaway offered large doses of the other parts on harpsichord. Just be- early music and modern music. I recall fore the 1973–76 work began, Callaway one Evensong when all of the music was recorded an album of music of Gigout, by Byrd. The movable cathedral chairs Franck, Tournemire, and Messiaen on for the congregation were arranged fac- Sowerby and the fi rst class of the College of Church Musicians, l–r, Beverly Ward, the organ, the specifi c intent being to ing the north transept with a portable Charles Bradley, John Cooper, Ronald Rice, William Partridge, and Roger Petrich document the organ prior to the reno- altar, candles, and offi ciants’ chairs set (from the Guide Book of 1965; used with permission) vation. The plan was then to record the up on the nave fl oor, while the choir same repertoire on the new organ in sang from the gallery above, and the en- as well. Typically, the assistant organist Williams at St. Bartholomew’s and often 1976, which he did. To my knowledge tire service was unaccompanied. New turned pages, and perhaps played the spoke of how much he learned from him. these LPs have not been transferred to works were also frequently premiered; sermon hymn. In retrospect it is easy to Part of Callaway’s duties as Noble’s stu- CD, but are fairly easy to fi nd through particularly memorable was the dedica- suggest that the technical security of the dent was to play the services at St. Thom- the various search engines. tion of the central tower in 1964 when choir suffered, as they were only able to as Chapel (now All Saints’ Church on East new works by Samuel Barber, Lee Hoi- see Callaway through a series of mirrors. 60th Street) where Evensong on Sunday The new organ 1973–76 by, Stanley Hollingsworth, Roy Hamlin But it was the way things were done at evening was late enough that he usually With America’s Bicentennial obser- Johnson, John La Montaine, Milford the time, and it offered a window of op- turned pages for David McK. Williams at vances on the horizon, the cathedral in Myhre, Ned Rorem, and Leo Sowerby portunity to hear this extraordinary or- 4:00 Evensong at St. Bartholomew’s. Here the early 1970s poured considerable en- were given fi rst performances. ganist in the roles of recitalist playing the he observed in close-up detail Williams’s ergy into completing the nave and organ, Callaway usually played the organ vol- repertoire, service player, and accompa- absolute control from the console, where and planned several special services that untaries himself. His repertoire was vast, nist. Callaway excelled in each of these by all accounts his accompaniments and culminated in the “Dedication of the and he listed preludes and postludes to capacities following the examples of his improvisations were extraordinary. Cal- Nave for the Reconciliation of Peoples of each service. The now-familiar practice mentors, T. Tertius Noble and particu- laway often told me of the profound ef- Earth,” in the presence of President and of the principal musician as conductor, larly David McK. Williams. fect David’s playing had on him, even Mrs. Ford, and Queen Elizabeth II and with the assistant doing all the playing, Even though Callaway was a pupil of though he was careful to say that never Prince Philip on July 8, 1976. I sang dur- was not then in vogue, and Callaway T. Tertius Noble at St. Thomas Church, studied with him formally. Callaway was ing the service as a member of the Uni- usually played anthem accompaniments he was great friends with David McK. approached about the position at St. Bar- versity of Maryland Chorus. All aspects
28 THE DIAPASON
May 09 pp. 26-33 .indd 28 4/13/09 8:16:54 AM Roy Perry in The Washington Post, 4 July 1976
greatest pipe organs in the world . . . Perry it was natural that these two would be worked among the thousands of pipes with the point persons in the cathedral’s ever- the precision and infi nite care of a jeweler evolving planning of the organ. Reading cutting a priceless diamond so that its fac- the 1957 correspondence, we see that ets would produce the greatest possible beauty. And like the diamond, the sounds the cathedral’s estimated time line for of the Washington Cathedral’s organ pipes the completion of the cathedral was opti- can be expected to last, with care, indefi - mistic by several years. In hindsight, it is nitely . . . they now stand ready . . . to create providential that the cathedral’s work was new beauty in a newly completed setting. delayed. Had the cathedral contracted There are those who know no beauty in all to accomplish its ambitious scheme with of music that can surpass theirs.13 Aeolian-Skinner during its fi nal days, the results would likely have included artistic Aeolian-Skinner had just ceased op- diffi culties and nancialfi disasters.14 eration when the cathedral began its Roy Perry’s role in the cathedral organ work in 1973. Joseph Whiteford, even renovation was an afterthought. Many though he retired from Aeolian-Skinner of the former Aeolian-Skinner men who before its denouement, continued to be weren’t retired were still in business as The Positiv in the south chancel gallery (from the Guide Book of 1965; used with the person with whom the cathedral (that suppliers to the trade. It was decided permission) is, Callaway) corresponded regarding the to gather a consortium—the cathedral’s new work, and it was always assumed that term—of workers to design, build, voice, of the cathedral’s bicentennial programs ing a pipe, and a lengthy article by Paul he would oversee the work for Aeolian- and fi nish the necessary pipes and chests, were well reported in the media. The ac- Hume saying: Skinner, even though he was offi cially all under the direction of Whiteford, fol- tual bicentennial date, July 4, 1976, was retired. Whiteford, the son of a promi- lowing the plan of his 1957 design. The a Sunday, and the front page of the Style When Queen Elizabeth walks down the nent Washington attorney and a gradu- one catch was that Whiteford, who lived section of The Washington Post featured aisle of Washington Cathedral Thursday ate of St. Alban’s School on the cathedral in California, did not fl y and apparently a picture of Roy Perry in the organ blow- morning, she will be hearing one of the close, was a good friend of Callaway, and did not want to relocate to Washington for
MAY, 2009 29
May 09 pp. 26-33 .indd 29 4/13/09 8:19:47 AM Paul Callaway and Ronald Rice at the great organ console, ca. 1965 (from the Guide Book of 1965; used with permission)
the long periods of time the job required. that there was a sense of family about Whiteford pitched the idea to Callaway this consortium. that Perry, as one of Aeolian-Skinner’s It was a laudable plan that attracted most successful fi eld representatives and huge interest in the organ community fi nishers, be the on-site supervisor and in Washington and elsewhere as word Paul Callaway conducting a rehearsal in the cathedral choir room (from an undated, fi nisher for the cathedral, working under spread. It called for several unusual non-copyright brochure from about 1968) his (Whiteford’s) direction from Califor- features to be built, retaining a large nia via telephone and hard copy corre- portion of the existing Ernest M. Skin- names, and those of the Swell, French. complex mixtures.20 For the cathedral spondence. It is poignant to read Perry’s ner and Son divisions, and the Aeolian- So, this new stop became in Whiteford’s he and Whiteford designed the unusual negotiations with the cathedral regarding Skinner Brustwerk and Positiv divisions nomenclature Flûte d’Argent—Silver VI–X Terzzymbel intended initially to his compensation. At this time Perry was located in the musicians’ galleries. The Flute. In French, of course, argent has fl ank the Trompette en Chamade over retired and drawing Social Security pay- Trompette en Chamade over the high more than one meaning, and many a the high altar, but eventually placed with ments. He explained to Dirksen—who altar was of course to remain. visiting organist has wondered if it was a the Great. He also called for an unusual was the cathedral’s agent in business and The Great in the fi rst bay north trifo- joke that the cathedral organ contained a mixture in the Solo called None Kornett logistical matters pertaining to the new or- rium was to consist largely of new pipe- “Money Flute.” It was an expensive stop to replace Skinner’s full mixture, but (in gan—that if in any given month he earned work intended to complement the two to build and voice, so the double mean- his words) “it was a vast disappointment more than $175 his Social Security would Baroque divisions. The tonal relation- ing may indeed be appropriate. on the voicing machine, so you may pre- be knocked out for the month. He there- ships (and to a large degree the pipes as One of the chief goals of the new organ fer to abandon these two top boards and fore suggested that for the duration of the well) of the three enclosed divisions were was to provide more sound directly into re-engrave the [draw] knob PERRY’S project, he be paid “$175 per month as a to remain, because of their proven effec- the crossing and nave, so it was decided FOLLY.”21 On the other hand, the use salary, plus expenses, for a total of $5,875 tiveness in accompanying the choir. Seat- to build a new division of signifi cant tonal of Perfl ex, which Dirksen insisted upon, for the period April 1973–December ed at the console, these divisions were properties in the fi rst bay south triforium, stung the cathedral badly in ensuing 1975,”15 and the cathedral agreed to this located directly above the organist’s line directly opposite the Great. This en- years, as it did many other jobs of the era schedule of payments. of sight. Directly above, behind the case closed division had swell shade openings when everyone was desperate to fi nd a In short order the cathedral had let- in the second bay north triforium was the into the chancel and south transept, and substitute for chest leather. In the 1960s ters of agreement with Aeolian-Skin- Swell, followed by the Choir and Solo, was built with funds solicited in memory some New York churches found that ner pipemaker Thomas Anderson and in the succeeding third and fourth bay of Leo Sowerby, so the division became leather lasted less than a decade. As it head fl ue voicer John Hendricksen to triforium galleries. The Pedal, located known as the Sowerby Memorial Swell turned out, Perfl ex itself was indestruc- provide the necessary new pipes. The throughout the south triforium, was to be division, since it was also to be played via tible, but there seemed to be no satisfac- new chests were made by the Ernest a combination of new and existing pipes, the Swell manual. In effect, if not in plan- tory way to glue it to the wooden chests, M. Skinner and Son Company of East including the four full-length 32′ stops. ning, it was a Bombarde or Grand Choeur so in short order Perfl ex was deemed Kingston, New Hampshire, the continu- A small division, a typical Ernest Skin- division—small but telling, consisting of a even less suitable than leather. ing company Skinner started when he ner Echo, which was played with the principal chorus topped by two mixtures, The 1973–76 organ in Washington left Aeolian-Skinner. Anthony Bufano, Swell division, was located in the fi fth a chorus of French reeds, and an excep- Cathedral is really the fi nal statement another Aeolian-Skinner alumnus, who bay south triforium, opposite the main tional string celeste of special construc- of Aeolian-Skinner’s concept of the was by then curator of the organs in the organ near the high altar. This was the tion that extended all the way to 16′ C in American Classic Organ. Among the Riverside Church in New York, re-cov- location of the original organ that Aeoli- the unison and celeste ranks. cathedral consortium it was informally ered many of the pouches with Perfl ex an-Skinner lent to the cathedral in 1932. Therefore, the Swell manual played referred to as Opus Posthumous. Perry and facilitated the necessary console de- It consisted of an 8′–4′ fi ve-rank Choeur pipes located in three locations: 1) the went a step further and printed statio- tails. Other structural components were des Violes, an 8′ Éoliènne Céleste, and main Swell directly in front of the or- nery in jest (I think!) with the title “Or- entrusted to Arthur Carr and the Durst an 8′ Voix Humaine.16 To this was added ganist behind the north case, 2) the ganbuilders Anonymous” in a shaded Organ Supply Company of Erie, Penn- a unique stop Perry developed with the Sowerby Swell, opposite the Great, and copperplate font, listing the names of sylvania. All local arrangements were co- curious name Flûte d’Argent II. Perry 3) the Echo Swell in the fi fth bay south those taking part: “Roy Perry, Most ordinated through the Newcomer Organ told me that once he had found an in- triforium. Roy Perry told me that the job Anonymous; Tommy Anderson, Almost Company and their outstandingly gifted teresting fl ute stop built by Estey called ought to have had a fi ve-manual console, Anonymous; John Hendricksen, All But foreman Robert Wyant, who had taken Zartfl öte or Silver Flute, which was a ta- and it is easy to understand the organi- Anonymous; Bob Wyant, Nearly Anon- care of the cathedral organ for many pered fl ute that was also harmonic. It had zational logic in such a plan. The organ ymous; and Honorary Anonymouses: years. Among these principals—the ca- a cool, clear sound that Perry thought would have benefi ted from having the Joe Whiteford, Wayne Dirksen, Har- thedral (usually via Dirksen), Newcomer would sound good with a celeste added Bombarde (Sowerby division) and Echo old Newcomer, Kim Bolten [sic], Ar- in Washington, Whiteford in California, to it, so he ordered it in some of the or- occupying the fi fth manual, but in the thur Carr, Jim Williams, Tony Bufano, Perry in Texas, Anderson and Hendrick- gans he fi nished for Aeolian-Skinner.17 I pre-digital, pre-solid state age, it would Carl Basset [sic], Adolph Zajic, Bon sen in Massachusetts, Bufano in New was present the night Perry pitched the have been enormously expensive, if not Smith.”22 It was Perry’s hope to actually York, and Carr in Erie—fl owed frequent idea to Dirksen to add this unique stop impossible, and the big plan did call for build organs in his post-cathedral days communications for three years: corre- to the organ. Wayne liked it and said he retaining the 1958 console. This brings with this consortium. He and Jim Wil- spondence, pipe orders, voicing notes, would fi nd the money somehow; it wasn’t up the important point that consistently liams had previously built a few organs shop talk of every kind, travel arrange- cheap! In Roy’s previous use of this stop stands out in the project: no expense was independent of Aeolian-Skinner using ments, and occasional items of humor or he called it Harmonic Spitzfl öte II, or spared on what was done, but nothing the services of several of them. Humor personal and family notes of interest. In simply Silver Flute. Whiteford was fa- was done that was considered unneces- aside, this is as complete a list of work- spite of intense seriousness of purpose natical about nomenclature and insisted sary, and console rearrangements fell ers as may be found anywhere else in and high artistic standards, it is obvious that stops in the Great be given German into that category. As it was, the total cost the documentation of the building of of the new 1973–76 organ was projected the organ. They are all persons associ- to be $216,000,18 which would equal a ated either with Aeolian-Skinner or the Historic Organ Tour 56 2007 value of between 1.3 and 1.8 mil- cathedral, with the exception of Adolph lion dollars.19 Zajic, the well-known reed voicer still 30th Anniversary Year Other unusual features included ex- working at Möller at the time, and the tending the 32′ Bombarde into the 64′ independent Carr. The one piece of the The University of Michigan range for three notes for pieces end- puzzle missing in the original consor- ing in B, B-fl at, or A. I recall that these tium of Aeolian-Skinner alumni was a Marilyn Mason, Director three notes were ineffective, being half- reed voicer. Oscar Pearson, the famous length metal pipes extended from a full- voicer who created the State Trumpet Barcelona, Narbonne, Carcassonne, Rocamadour, Toulouse, length wooden 32′ rank. There weren’t at the Cathedral of St. John the Divine23 Bordeaux, Poîtiers, Fontevrault, Versailles, Rouen, Paris many miscalculations in the project, but was still alive, but had retired and was in a job of this scope a few were inevi- deaf.24 Herb Stimson, Aeolian-Skinner’s Organs by Cavaillé-Coll, Moucherel, Clicquot table—some humorous, others serious. last reed voicer, died just about the time Perry may be best remembered for his Aeolian-Skinner went out of business. Contact Sharon Derrig at Conlin Travel: 888/426-6546 beautifully fi nished celestes, but he was So, for the cathedral, Möller built and equally adventurous in designing bold, Zajic voiced the Great reeds.
30 THE DIAPASON
May 09 pp. 26-33 .indd 30 4/13/09 8:20:46 AM Perry and see the Kilgore organ, and that family of tone in his design, as an equally was the source of our association. viable and appropriate accompaniment When I learned of Perry’s involvement as are fl utes or principals, and—who in the cathedral project I, still a student knows—he may have a point. He was a living in Washington, offered to meet wonderful teacher, vivid in imagination, him at the airport, run errands for him, yet grounded in a thorough knowledge and in the course of events introduced of the repertoire. I still feel his infl uence him to my fellow organists and showed when practicing and playing. him around town. His trips were a whirl- On the other hand, in social settings wind of activity and were red letter days stories of the personalities he had known on my calendar. and worked with fl owed in a heady ether On the one hand I was fortunate to wherever we went. Early in his career have been able to simply sit and watch he had come to New York to study with him at work fi nishing the various stops as Hugh McAmis, and it was then that he installments of new pipework arrived. He met David McK. Williams and struck up listened as I played the pieces I was work- their lifelong friendship. He told of how ing on and came to some of my church his involvement with Aeolian-Skinner services. His musical insights from his began by accident and lasted for 25 years, perspective as an organbuilder were valu- during which time his sales amounted to able, especially regarding registration. roughly 25% of Aeolian-Skinner’s busi- His knowledge of the repertoire was ness, and he was full of humorous anec- vast and greatly belied his humble up- dotes of Donald Harrison’s trips through bringing. In designing several stops for the Southwest on various jobs. the cathedral he would have special Likewise, for his part, Harrison had pieces of music in mind, and would often great regard for Perry and enjoyed his request that I have such and such a piece trips to Texas, as he relates in a letter to ready when such and such a stop arrived. Henry Willis in England: Roy Perry at the Kilgore organ prior to the 1966 console and additions (from the For the new strings in the Sowerby website of Vermont Organ Academy) Swell, he wanted to hear Durufl é’s Veni Roy Perry, or Perriola, as he is affection- creator Adagio. And he wanted to hear ately referred to in our organization, has Roy Perry was central to the tonal out- of the well-known Aeolian-Skinner or- Bach’s chorale prelude Nun komm der supervised, with the aid of Jack Williams and his son, most of our important instal- come of the cathedral organ. I would ven- gan, which in the 1950s and 60s was Heiden Heiland, BWV 659, beginning lations in Texas. He is an accomplished or- ture to say that his infl uence was greater prominently featured in company sales with the accompaniment on the new ganist and has a wonderful ear. He is a top than that of Whiteford, who never made literature and on the “King of Instru- celestes, especially the opening pedal notch fi nisher and during my periodic visits the trip to Washington either during the ments” series of recordings. Volume II notes on the new 16′ Violoncelle Celeste to Texas I cannot remember a time when I work or after. The correspondence often has recordings of both Perry and Wat- against the boldest cornet in the organ.26 have had to suggest that something might shows Perry dutifully asking permission to kins on the Kilgore organ, and Volume As the project completion drew near to- have been done a little differently. He just make various alterations, some slight, oth- X featured the Kilgore organ and choirs. ward Holy Week 1975, he was particular- has that kind of organ sense. ers signifi cant. Except for stop nomencla- It was through these recordings that ly looking forward to the full ensembles I think you will also enjoy him as a per- sonality. He knows some good southern ture, it appears that Whiteford never tried Perry’s name became known outside of in Langlais’ Les Rameaux, which was on stories and, by the way, he is an expert at to second-guess him. Perry’s on-the-job the Texas-Oklahoma-Louisiana terri- the program for Palm Sunday. And he southern hospitality. I always look forward adjustments, combined with his natural tory he covered for Aeolian-Skinner. The was irritated when Wayne Dirksen (in to my trips down to his neck of the woods gifts as a fi nisher, resulted in the unique English choral repertoire on Volume X is fact a fi ne organist who was in the class as we have a glorious time just waiting for sound stamped with his genius. standard fare now, but was revelatory at of Virgil Fox at the Peabody Institute) sundown to start on a little nourishment.27 I had nothing offi cial to do with the the time. However, it was in the Ameri- on Good Friday played Bach’s O Mensch cathedral or its organ project. I had met can music that Perry used the organ to bewein with the cantus fi rmus, in his As the work was in the planning stages Roy Perry in the summer of 1972 when I greatest effect, notably in his accompani- words, “played on a lard-butted clarinet, at the cathedral, I remember several of was a fi nalist in the AGO National Organ ment of David McK. Williams’s anthem with four cornets in the organ to choose us being given a tour through the organ. Playing Competition at its national con- In the year that King Uzziah died, and from!”—a curious admonition given his Roy was explaining where the various vention in Dallas. My teacher, William Bruce Simonds’s Prelude on Iam sol re- preferred registration for the Bach Nun stops and divisions were to be located or Watkins, knew Perry and had played cedit igneus, which he introduced to the komm! He did love the cornet combina- relocated. He was particularly proud of and recorded at his church in Kilgore, organ world through the recording.25 tion for Bach ornamented chorales, and two sets of string celestes he was design- the First Presbyterian Church—home Watkins thought it important that I meet I think he perceived string celestes, as a ing.28 These were to be of varying scales,
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MAY, 2009 31
May 09 pp. 26-33 .indd 31 4/13/09 8:21:08 AM called him, complete with Stetson hat ample time to correlate and coordinate a was borrowed from First Baptist Church, in complex project toward the perfect result nearby Longview, Texas, Opus 1174. Lorenz in hand, tooled leather cowboy boots, we believed possible. Maycher’s interview with Nora Williams in shirt with pearl buttons, and long, thick, Now the largest part is accomplished. The Diapason tells of borrowing the local white sideburns (think Jock Ewing in the During this Holy Week 1975, thousands undertaker’s hearse to transport it! Kilgore got nighttime soap opera “Dallas”) came up will hear with their ears what we knew in its own 32′ Bombarde in 1964. to Ginny Hammond, the Head Aide. He our hearts: that an incomparably magnifi - 26. A recording exists of Perry playing this drew himself up as he took in the wide cent pipe organ will grace this cathedral for piece this way on the Kilgore organ on Vol- vistas of the transepts, the newly com- centuries to come, the result of extraordi- ume IV of the “Aeolian-Skinner Legacy” on pleted nave, then the high altar with the nary talents, devotion, and skills we have the Vermont Organ Academy label. combined for its creation.33 ■ 27. Callahan, The American Classic Organ, Trompette en Chamade atop, and said in 398. his thickest Texan drawl, “Tell me, ma’m, 28. Violoncelle II in the Sowerby Swell, and is this yer MAIN SANC-tu-ar-y?” Notes Viola Pomposa and Celeste in the Choir. At some point midway through the 1. Charles Callahan, The American Clas- 29. Aeolian-Skinner Opus 1119, complete work, word got out that this former Aeo- sic Organ: A History in Letters (Richmond: with Willis Tubas in the Solo, at the request lian-Skinner representative and fi nisher Organ Historical Society, 1990), 63, 110. of Ernest Willoughby, the English organist of was nearby and consulting offers began Charles Callahan, AEolian-Skinner Re- the church at the time the organ was built. to appear. He actually designed a rather membered: A History in Letters (Minneapolis: 30. Aeolian-Skinner Opus 909. Roy Perry Randall Egan, 1996), 1. Papers. interesting organ for All Saints’ Church 2. Aeolian-Skinner Archives
32 THE DIAPASON
May 09 pp. 26-33 .indd 32 4/13/09 8:21:34 AM III Carillon 183 8′ Posthorn (Gt) POSITIV First bay, south gallery organs, including a stoplist of the organ at 16′ Orchestral Bassoon 61 Harp 8′ Nason Gedackt that time. Also contains information about 8′ Trumpet 73 Celesta 4′ Rohrfl öte the College of Church Musicians. (small orchestral type) Zimbelstern 2′ Nachthorn “Guide to Washington Cathedral, A.” The Na- 3 8′ Clarinet 61 Tremolo 1⁄5′ Terz tional Cathedral Association, 1953. 1 8′ Orchestral Oboe 61 1⁄3′ Larigot Contains a photograph of the original Er- Tremolo SWELL 1′ Siffl öte nest M. Skinner and Son console, and other Celesta 61 First bay, south triforium IV Zymbel information on the organ also available in Celesta Sub 61 (Sowerby Memorial) 4′ Rankett (Brustwerk) the 1940 edition. 16′ Violoncelle (ext) Tremulant Kinzey, Allen, and Lawn, Sand, comp., E. M. SOLO 8′ Montre Skinner / Aeolian-Skinner Opus List. Rich- 8′ Flauto Mirabilis 73 8′ Violoncelle Céleste II GALLERY PEDAL mond: Organ Historical Society, 1997. 8′ Gamba 73 4′ Prestant First bays, north and south galleries Opus list and notes on the Skinner Organ 8′ Gamba Celeste 73 V Plein Jeu 16′ Gedacktbass (ext) Company, Aeolian-Skinner Organ Com- 4′ Orchestral Flute 61 IV Cymbale 8′ Oktav pany, Ernest M. Skinner and Son Organ VII Compensating Mixture 427 16′ Bombarde 8′ Nason Gedackt (Positiv) Company, and organs built by Carl Bassett, 16′ Ophicleide 73 8′ Trompette 4′ Superoktav (ext) Skinner’s foreman. 16′ Corno di Bassetto 12 4′ Clairon 4′ Rohrfl öte (Positiv) Morgan, William. The Almighty Wall: The 8′ Tuba Mirabilis 73 16′ Rankett (Brustwerk) Architecture of Henry Vaughan. New York: 8′ Trumpet 73 Second bay, north triforium 4′ Rankett (Brustwerk) The Architectural History Foundation, 8′ French Horn 61 16′ Flûte Courte 1983. 8′ Cor d’Amour 61 8′ Bourdon Source: Washington Cathedral website Biography and analysis of the work of the 8′ English Horn 61 8′ Flûte à Fuseau
MAY, 2009 33
May 09 pp. 26-33 .indd 33 4/13/09 8:22:04 AM