0 n ammon MASTERORGANIST by Lloyd E. Klos A while back, we learned that the widow off or mer theatre organ­ ist, John Hammond, is living in Bogalusa, Louisiana. With the assistance of ATOS member Howard Jackson, we were put in con­ tact with Mrs. Hammond, who offered to supply background infor­ mation on the life of this Hall of Fame organist. This, then, is the story of John F. Hammond, master organist. Born in Hempstead, Long Island, Wright, at that time, warden of the in 1894, his paternal grandmother AGO and one of the guild ex­ was a fine concert pianist, and gave aminers. Later, under the same him his first piano lesson when he instructor, John completed a was six. Learning very fast, and thorough course in musical theory. showing remarkable aptitude, he Though gaining credit through then studied under an uncle, William ability as organist and choirmaster in G. Hammond, a choir director and three Brooklyn churches, he soon be­ organist in a large Brooklyn church. came aware that the theatre offered a John's parents vehemently oppos­ broader and more lucrative field. ed their son becoming a musician. There being no school for motion His engineer father, and his mother, picture organists in the early days of an operator of a business school, the profession, the only road to suc­ thought music inferior to their cess lay through actual experience of choice of vocation for him - doctor. the most disheartening kind. The He did attend medical school, but way to advance was to hold a posi­ quit in this junior year, having tion long enough to learn all there studied organ on the side. One of his was to be learned, and then move on standing jokes was, "It's a good to another theatre. thing I dropped out of med school; I John Hammond was first em­ would only have made the under­ ployed as organist at New York's takers wealthy." Vitagraph Theatre. With great an­ So, music won out; it was his ticipation, he looked forward to his prime interest throughout his life. first evening performance. He very He studied organ under Frank carefully chose an opening number THEATRE ORGAN 5 backdrop and curtains. The organ was used primarily with the or­ chestra in motion picture accom­ paniment. The adjacent Kilbourn Hall, used for student recitals and chamber music, had (still does) a 4-manual Aeolian-Skinner. In a large room on one of the upper floors of the theatre, was housed a 2/8 Wurlitzer, and this was employed for instruc­ tion and practice in the art of silent movie accompaniment, using a film library, a screen and projection equipment. Advanced students were given the opportunity to play the Austin in the theatre, thereby gain­ ing practical experience. There were 11 other practice studios for classical organ study; nine with 2-manual organs and two with 3-manual instruments. This was the scene which John Hammond entered late in 1922. From all reports, he was an excellent musician and a fine teacher. Rosa Rio, who studied under him at the Eastman, says: "He was an excellent teacher and inspired all who studied with him. He loved music dearly and was by far superior to Jesse Crawford as a musician, but never cared for fame or money." In August, 1923, the 16th annual convention of the National Associa­ tion of Organists was held in Rochester. Focal points of the ses­ sions were the Eastman Theatre and the School of Music. Mr. Hammond played a leading role in this affair, demonstrating motion picture ac­ John Hammond poses for a 1924 publicity photo at the console of the Piccadilly Theatre's 4/ 28 Marr & Colton in companiment and acting as a host of New York . ( Harold Joi/es collection J the event. (See April 1972 THE­ which would be impressive, since he ander, musical director of ATRE ORGAN.) assumed there'd be a full house . Rochester's new Eastman Theatre, In July, 1924, he accepted the post Everything was ready and at the ap­ announced the appointment of two as organist at the new Piccadilly pointed moment, he played the organists for the theatre and for Theatre at Broadway and 52nd opening chords with great gusto. But teaching organ in the Eastman Street in New York. Installed was a when he observed the size of the au­ School of Music. They were Dezso $60,000 4/28 Marr & Colton, the dience, ''my pride fell like a punc­ von D' Antalffy of New York's largest that firm ever built. The tured balloon . There were but three Capitol Theatre, and John Ham­ theatre opened in September. persons in the theatre!" mond. Selection of Mr. Hammond was He then served successively at the The $5 million Eastman Theatre, made after a nationwide survey of National Theatre in Jersey City; "Dedicated to the Enrichment of theatre organists. While he was Claremont, Strand and Broadway Community Life," possessed what reluctant to leave his position in theatres in New York; and the Strand was described in glowing press Rochester, the off er was so finan­ Theatre in Brooklyn where he was to releases, "The world's largest cially attractive, he couldn't refuse remain for two-and-a-half years. theatre organ." It was a 4-manual, it. His selection was considered a During his tenure at the Strand, he 155-stop Austin, and it was always tribute to the high calibre of the was instrumental in organizing the regrettable that the pipes weren't Eastman faculty. The man who suc­ New York Society of Theatre situated in chambers on either side of ceeded him at the Eastman, was Organists and served as president for the proscenium, rather than in their Harold Osborn Smith, the same two terms. backstage location. As a result, they organist who took Mr. Hammond's In August, 1922, Arthur Alex- had to speak through the orchestra place at the Brooklyn Strand when 6 THEATRE ORGAN APRIL / MAY 1980 the latter went to Rochester. not placed in the exit-march photo-dramatic term, 'action. ' At the Piccadilly, Mr. Hammond category. Consequently, it is "Here, the console elevator comes was featured in a recital every noon. necessary to ref er frequently to the into play - the rising console is a For a time in 1925, his recitals were work and observations of the writer. certain attention-arrester. The broadcast over WGBS, New York. "It is almost an axiom in this day lighting is of utmost importance; the In short, John Hammond was fast of soap advertisements and publicity spotlight must not be too glaring and becoming one of New York's leading men to say that the curiosity and in­ must also reveal the console in order theatre organists. In the February terest of the public must be aroused that the actual manipulation may be 15, 1925 issue of The Metronome, by special efforts if sales are to be under observation. It is of equal im­ appeared an article by him entitled made. An appeal must be made to all portance that the surrounding house "Making a Box Office Attraction of the senses which the human lighting be of such a quality and the Theatre Organist,'' and since we organism possesses. One would character as not to distract attention believe it as important in today's think that music depended entirely from the per/ ormer. Next in the renaissance of the theatre organ as it upon the ear for its reception, and order of importance is the visible was in 1925, we reprint it here: such is indeed the case, but what per/ ormance. In this, we must be about the interpreter? Who receives guided by good taste between the "The theatre-going public in New the salary - the music, the organ or Seil/a of ludicrous acrobatics and the York City presents to the motion pic­ the organist? The answer is quite ob­ Charybdis of uninteresting rigidity. ture organist, problems which are vious. We have, therefore, not to sell The organist must become an actor not to be met with elsewhere. This music; our product is the organist, even as the orchestra conductor, and condition is due to many cir­ and his music and instrument are but every move be calculated to produce cumstances. In the first place, the two of the points in our ballyhoo. a reaction upon his audience. cosmopolitan aspect of the city is "An organist has no auricular ap­ Likewise, he must remember that a more pronounced than in any other peal per se. He can be seen, however, naturally pleasant facial expression section of the country. Then, there is and it is largely through vision that and an easy manner when facing the a predominance of excellent or­ his personality registers. One of the audience for applause are valuable chestral music to be found on Broad­ first requisites, then, is the matter of assets in the creation of a public de­ way. The New York public has been visibility. Unless the audience can see mand. All of the above remarks app­ educated to consider the orchestra of the organist readily from all parts of ly to the rendition of solo numbers in primary importance, relegating the the auditorium, there is little chance a cinema theatre; this branch of the organ to a very subordinate position. that his personality will create an im­ work being obviously the only spot Furthermore, the instruments have pression. Let us suppose that the on the program where personal ap­ not been located with a view to ex­ organist is in a suitable location for pearance is possible.