In 1846, when First Presbyterian Church moved from Wall Street to its current location on Fifth Avenue, sacred music in the worship service was very different from what we know today. First Presbyterian, like many 19th-century Presbyterian churches, was a conservative congregation, and no musical instruments were allowed in the sanctuary except for the human voice. At this time, choral music in most American churches was provided by a solo quartet, as was the case at First Presbyterian. In the conservative tradition of First Presbyterian, the quartet was only allowed to sing unaccompanied metrical settings of the Psalms from the musicians’ gallery in the back of the church. Since instruments were not permitted in the sanctuary, the quartet had to retire to a room in the belfry to get pitches from a pitch pipe. However, the quartet was allowed to sing the works of Palestrina, Vittoria and Orlando di Lassus in the chapel, but only as entertainments and never at worship services. In general, there were many rules on how Presbyterians were to conduct themselves, and it was considered a sin to speak in the sanctuary after the service.

As early as 1855, the session wanted to install an organ in the sanctuary to attract younger worshippers, but James Lenox, ruling elder and controlling financial supporter opposed the idea of a musical instrument in the church. James Lenox reasoned that since his father, Robert Lenox, who had given the land on Fifth Avenue, had not worshipped with an organ, the congregation did not need one. In 1887, seven years after James’ death, the session finally voted to purchase an instrument from the premier organ builder, Hilborne Roosevelt, at the cost of $12,000. The organ was installed in the rear gallery in 1888, and was considered the finest in the city and received wide attention. The first men to play the organ were Mr. Henry Belden and Mr. Sumner Slater. Little is known about their training or what they played. Dr. Harlan, pastor at that time (1886-1890), writes…”As long as this [organ] had taken place it was now time to take off the brakes, and that instead of having the same as formerly, they would now put on some trills and frills which they otherwise previously had not had.” The congregation was divided over the trends that were taking place.

Major changes began to take place when, on December 1, 1891, Dr. Duffield, a strong visionary leader with progressive ideas and a lover of music, was installed as pastor. In March of the following year, William C. Carl at age 27 was employed as the first Organist and Choirmaster. Duffield and Carl had met a few months earlier onboard a ship returning from Europe. Carl had just completed an extended stay in Paris, studying with the world famous organist, Alexandre Guilmant. Born in Bloomfield, New Jersey, in 1865, Carl had already established himself as an organist before going to Paris, and in 1882, had been appointed organist at First Presbyterian Church in Newark, New Jersey.

Immediately after his appointment in March of 1892, Carl began a series of organ recitals that were so successful, the church was filled to capacity at most concerts and the police had to control the crowds on Fifth Avenue. During this era, Dr. Duffield and Carl presented concert versions of Parsifal to overflowing crowds at the church, since copyright law prevented production of the opera at the Metropolitan Opera. Full production of Parsifal was allowed only at Bayreuth.

As more churches were built in the latter part of the 19th century, the number of organ builders in America increased to meet the need for musical instruments, and many fine instruments like the Roosevelt Organ at First Church, were built. However, there was a lack of well-trained organists to play these new, impressive looking and sounding instruments. While recently established music conservatories and schools in America taught some organ, the serious student traveled to France and Germany for training.

William C. Carl, like many American students, went to Paris to study with Alexandre Guilmant and the two became life-long friends. Guilmant (1837-1911) came from a long line of organists and was not only known as a great teacher, but as an organ virtuoso and church musician. Guilmant toured America three times, performing in major churches and concert halls, and played forty recitals at the St. Louis 1904 Exposition. Since the American public had never heard or seen organ playing like this, Guilmant immediately became a celebrity. He performed several times at First Presbyterian, and Walter Damrosch referred to him as “a wizard of the organ.” When a passage was played with his feet alone, the audience was wild with excitement.

Guilmant was organist at La Trinité, Paris (a position Messiaen held later), and taught at the Paris Conservatory. In 1894, he founded, along with other colleagues, the Schola Cantorum in Paris, a school for training church musicians. Guilmant’s stylized playing is best described as having a singing, clean, legato line. His method of teaching was revered, and he paid close attention not only to organ playing technique but to the poetry of the music, as well. He was married, with two daughters and a son, who was a painter. The whereabouts of a portrait of Dr. Carl by his son is unknown today. Guilmant was a prolific composer, and his wife ran the family publishing business. He is characterized as a tireless worker.

In 1898, during Guilmant’s second American tour, Carl and Guilmant decided to open a school for organ instruction in New York based on the master’s method of teaching. In 1899, Dr. Duffield invited the Guilmant Organ School to open at First Presbyterian Church with the magnificent Roosevelt Organ as the centerpiece for lessons and recitals. The first class was held on October 9, 1899, in the chapel. Guilmant was the President, Carl was the Director and Instructor of Organ, and Dr. Duffield was the Chaplain and Instructor in Theology. The following excerpt from the initial announcement gives a clear idea of the purposes of the school.

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William C. Carl having been authorized by Alexandre Guilmant to open an organ school under his patronage begs to announce the Guilmant Organ School, in which the method as set forth by the great French organist, will be taught. Since the phenomenal success of M. Guilmant in America, a new impetus has been given to the organ as a solo instrument and in its relation to the church service. Organists in all parts of the country are giving more attention to its study and in the preparation of their work. Organ concerts are in demand with a growing success. Church committees are exacting a higher degree of ability from their organists and the press is giving it attention. 

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These facts have demonstrated to Mr. Carl the necessity of such a school, where the organist will receive a practical training for the church service and a more thorough understanding of the ecclesiastical music.

The Guilmant Organ School at First Presbyterian Church quickly became one of the leading institutions for the study of organ and church music in America. The school awarded a diploma after two years of study, and courses were offered in private organ instruction, general music studies, and theology. A silver and gold medal designed by Tiffany was awarded to the graduate of each class with top honors. In addition to Dr. Carl and Dr. Duffield, local organists and other musicians served as faculty members. Two notable men associated with the school were Robert Hope-Jones, an American organ builder, and Dr. Clarence Dickinson of the School of Sacred Music at Union Seminary, who served as an examiner. In 1915, six scholarships were established, so that students from across America could study at the school.

Through the years, Dr. Carl and the Guilmant Organ School gained international recognition. The French government bestowed on him the Officer de l’Instruction Publique, and he was made a Chevalier of the Legion of Honor in recognition for his work in promoting the works of Guilmant and other French composers. New York University conferred on him an honorary Music Doctorate Degree.

The impressive Roosevelt Organ was used until 1918, when it was replaced with an E. M. Skinner Organ located in the newly constructed choir loft in the front of the church. The Skinner, which was rebuilt in 1928, was eventually replaced in 1964 with the current Austin Organ, which incorporates some pipework from the Roosevelt and Skinner instruments. This past year, this instrument was cleaned and tonally regulated by the firm of Glück Orgelbau, Inc.

The 25th anniversary of the Guilmant School was celebrated in 1924. 150 Students had graduated from the school, and 26 of them were in responsible positions in the greater New York area.

To celebrate Dr. Carl’s 40th anniversary as Organist at First Presbyterian in 1932, the church installed a bronze plaque in the choir. In 1935, Dr. Carl was granted a leave of absence from his duties at the school for health reasons, and Willard Irving Nevins, Carl’s first student and associate, became director of the school. On December 8, 1936, Dr. Carl died and in January 1937, Mr. Nevins was appointed Organist and Choirmaster of First Presbyterian Church.

Under Mr. Nevins, the school continued its fine service in the field of church music. With a view toward solidifying the position of the school in the education scene, Mr. Nevins arranged for incorporation of the institution, in 1940, under the laws of the State of New York. The school was later approved under the regulations of the University of the State of New York, in order that colleges could give credit for work done in the school.

In 1956, Willard Nevins retired as Organist and Choirmaster at First Presbyterian, but remained director of the school until his death in 1962. On January 18, 1960, the school celebrated its 60th anniversary, and a gala dinner was held in the newly built Church House (now the Mellin-Macnab Building). In March 1963, Dr. George Markey, Organist and Choirmaster of Madison Avenue Presbyterian Church, became the third director. At this time, the school left First Presbyterian. Dr. Markey’s dream was to recast and update the school in order to compete with major American music conservatories. The school continued to receive much attention, when in 1965, the Guilmant Organ Festival was held on the new Aeolian-Skinner Organ in Philharmonic Hall (Avery Fisher Hall), Lincoln Center. However, after leaving First Presbyterian, the school never found a permanent home, and closed in the early 1970s.

The Guilmant Organ School was an institution with high standards that successfully trained young organists to go forth and serve congregations throughout America. One hundred years ago, the congregation of First Presbyterian Church made a commitment to the educational development of church musicians in America, and many students learned to play and refine the art of organ performance in the church’s sanctuary. Today, graduates of the school speak fondly of the time they spent studying at the school and First Presbyterian. As we enter the 21st century, it is important to remember and give thanks for the strong witness of the forebears of this congregation, a congregation that began nearly 300 years ago. To commemorate the hundredth anniversary of The Guilmant Organ School, a series of three organ recitals has been presented in 2000.

© 2000 William F. Entriken

As is often the case, the story of the pipe organ at St. Stephen-in-the-Fields Church in Toronto is very much tied in with the story of the building itself. The ups and downs of the instrument certainly coincide with those of the parish. The Church is located in the West – Central part of Toronto’s inner city. The address is 103 Bellevue Avenue, but the entrance currently in use is on College Street, a major thoroughfare that runs east and west. If you are looking for the building, it is located on the south side of College Street, between Spadina Avenue and Bathurst Street. It is easily reached by public transportation, with the College streetcar close by.

St. Stephen’s was built by the Dennison family, wealthy landowners whose home, Bellevue House, was near the site of the Church. Constructed of brick, the building was designed by the well-known ecclesiastical architect, Thomas Fuller who later moved to Canada’s capital city, Ottawa, known, when the Church was built in 1858 as Bytown. The original building consisted of just the nave of the present structure. So far I have been unable to get any information about the organ then installed, except that it stood on a small gallery over the West door.

Less than ten years after it was built, the Church was gutted by fire. The Dennison family as patrons of St. Stephen’s had the building reconstructed. As much as possible of the original became the Nave, and a large Chancel and Sanctuary, with a Lady Chapel were added to the East end of the building. The Chapel was (and is) located on the North side of the Chancel, and a spacious organ chamber was built opposite. The chamber was designed well, and is entirely within the building. There is a large opening into the Chancel, and another was provided into the South aisle, the display pipes forming a rerados for the Altar in another chapel located in the aisle.

Architecturally the Church has a very ‘English’ look, although as one who lived for a time in England, I never saw a Church, urban or rural, that quite matched St. Stephen’s. While it has been described as a Gothic Revival structure, that is not entirely accurate, and, in fact, it shows some of the attributes of an ‘A” frame building. The walls of the Nave are low, with the windows set into dormers while the roof rises to a ridge far higher than the walls. After the fire, the broad Nave seated some 900 people until recent changes. There was a spacious aisle on each side separated from the central Nave by rows of pillars and Gothic arches. The ‘new’ Chancel and Sanctuary are lofty, and a display of 16′ organ pipes is easily accommodated in the case. The acoustics were excellent, and are still very good, even though drastic changes have been made to the structure. More about that later. Still, the exterior has been preserved, and the structure declared of historic and architectural importance.

Again no information is currently available about an organ in the Church until the present one was installed in 1906. There was a large harmonium in the Chapel on the South side of the Nave, and this did have enough power to accompany hymns when the pipe organ failed to function. That instrument has since disappeared.

The Church’s location today is highly urban and inner city by nature. When the Dennison family built it, St. Stephen’s was in the country, and thus St. Stephen-in-the-Fields. The fields were real. While the Church did have a few wealthy parishioners, it was never a wealthy parish, the building being rather grand for its congregation. The implications as the city grew and changed were obvious for the future. A large and expensive building to be maintained without a large budget to support it. Thus as time went on, the congregation found it necessary to cut financial corners when it came to furnishing and maintaining the building. This restraint applied to the pipe organ.

In 1888, George Ryder, organ builder from Reading, Massachusetts, was contracted to build a new instrument for New Richmond Methodist Church on McCaul Street, less than a mile east of St. Stephen’s. It was a fairly large instrument for its day, two manuals and some 27 ranks of pipes. The action, of course, was tracker (mechanical) with Barker lever (pneumatic) action for the larger pedal stops. The organ was Ryder’s Opus # 149. While romantic in nature, the Ryder organ did have some nicely developed harmonics, and was much brighter and fiery in sound than many other North American instruments of the time. Rather than following the French or English tonal pattern Ryder based his work on the German model.

In 1906, the New Richmond Methodist Church, due to a major change in demographics, was sold to a Jewish congregation to be used as a synagogue. The new owners had no need of the organ, and it was put up for sale. The people of St. Stephen’s purchased it from the Methodists. Just before it was to be moved, a dispute over the ownership of the instrument arose between the Methodists and the new owners of the building. Worried that the fine instrument they had purchased might not come to them after all, many of the men from the congregation spent the night outside the former Methodist Church, to ensure that it was not touched by anyone else. It was not. In the morning the men from Breckels and Mathews, a highly reputable firm of organ builders, arrived, the organ was dismantled and removed.

Breckels and Mathews made some fairly major changes in order to suit the instrument to its new home, providing a new key desk and key action, adding a couple of ranks and rearranging the pedal pipes and some of the Great Organ. A display of 16′ Open Diapason pipes, painted and decorated in rather Victorian fashion formed the façade which can still be seen. Other decorated pipes from the 8′ pedal stop which had been on display in the former Church were installed inside the chamber. The disposition was Great 10, Swell 11 and Pedal 3. The façade contained pipes from the Pedal Open Diapason 16′ and the bottom octave of the Great Open Diapason 8′, with the unenclosed Great immediately behind, and behind that the Swell, with a walkway between the two divisions. The Pedal Bourdon 16′ and Violin ‘Cello were located to the west of the manual chests. The organ remained much the same as this until 1942.

When first installed in St. Stephen’s, the organ, now bearing the name-plate of Breckels and Mathews, was hand pumped, and the indicator lines and instructions are still to be seen. At some point, however modern technology caught up with the instrument and a hydraulic blowing system was installed. The remains of this are still in the basement under the Chancel. The water-powered blowing system seemed to work quite well in the warmer weather, but it had a tendency to freeze in winter, rendering the organ speechless.

In the 1920’s a major advance was made under the leadership of the Rev’d. Canon James Ward, a priest who was also an accomplished musician, writer and pioneer in may fields. At Canon Ward’s insistence the hydraulic blowing system was retired and the first electric blower installed. The feeders were removed, but the main bellows, 7-feet square, was retained as the reservoir, and is still in use today.

Meanwhile the musical life of the parish thrived. St. Stephen’s became known for its fine choir and the distinguished musicians who sought and held the position of Organist and Choir Master. The organ itself became well known, and its unique sound was thrilling. Powerful reeds with lots of fire, assertive yet not muddy diapasons, romantic strings and clear flutes all blended into a bright chorus. A joy to hear and to play, at least when not plagued by mechanical problems. Outstanding organists were willing to put up with its idiosyncrasies, for the sake of its glorious sound.

The year 1942 brought the first major change in the organ since the days of Breckels and Mathews. In that year the mechanical action was electrified. The Ryder chests were becoming unreliable…(they still are!) and the heavy tracker action and long draws on the stop knobs had little appeal to the organists who had learned their art on instruments by Warren and Casavant, and the more recent work of Breckels and Mathews, to name a few builders. It was the modern age, and new technology must be applied to the organ. After all, this was a Church of the Twentieth Century — Canon Ward had pioneered Church radio broadcasting from St. Stephen’s. This medium made the voice of the priest and that of the organ familiar to many thousands across the country and into the United States. In keeping with the times, the organ was electrified.

Sadly the parish did not have the funds to have the work done by one of the leading builders, and the Franklin Legge Organ Company was called in. The original Ryder chests, pull downs and pallets were retained, in spite of growing unreliability due to wear and splits occurring in the sound boards, exacerbated by dryness during the heating season. The sliders were also kept.

Mr. Legge installed electropneumatic stacks under the chests to operate the pulldowns and pallets. These were quite efficient, and of his own design, but they had one problem. They needed higher wind pressure for proper operation. Similar devices were attached to the sliders, and these remain in use today.

A new and rather impressive draw-knob console was installed under the façade, facing West. This part of the organ was definitely a relief for the organist with its light touch and adjustable pistons. Now, too, the organist could keep his eye on the choir without relying on a mirror and a twisted neck.

When the conversion was complete, a new 49-note Celeste had been added to the Swell, with its own electropneumatic wind chest. That chest still functions reliably…sometimes the only stop on the organ that can be caused to function!

Back to the wind pressure problem. In order to operate his electropneumatic action, Franklin Legge raised the wind pressure noticeably, resulting in a slightly forced tone, and a rise in pitch of almost a semitone. This situation continued until 1971.

In spite of the problems mentioned, the St. Stephen’s organ continued to be a favourite among musicians and the musical tradition continued. The organ was in this state when I began taking lessons on it with Ian Galliford and later George Coutts. It was a truly thrilling instrument to play, and one could become lost in its majesty. Hours at the console passed like minutes. It always seemed that I had just got there to practise when it would be time to go home. Hours would have passed, unnoticed. That, of course, applied only when it worked.

During the 1960’s, the organist was the very talented Peter Roe, who is not only an accomplished church musician and recitalist, but also a talented organ builder and technician. During his tenure, Peter made a number of tonal improvements and enlarged the organ to three manuals, moving the console across the Chancel at the time. When Peter left, the organ had the following specifications:

Great	Swell	Pedal	Couplers (tablets)
*Open Diapason 8′	*Bourdon 16′	*Open Diapason 16′	Great to Pedal
*Dulciana 8′	*Open Diapason 8′	*Bourdon 16′	Swell to Pedal
*Hohl Flute 8′	*Stopped Diapason 8′	*Violin ‘Cello 8’	Choir to Pedal
*Principal 4′	*Salicional 8′	+Trombone 16′	Swell Super to Pedal
*Harm. Flute 4′	**Voix Celeste 8′
*Twelfth 2 2/3′	*Octave 4′	Choir	Swell Sub to Great
*Fifteenth 2′	*Piccolo 2′		Swell to Great
*Clarinet 8′	*Mixture II rks	+Stopped Flute 8′	Swell Super to Great
Trumpet 8′	*Oboe 8′	+Piccolo 2′	Choir to Great
	*Cornopean 8′		Great Super Octave
	*Tremulant		Swell Sub to Choir Swell to Choir Swell Super to Choir
Draw-knob console with couplers on tablets above Swell Manuals 61 notes Pedals 30 Action: Mechanical pull downs with ep stacks. Slider stop action Balanced Swell Pedal – 5 stage motor Balanced Crescendo Pedal 6 adjustable thumb pistons 3 reversible thumb pistons Great to Pedal toe reversible Full Organ reversible (toe)
	*Original pipes from 1906. Mainly Ryder, but some possibly Breckels and Mathews. **Added by Franklin Legge in 1942 +donated and installed by Peter Roe

Peter Roe used the 1942 Franklin Legge console, adding the Choir manual and controls.

It is interesting to note that the Clarinet on the Great is a rather powerful stop, not noted for the mellowness normally associated with the name. There are some Krumhorn characteristics. It is a useful Great reed, and does not suffer from not being under expression as one might expect.

In 1971 an attempt was made to improve the reliability of the organ, and it was overhauled by John Fyall and Son. But once again cost was a factor, and the old Ryder chests and action remained. The organ was dismantled, the pipes removed and complete cleaning was done. The Legge electropneumatic stacks were replaced by Kimber-Allen pull-down magnets. (The Legge action to run the sliders was retained.) All the metal pipes were sleeved for easier tuning, affecting the tone to some degree, but not too seriously. The big tonal change came when it was possible to reduce the wind pressure. Pitch has been restored to normal A=440, and the sound seems less forced then before.

About this time the Franklin Legge console was replaced by a 1928 Casavant one, removed from St. Jude’s when that Church was closed. It is interesting to note that when this was done the stop names were not changed on the draw-knobs, and these were hooked up to stops with the closest sound. Thus the Great Dulciana now plays when the Gemshorn is drawn, Swell Open Diapason is now a Violin Diapason, the Piccolo has become a Flautino, and the Mixture II masquerades as a Mixture III (an effect that is achieved when the ‘Flautino’ is drawn with it.) The Swell Octave 4′ is now known as the Spitzprincipal 4′.

The last time I heard the organ and played it was in 1970, when it could still be described as magnificent, although many stops were slow to act, and runnings occurred among the Swell ranks on occasion, caused by the deteriorating Swell soundboard. That situation remains as I write.

Back in 1947, organist Ian Galliford described the instrument as ‘An atrocious organ. Wonderful sound, but atrocious!’ The notorious unreliability of the old Ryder chests was the motivation for this description. Some of Franklin Legge’s work added to this situation.

Time has passed. Back when I was a child Canon Ward, a family friend and godfather, would sometimes refer to his Church as, “Not St. Stephen-in-the-Fields, but St. Stephen-in-the-Red.” At times I wonder if it might not also be called, “St. Stephen-on-the Rocks.” That suits both my sailing hobby and predilection for a certain Scottish beverage served over ice…

In June of this year I was invited to examine the organ and make recommendations for its future, as well as undertaking some urgent repairs to make it usable, at least. Although thinking of retiring from active organ repair and maintenance to concentrate on my writing and the Tall Ship Canada magazine of which I am executive editor, the prospect of returning to St. Stephen’s held great allure. Because of Canon “Uncle Jim” Ward, I had been attending the Church off and on since I was a very small child. Here was the pipe organ that I had first played, and the Church I had attended after returning from England. It is the one in which my wife and I were married. Of course I went! The project is now under way.

My return to St. Stephen-in-the-Fields after thirty years was a shock. The Parish Hall and Rectory were gone, replaced with an apartment building. The Convent and Church Home for the Aged closed, the nuns having fled the inner city to open a new facility called Cana Place in newer part of the city. Still, one of the former Church buildings, now involved with social services is called St. Stephen’s House. What I saw inside the Church itself was hard to believe.

In the middle of the Nave a complete building has been constructed, at one time housing a clinic and providing some rental income for the parish. Its tenants have long since departed. In addition to this structure, a wall now divides the Nave in half, and the Gothic arches of the aisles have been walled up, creating offices and classroom space.

The traditional furniture has gone from what is left of Nave, Chancel and Sanctuary. A few stacking chairs near the Chancel steps replace the pews for almost a thousand people. The choir stalls are gone, as are the sedilia. The High Altar is now on wheels, and moved forward, its former place of honour an empty space. The rerados is gone. The organ case remains…but not the same! The 16′ Open Diapason still stands proudly in place, pipe tops reaching toward the roof beams. But there is something new! Beneath the mighty Diapason is a smaller front of painted eight-foot pipes. Reminiscent of a Continental Positive, or perhaps an English Choir or Chair, but that is not the case. I know those pipes of old. The pedal eight-foot stop has moved outside the chamber, and now is silent. I shake my head in dismay.

To the console. I turn the key and the organ wheezes into life. The Casavant console is new to me. I draw two stops on the Choir, and touch the keys. Nothing. No sound. I try the other knobs to see if they control the pipes my friend Peter had installed. The same. No sound at all.

Next, the Swell. I draw the strings and promptly there is a squeal as many pipes sound forth. Runnings. The old Ryder chest has not improved with passing years! The Great has runnings too, and ciphers. With caution some ranks can be persuaded to behave. The remnants of past glory sound forth. Briefly. Time to step inside the chamber. I do that.

A horror! Dust and dirt on every surface, in some places inches deep. Some pipes are partly filled and cannot speak. Stepping in front of the Great chest to where the Choir once stood, I find the space is empty. Chest and pipes are gone! Nobody can tell me when or where. Then around behind the Swell…the old opening arch into the Nave has been walled up. The eight-foot pedal stop is gone, chest and all. A few pipes form that front I’d seen, the rest have disappeared. And everywhere the dirt. Such terrible neglect. On one wall there is a wind chest mounted, one of Franklin Legge’s, and it was not there before. The inscription on the wood suggests a string, ‘Salic.’ I read, a Salicional. But the pipes are of a principal. What’s this? And then I see. The wind trunk has been disconnected and the wires pulled away. There’ll be no sound from this, I think.

Further examination shows more dirt, loose, hanging wires. Dirt-filled pipes. Dirt everywhere. We set to work.

Cleaning first. We uncover hidden wires buried in the dust of decades. We fill a 10-gallon shop vac many times. But let’s try to make it sound. The blower works and the rectifier produces DC current. Some pipes can speak. We manage to use the Swell Bourdon 16′ to draw off unwanted wind, and the Swell Can play! At last the grandeur I recall comes back, as the Cornopean caps the chorus…but all is out of tune. Oh well! The Mixture is missing! We find it later and bring it back to life. Most of the Bourdon pipes are gone. No great loss…a muddy stop as I recall, and we have enough left to relieve the runnings. Back to the console. Coupling, with octaves up and down, to Great and Choir we can achieve some nice effects. Play a solo against the Swell itself, or build another chorus.

The Great is temperamental. At times for no apparent reason the pull down magnets come to life and wrong notes sound. Close the Swell box, and the Great responds with discord. Sometimes. The trick is to know just when.

And so it goes. The Pedal Bourdon has most strange behaviour! At times when on, more discords from un-drawn reeds. I shudder, and decide, “Swell to Pedal” and those few Bourdon pipes are a help.

Yes…in moments of good fortune, the sound is there. The majesty has not fled, at least not entirely.

We continue trying to make this organ usable at least. A friend who once designed nasty things for Litton Industries, guidance systems and internal missile circuits, has offered some electrical help. He is a wizard. And I form a plan.

At first the thought is to replace the entire thing, buy a used organ in good repair and place it here in St. Stephen’s. Yet that’s not what we want. Can we save the wondrous sound of old and bring the machinery back to life? So let it be.

The answer is new chests and action. The Ryder chests must go. The console will serve for now, the blower is old but fine and the rectifier can still be used. The swell box is effective and in good shape. The Casavant chest where the Trombone stands is good.

A friend from Temple Organs in Missouri offers hope…a price the Church can possibly afford. We’ll work toward that. We’ll continue striving to keep the poor old beast alive for now, a year or two or maybe three, and then!

The Ryder’s glorious sound will one day return. Modern pitman chests and action. New wiring throughout. It will be a new organ, good for another hundred years or more, with proper care. And the sound that George Ryder, Breckels and Mathews and Peter Roe developed over years will be back. Best of all, perhaps, will be the chance to play it without fear of what may be going to happen next! This time St. Stephen’s has the chance to do it right, and win! The future looks bright.

I’d love to play it and trust it before I die. Let’s dream the possibledream!

Addendum: While working at St. Stephen’s on Friday (10/22/2000), I discovered an additional disaster:

The Franklin Legge organ company added electropneumatic stop action in order to operate the sliders. This consists of a large unit fastened to the end of the chest, and made up of two sections. The lower section contains the action which is much the same as that in a ventil chest. This is connected via wires from the pneumatics to the upper, larger box which contains the complex system of levers which actually move the sliders in and out. Between the upper and lower boxes is a space of about half an inch. The stop action box for the Swell is just outside the door into a vestry… Someone had decided the narrow space between the two parts of the action was ideal for holding a wire coat hanger. Yes! They had straightened out the hook at the top to go into the space between the two sections of the action, and managed to find the tiny hole above a pneumatic pouch. As a result, the Swell 8′ Diapason no longer sounds. Because of the installation and complexity, we are looking at about 8 hours’ work to dismantle, re-leather the pouch and reassemble the stop action. Whew! I have put warning signs in the area, now, but I guess that really means locking the stable door after the horse was stolen! It seems that most people, even organists in many cases, are unaware of the complexity of the instrument…in fact to many the inside of a pipe organ looks much more like a collection of junk than the interior of a musical instrument!

The 1928 Casavant console at St. Stephen’s Church felt very familiar when I sat down to play. At first that seemed not at all unusual, since I have always found the consoles by that builder very comfortable to use, regardless of the design period. As mentioned in my article previously, a very reliable source had informed me that this console had come from St. Jude’s Church, Roncesvelles, Toronto. That building had become redundant, and was closed by Diocesan authority. At one time I had tried to acquire the console for the organ I was playing at the time, but was told it had already been sold when the organ was broken up for parts. I settled for a 3-manual Austin console for my Church, and thought no more about it until recently.

While playing at St. Stephen’s, I did notice that the console had provision for forty stops, while the instrument at St. Jude’s had been a smaller one, about 20-25 stops total. Still, memory fades!

Shortly after becoming a member of the Organ Focus site and publishing my first two articles, I received an email response from Andrew Mead, a talented organ builder who lives not far from my home, with further details on St. James’ Cathedral and a note about St. Stephen’s. Andrew identified the console at the latter as coming from St. Clement’s Church, Eglinton, (North Toronto.) This made a lot of sense. It also opened up more vistas, both for this site and in my memory.

While the organ in St. Stephen’s was the first I ever played, that at St. Clement’s was the second, and the first on which, as a teenager, I ever played for a service. This all reminds me of another instrument that may well be described here. The St. Clement’s organ, a Casavant, had major work done in the seventies, including a new console and a powerful unenclosed positiv division in the Chancel. The organ is being totally rebuilt this year by Casavant, and should prove interesting.

Anyway, no wonder the console felt so familiar to me! Many thanks to Andrew Mead for his interest and very useful information. Andrew also added to my knowledge of the St. James Cathedral organ, one which he is now maintaining.

© 2000 Ross Trant

Cathedral Church of St James | St Paul’s Church | Church of St Mary Magdalene | Church of the Advent

With its population of almost three million people, Toronto, Canada’s largest city, is surprisingly little-known as a truly great tourist centre in other countries. However, it has much to offer, and for the visiting organist it can be a goldmine of wonderful sights and sounds, especially sounds. There are giants like the four manual, 137-rank Casavant in St. Paul’s Church, Bloor Street, and the even larger five-manual instrument in Metropolitan United Church and tiny instruments such as the ten – rank Casavant pneumatic in the Church of the Advent. And the whole gamut in between. Some of the instruments in this large city are fascinating because of their musical merit, others have interesting historical connections, especially with outstanding musicians. There are those whose visual effect give an outward sign of the art of organ building. Then there are the instruments with all these attributes.

One thing that most visiting organists will discover is the ubiquity of the name Casavant, probably the best-known organ builder in the country. Consoles bearing the name of this internationally known firm abound. However, in many cases the curious student of pipe organs will discover that the instrument may have begun its life at the hands of another builder.

While the name Casavant certainly dominates the scene, there are other names to watch for as well. Casavant instruments demonstrate the many different design periods in the company’s history. Among the outstanding builders represented in Toronto is Samuel Warren and his descendants and off-shoots, such as Karn-Warren and Woodstock. The names of Morel, Jacques, and Canadian Pipe Organs will be found on instruments built by entrepreneurs who began their careers with Casavant. Another prominent organ builder once located in Toronto, was Breckels and Mathews, a firm which for a time was simply known as Mathews Pipe Organs.

Two rather prolific organ builders in the Toronto area, but definitely not in the same league as the above, were Franklin Legge and Edward Lye and Sons. Both of these concerns, sadly, built often strictly to price, leaving much to be desired, especially in the area of tonal design, voicing and scaling. The Lye firm did, in its early years, produce some quite good tracker instruments, but went downhill when they began to use electro-pneumatic action. There are some fine instruments bearing the names of Lye and Legge, but research always shows these were electrified examples of other builders’ work, notably Warren and Breckels and Mathews. The Legge firm was taken over by the Eaton department stores, and under that name did some quite good work. One former employee is the area representative for Casavant, Alan Jackson who has produced some excellent instruments.

With such a large population, Toronto has many churches and other buildings with pipe organs. Two more builders whose work may be experienced here are Gabriel Kney (formerly Kney and Bright,) and Schlicker. This gives some idea of what to expect when an organist visits Toronto. The dominance of Casavant in larger churches and institutions may be surprising, but understandable. Other more recent builders include Gibault-Therien, Keats-Geissler, Hallman, Gober and Helmut Wolfe. Yes, lots to see and hear! Now to some interesting specifics, as we consider some of my favourites.

The Cathedral Church of St. James

[http://www.orgalt.com/organs.html] ; [http://www.stjamescathedral.on.ca/]

A quiet oasis in downtown Toronto, St. James Cathedral stands within its wall, surrounded by green grass, amid the bustle of traffic and the hype of commerce. If you seek this place, you will be looking for the corner of King and Church Streets. You will have no trouble locating it. As you enter the main doors into the Nave, you will pass under an organ case, turn and look. A 19th Century case stands above the doorway, containing the pipes of the Auxiliary Division of the instrument, along with its one pedal stop. Protruding proudly from the foot of the case, pointing down the centre passage of the Nave, the pipes of a powerful trumpet en chamade. Continue walking toward the Chancel and the High Altar, and four more cases are seen, perhaps the finest examples of organ cases in the English tradition to be found in Canada. On the North and South sides of the Chancel or Choir are two spacious chambers, and here reside the pipes of the main organ, speaking clearly into both Nave and Choir. In the Choir itself you’ll see the tall English console with its rows of draw-knobs in pairs, as British tradition dictates. “Ah! A Walker organ!” you say, but no.

The ‘voice’ of the Cathedral Church of St. James was built in 1888 by Samuel Warren and Sons. The four-manual Walker console arrived in 1979, when the 97-rank instrument was already almost a century old. Extensive rebuilds were undertaken in 1916, 1936 and 1967 by Casavant. In more recent years further upgrades were accomplished, including the addition of a 32-foot reed on the large pedal organ. This is, perhaps, my favourite Toronto pipe organ. Rather romantic in nature, it has the characteristics of an English Cathedral organ, yet with something of a French touch in the voicing of many of the reeds. It handles well the works of Franck, Vierne, and other French composers, as well as the works of Bach and the music associated with the English Cathedral. How do you describe just how an organ sounds? I am not really sure. I hope these few remarks will give you some idea of the majesty of this one. If you are lucky, you will arrive when the organ is in use. If you are very lucky you may have the good fortune of playing. Powerful and exciting, yet capable of soft whispers, too. A wondrous sound in friendly acoustics. The spirit of Samuel Warren lives on, along with touch of the Casavant brothers, and Stephen Stoote tonal director in the thirties and beyond.

St. Paul’s Church, Bloor Street

[http://www.stpaulsbloor.org/]

Travel north from St. James, on Church, past St. Michael’s Cathedral with its Warren tracker, rebuilt by Gabriel Kney, and Metropolitan United Church, with its huge five manual Casavant, largest Church organ in Canada, (more about these later,) to Bloor Street, the city’s main east-west artery. Turn east a short distance, and there it stands. Gray stone, rising toward the sky, St. Paul’s is impressive. Walk up the steps from the street to the main entrance, and step inside. Enter the Nave which seats 3,000 people, and look about you. High in the gallery over the West doors in the gallery is a large organ chamber with a display front of unadorned zinc pipes. This is the Gallery organ, a complete two manual and pedal instrument, controlled by the large four-manual console in the Chancel up ahead. Take the long walk to the Chancel steps, and look above once more. High above the floor of Chancel and Nave are two spacious chambers, opening into both Nave and Chancel. Again a façade of unpainted zinc pipes. In their austerity, they rather match the plain Gothic of the Church itself. Beauty in simplicity. The Casavant console resides on the north side of the Chancel. Here in St. Paul’s, much larger than the Cathedral, we find the four manual, 137 rank Casavant, built in 1914. The instrument has seven manual divisions, and two pedal divisions. The usual, Great, Swell and Choir, an Orchestral Division and a Tuba Division, along with the Pedal, complete the main organ, with the Gallery Great, Swell and Pedal speaking from the West end of the large Church.

The reeds for which St. Paul’s is famous were created by W.G. Jones, Frank Wesson and Harrison and Harrison, of England. Incredible fire, yet bell-like describes the mighty Tuba Division, capable of playing a solo over the entire rest of the organ! This is a truly exciting organ to hear from the Nave. However, due to the great distances between divisions, the effect from the console can be a bit confusing with delayed sounds heard in the vast space with an echo approaching ten seconds under some conditions. The first organist to preside over this great instrument was the late Dr. Healey Willan who came form England to Canada for this purpose, spending the balance of his life in the country, and becoming arguably the foremost musician the land has known. Like the organ in St. James Cathedral, the effect of this instrument is magnificent, but on an even grander scale than that in the Cathedral. Frequently used for recitals, it is also heard on many festive occasions, when St. Paul’s takes on the role of the Cathedral, due to its greater size.

The Church of St. Mary Magdalene

[http://www.interlog.com/~csmm/guide.html] ; [http://www.musiccentre.ca/ds/CDs/WillanOrgan.html]

Considered by many to be the key parish in the Anglo-Catholic movement within the Anglican Diocese of Toronto, the Church of St. Mary Magdalene, in the West-central area of the city, has a powerful musical tradition. Many important names have been attached to its musical leadership, but perhaps the greatest of these was Healey Willan, composer, conductor, organist and choir director. When Dr. Willan left his post at St. Paul’s, Bloor Street, he began his career at St. Mary Magdalene’s in 1921 and continued there until his death in 1968. Under Dr. Willan’s direction a new organ was built for the Church by the highly reputable firm of Breckels and Mathews. A good sized three manual instrument, it is located in a spacious chamber on the North side of the Chancel/Sanctuary area. The console is located in the gallery above the West entrance. Tired of sticking roll-tops on large consoles, Willan insisted on this one being equipped with doors, in the English tradition. As a memorial to Dr. Willan, the organ has been rebuilt in recent years. Work on this project was begun by David Legge, son of the late Franklin Legge, mentioned near the beginning of this article. When this did not work out successfully, the work was completed by Alan Jackson, Toronto representative of Casavant Freres. The rebuilt and enlarged organ contains some pipes from St. James Cathedral, which were found to be redundant when a major overhaul of that instrument took place. The Breckels and Mathews console, with additional matching draw-knobs, pistons and rockers has been retained. Tonally the instrument is in the tradition of English organ building of the late 19th and early 20th centuries. A magnificent Tuba crowns the chorus, and performs well both as a chorus reed and solo stop. Dr. Willan and his successors have made good use of this rank as well as the rest of the instrument in improvisation, service accompaniment and in the performance of countless organ works. The St. Mary Magdalene’s organ raises goose bumps as the organist plays Willan’s glorious tune for ‘Hail Thee Festival Day,’ improvising between verses during a procession. If you have a chance to visit St. Mary Magdalene’s Church on a major Festival, don’t miss it!

Note: An archival CD recording of Healey Willan, playing the organ and directing the choirs, (Gallery and Ritual) has been produced by EMI Canada, and is available through the Royal Canadian College of Organists. That CD is playing as I type these words.)

The Church of the Advent

This little parish Church is located in a rather down at heel neighbourhood in the West end of Toronto, not far from the old stockyards on Pritchard Avenue. An unpretentious Church in an unpretentious setting, it contains a pleasant little organ. This seems to be an appropriate place at which to conclude this article, which hopefully is the beginning of a series on interesting pipe organs in Toronto.

The organ in the Church of the Advent is a ten rank, ten stop two manual Casavant, with pneumatic action. It was originally built as a practice and teaching instrument for the Royal Conservatory of Music, Toronto. When the Conservatory moved to a new site, the little instrument was acquired by the Church and with volunteer assistance, installed there in the Chancel. It was later overhauled by Dubay Organs of Burlington, Ontario. The instrument dates from c.1911. Although not built and specifically scaled for the building, it is certainly adequate, and contains all of the four major families of organ sound. No, not spectacular, but it does have one thing in common with those already mentioned. One of its frequent and illustrious players was the late Healey Willan who was for many years on the faculty of the Royal Conservatory and served as its Principal at one time.

So there you have it. Four interesting pipe organs out of the hundreds to be found in Toronto, a city that most certainly deserves the attention of lovers of the pipe organ. Drop by the City some time, and enjoy a fascinating organ crawl!

© 2000 Ross Trant

During the year 1999 and on into the beginning of the new century, the question about the future of the pipe organ was the subject of lively discussions at various organ gatherings throughout Europe, as well as the United States. Probably the turn of the century provided the right occasion for bringing up this debate. I was invited to speak at one of these events in Switzerland, along with 3 other well- known organ-builders.

When I prepared for this occasion I realized that there is really no clear answer to the question. Then, after listening to the statements by my colleagues, my assumption was confirmed. One can say that a little of everything is being built these days: from style copies to historical imitations, to contemporary design. Furthermore, all systems, such as mechanical, electric, pneumatic or others are being used. All different musical styles from French, to German or baroque are evident. Obviously, each of these different types of organ has its admirers; otherwise there would be no demand for them.

Our concern is that not enough wholly contemporary organs are being built these days. Where is the creativity for organ cases of stunning contemporary design? Such designs are not easy to realize, for it is in fact very difficult to fit an organ into the various styles of architecture organ-builders are confronted with.

Since most of us have been trained as organ-builders and not as designers or architects, this creates a problem in the profession, but one with a relatively simple solution. Why not use the professionals who do indeed have the required knowledge about architecture and style as well as the skills needed to carry out good design? The organ-builder can supply the architect or designer with the parameters he has to consider. We have been doing this for several years now and are very pleased with the results of this co-operation. Of course, organs do not have to look like the Walt Disney Concert Organ designed by Frank O. Gehry in order to be labeled contemporary. There are unlimited possibilities for designs and detail. Although we are a relatively young company, we do have a few interesting examples of contemporary organ design to show. You are welcome to look at our web-site. ( http://www.gg-organs.com )

We are also attempting to spark interest in sculpture- like organs for public buildings or other large spaces. Such instruments could be used as decorative eye-catchers, but still serve the more conventional function of an organ – mainly to make music. Many people do not realize that an organ does not only play Bach or accompany weddings, funerals and the like, but can also be used for jazz or other forms of more contemporary music.

Pipe-organs are usually associated with church by the majority of people, but there is a welcome trend these days to put organs into new concert halls and conservatories. I just wish they would be more visually spectacular. But I think there is hope that in the future more interesting looking and beautifully sounding organs will be built !

© 2000 Caspar von Glatter-Götz

The full essay with links to historic organs restored by Oberlinger can be seen here.

The Usual Narrow Focus of the History of German Organbuilding

When international organ experts discuss the German tradition of organbuilding, significantly not more than two outstanding names of historic organbuilders, each one of them symbolizing a well-known historic organ style are mentioned: Arp Schnitger, representing the Baroque organ of Northern Germany, and Gottfried Silbermann, the principal builder in the Thuringian-Saxonian organ style, who is also connected closely with the famous name of Johann Sebastian Bach.

This somewhat narrow focus to the rich and sophisticated history of German organbuilding, neglecting the different styles of other regions, is based on the early “Orgelbewegung” in the 1920’s.

The Discovery of the Middle Rhine Organbuilding Tradition

The scientific and musical interest in other German organ styles came into being at least one generation later. The historic organ style to be introduced here, the “Middle Rhine Tradition”, was first discovered by Franz Boesken, who began his research for his monumental Middle Rhine Organ Survey in the late 1940’s. The result of his laudable life’s work, interrupted by his early and sudden death in 1978, is remarkable:

• A monograph about the organbuilders Stumm, the most important historic workshop of our region, that existed for 6 generations.

• Three volumes of his Middle Rhine Organ Survey with more than 2500 pages (the third one published posthumously). The fourth volume, containing more than 1000 pages, will be published in 2000 or 2001, more than two decades after his death.

• A couple of essays about several organs and organbuilders, and about the foreign influences to the Middle Rhine Organbuilding.

Surely, the most important contribution by Franz Boesken was founding a basis for further research on the organbuilding history of the Middle Rhine in the following decades. In the 1990’s, three doctoral theses about three historic organbuilding workshops of the Middle Rhine were published:

• “Die Orgelbauwerkstatt Schöler in Bad Ems” by Jürgen Rodeland, Musikverlag Emil Katzbichler, Munich/Salzburg 1991.

• “Die Orgelbauwerkstatt Dreymann in Mainz” by Achim Seip, Orgelbau-Fachverlag Rensch, Lauffen a. N. 1993.

• “Die Orgelbauerfamilien Engers und Schlaad in Walslaubersheim bei Bingen” by Manfred Wittelsberger, Musikverlag Emil Katzbichler, Munich/Salzburg 1994.

These three monographs complement one another to a cross-section through the Middle Rhine organbuilding tradition of two and a half centuries: from the founding of the Schöler workshop in 1748 (closed in the third generation in 1837), to the change of style in the 19th century (Dreymann, two generations working 1821-1862), to one of the longest surviving traditional manufacturers in the late 19th century (Engers and Schlaad, working 1810-1892, building mechanical slider chests until 1892).

The complete articulation of the Middle Rhine tradition has not been finished, and will never be finished. However, our actual knowledge at the beginning of the third millennium enables us to confirm that the tradition of organbuilding in the Middle Rhine is no less interesting than the traditions that gained scientific and musical interest previously in the 1920’s.

Geographical Definition

Before discussing the style features of Middle Rhine organbuilding, it is useful to define this area more precisely. The special meaning of “Middle Rhine”, i. e. the river valley between Bingen and Koblenz, containing some well-known tourist sites of interest like the famous Loreley Rock, would be too narrow as far as organbuilding is concerned. The Middle Rhine in this narrow sense is marked in red in the map at right. Franz Boesken had in mind a larger area that formed more or less a cultural unity in the recent centuries. This area, indicated roughly in the ellipse, is almost identical with the actual State of Rheinland-Pfalz, except its southern region, enlarged by the southern and western regions of the State of Hessen. The middle part of the Rhine river, including the navigable parts of its tributaries (Moselle, Lahn, and Main, the latter only till Frankfurt/Offenbach/Hanau) has been the infrastructural lifeline of our area.

The Most Important Historic Organbuilders of the Middle Rhine

The red circle in the map shows the location of Oberlinger Bros. Organ Building Company, that has been operating in Windesheim since 1860.(…more about the history of our firm).

The green circles indicate the locations of the most important organ building workshops of the region, all of them historic, and no longer in production:

• Johann Wilhelm Schöler, Christian Ernst Schöler and Philipp Gottlieb Heil in Bad Ems, in the east of Koblenz (1748-1837).
• Johann Conrad Bürgy and his sons in Bad Homburg vor der Höhe, in the north of Frankfurt (founded in 1764), split up in the 19th century to several successors in different cities, among them Carl Landolt in Alzey.
• Two dynasties of organbuilders in Trier (near the border to Luxembourg, city name not indicated in the map): Jean Nollet (early 18th century), his son Romanus Benedikt Nollet, and Wilhelm Breidenfeld and his sons in the 19th century.
• The large dynasty of Stumm in the village of Rhaunen-Sulzbach (in the eastern area of the red circle), working in 6 generations from ca. 1714/21 till ca. 1896.
• Engers and Schlaad in Waldlaubersheim (1 mile north of Windesheim), working 1810-1892.
• Many dynasties in Mainz, the capital city of Rheinland-Pfalz: Heinrich Traxdorf in the 1440’s, the Geissel family in the 17th century, Johann Jakob Dahm (naturalization in Mainz in 1698), Johann Anton Ignaz Will (since 1708), since 1727 Johannes Kohlhaas (father and son with the same name), also in the 18th century Johann Onimus and his nephew Joseph Anton Onimus, succeeded by the organbuilders Flügel, Franz Ripple, and in 1821 Bernhard Dreymann and his son Hermann, succeeded by Finkenauer & Embach until the late 1860’s.
• Many dynasties in Frankfurt: Brother Leonhardus Merz (second half of 15th century), the Graurock family in the late 16th and early 17th century, Johann Christian Köhler (naturalization in Frankfurt in 1753), after his early death in 1761 his fellow Johann Georg Linck until 1762, from 1762 on Köhler’s stepson Philipp Ernst Weegmann, and later, the latter’s son Johann Benedikt Weegmann.
• Johann Georg Geib, until 1790 in Saarbrücken in the very south of our region, and since 1790 in Frankenthal (between Mainz and Mannheim).

Cultural Character

The mind-set of the people living in the Middle Rhine area has been influenced by several typical features of the region.

The Rhine river, a strong traffic lifeline, has given them the opportunity to contact their neighbours easily, and to be influenced by them, for hundreds of years. As far as organbuilding is concerned, the style has developed continuously by the integration of foreign characteristics. Many organ builders travelled along the Rhine river into the region, and enriched it with ideas they had learned in their home countries. In the 15th and 16th century, the main organbuilding influence came from the Netherlands. Later, from the 17th until the 19th century, the region received important influences from France and Alsace, from Switzerland, and from Westfalia. Needless to say, Middle Rhine organbuilders influenced their neighbours, too.

The largest cities along the Rhine river and its tributaries have an extremely rich history. Founded by the Romans two millennia ago, they became centers of cultural life in the following centuries, documented for example by the large cathedrals. The most important cities to be mentioned here are:

• On the Rhine river, from the north to the south: Cologne, Mainz, Worms and Speyer (not indicated on the map, both between Mainz and Mannheim), and Strasbourg.

• On the western border of the area: Trier on the Moselle river (indicated as a green circle near the border to Luxembourg).

All of these cities have been flowering centers of culture, arts and handcraft, and most of them were resident to dynasties of organbuilders.

Last, but not least, the region is characterized by its fertility, especially for vineyards. Some important German wine regions, each of them with their own, sophisticated character, are located here: The “Rheingau” (on the north bank of the short horizontal part of the Rhine between Wiesbaden and Ruedesheim), “Rheinhessen” (in the southwest of Mainz), “Moselle”, and “Nahe”.

The triangle of the river lifeline, the history, and the fertility of nature, determines the character of the people living in the Middle Rhine area: They are open-minded for cultural influences, they are proud of their rich history, and they enjoy their life.

Features of the Middle Rhine Organbuilding Style

It is not possible in this brief introduction to show the wide, sophisticated variety of the Middle Rhine organbuilding tradition in detail.

The typical features of Middle Rhine organs are these:

Site of the divisions and the playing console: From the second half of the 18th century on, almost all Middle Rhine organs have lateral playing consoles, and their facades are part of the balustrade of the gallery. This kind of organ installation provides many advantages: Best acoustical conditions for the direct, and unreflected development of the organ sound; best visibility of the organ, causing a nice harmony of the church and organ architecture, simple mechanical action, and good visual contact of the organist to the altar area.

In most Middle Rhine organs, the pedal division is located behind the organ case. It has few pipe ranks, all of them made from wood, and giving a fundamental sound basis. The manual divisions are located in the visible organ case. Their windchests can be installed in a vertical sequence (usually the Great in top, and the Positive under the Great), or in an horizontal one, but never behind each other.

Location in the church room: This depends on the confession. In historic Catholic churches, the organ is always installed in the rear (west) gallery. In some Evangelical churches, the organ is located in the direct view of the church visitors, and is part of the architectural unity “altar-pulpit-organ”, representing the theological terms “sacrament-word-praise”.

Casework and ornaments: Of course, the casework design changed in the 19th century, and became supraregional in these times. Therefore, a typical Middle Rhine organ architecture can only be described for the 18th century. All Baroque and Rococo organbuilders in the Middle Rhine area used a kind of modular system for the architectural design of their organ cases. The basic elements of this system are few forms or pipe fields and pipe towers: Round towers (in our area always based on a semicircle), pinted towers (triangle basis), segmented towers (rarely, and only in the early 18th century), flat towers, and – very typical – flat fields and towers in harp shape. All these elements can be combined with each other in very different orders and sizes. This gives the Middle Rhine organ cases a great variety, that differs from the more standardized architecture of other regions, for example Northern Germany. Also, the modular system enabled most of the organbuilders in the Middle Rhine region to elaborate a well distinguished personal style.

The ornaments were usually carved from lime wood. Our typical ornaments are pipe shades, and large wings (in German: “Ohren” = ears) on both sides of the facade. As distinct from many Baroque organ cases in Southern Germany (Bavaria) and Austria, the ornaments never overgrow the architectural “modular system” structure. In this point of view, the Middle Rhine style stays between the standardized, “Evangelical” style of Northern Germany and the overflowing, “Catholic” one of the Bavarian-Austrian region.

Some Middle Rhine organ cases built until the 1760’s have large carved statues, for example King David playing his harp. In the following decades, smaller figurines were carved, and even later, these disappeared as well.

The front pipes are usually made from 78 % tin, with decorative raised lips, and are neither gilded or painted.

Technical system: Usually, the Middle Rhine organ builders of the 18th and 19th century worked very traditionally in the technical point of view, building mechanical slider chests until the very end of the 19th century (for instance Johannes Schlaad, who never built cone chests). However, they didn’t totally reject new inventions. Some examples:

• In 1870, the young 6th generation of the Stumm family built their first cone chest, while their father made a business trip, and afterwards, all Stumm organs were built with mechanical cone chests.
• Bernhard Dreymann built only one cone chest (Pedal division in Gau-Algesheim, 1853). However, he sometimes built an innovative slider chest construction: The “durchschobene Lade”, a common windchest for two divisions with an alternating sequence of the ranks of both divisions.
• Johannes Schlaad received a patent for his invention “Windlade für Orgelwerke mit einer Klaviatur”, a windchest for organs with one manual, enabling the organist to switch quickly from a loud registration to a soft one, and the other way round.
• The second generation of Breidenfeld invented a mechanical registercancel chest with vertical balanced lever pallets, a strange curiosity.

Specifications and typical stops: The specifications of Middle Rhine organs built in the 18th, and early 19th century have some common features, even in the smallest organs.

• The principal chorus of the Great division is always complete: In small specifications 4′ + 3′ + 2′ + Mixture, in larger ones + 8′, in largest ones + 16′. Many principal choruses also contain the Third (1 3/5′). The Quint 1 1/3′ in Positive divisions repeats on 3rd c to 3′.
• The flute chorus contains at least a Stopped Diapason 8′ (called “Gedackt”, or “Bourdon”, or “Copula”, or “Rohrflöte”, etc.) and a Flute 4′. A very typical Middle Rhine stop is the “Flaut travers 8′ Treble”, built in sophisticated varieties by different organbuilders. For example: pear tree wood, not overblowing (Stumm family), or tin, different pipe body forms, semicircular upper lip, overblowing and/or sharp (beating stop, Schöler family).
• The reed stops are usually Trompete 8′ (evtl. + Vox humana 8′) in the Great, Krummhorn and/or Vox humana 8′ in the Positive, and Posaune 16′ with full-length wooden resonators in the Pedal. A typical Middle Rhine reed stop that only can be found here is Vox angelica 2′ Bass (in the first two octaves of the Great manual). Almost all manual reeds are divided between 2nd b and 3rd c, even in organs with more than one manual division. The reeds are strongly influenced from France.
• Most typical stops are the strings that only might be lacking in the smallest organs. Viola da gamba 8′ with very narrow pipe scales, and without any voicing submission by pipe ears, starting to sound very slowly, and imitating the scraping of the bow; Salicional 8′, 4′, and 2’/4′ (that means: first c – second b 2′, and from 3rd c on 4′). Also stops like Gemshorn 8′ and 4′, and Quintade 8′ are very common in the Middle Rhine. Their function is somewhat between the string chorus and the flute chorus.

Large Great divisions can contain a Cornett with 5 ranks, built additionally to the single Terz (Third) 1 3/5′.

The main function of the Pedal division is the very fundamental bass. Therefore, small Pedal stops (2′ and smaller) and Pedal Mixtures are rare, and appear only in the largest organs.

Epilog

This brief history cannot be more than an introduction. If you have been interested in the matter: Don’t hesitate to travel to the Middle Rhine – listen, play, feel, and experience first-hand!

John H. Nisbet, U.S.A. representative of Oberlinger Bros. Organ Building Company

Jürgen Rodeland, Director of the Restoration Departmentin Oberlinger Bros. Organ Building Company

© 2000 John H. Nisbet and Dr. Jürgen Rodeland

I’ll apologize upfront. This is a blatant non-commercial commercial…for me, for my program (Pipedreams), for my medium (public radio). Or is it more than that? Might you be involved in this picture, too? Let’s give it a look.

Much has been made of the minimal impact which organists and organ music have in today’s cultural scene. We organ lovers wail within our collegial fold, deplore the inequities of life, and then go back to working on the left-hand part of a new hymn harmonization for Sunday. Oddly, the situation does not correct itself.

Despite those many, many ranks of sonorous pipes upon which we play, we are a largely silent minority. An insignificant minority was how one audience analyst, working the already marginalized field of Public Radio, put it not long ago. People who enjoy organ music, though we like to imagine ourselves more numerous than the unemployed and more audible than the combined arsenals of the Wanamaker Store, Crystal Cathedral, West Point Chapel and Meyerson Symphony Center combined, in truth are not nearly as large or as noticeable a group as we might imagine.

And while it’s true that millions of people each week are exposed to organs and organ music, mostly in church settings, those same millions have not been seen regularly flocking to organ concerts and recitals. While we are fascinated by repertoire that extends from Buxheim to Bolcom, enraptured by Bach and Beauvarlet-Charpentier, Mendelssohn and Messiaen, not to mention the artistry of the Wright ‘Brothers’ (George and Searle), the general populace remains blissfully uninvolved in this tradition which our little group finds so rewarding.

Yes, little group, because we…members of the American Guild of Organists…are only a small number, not many more than 20,000 members of this proud, century-old assembly. Why are we so few? Partly because we (the AGO) are viewed, even by other colleague organists, as a class apart, an exclusive sub-set within an already miniscule sub-set. Partly, too, because as organists we tend toward specialization and polarization, fixating on a few small aspects of what is most certainly a very broad-reaching topic. Yes, the differences between Titelouze and Titcomb are important; they are wonderful. But are they mutually exclusive? To the general public it’s all just organ music. Our internecine squabbling succeeds only in blurring our public image (such as it may be).

The organ…such a convenient, simple term, and such a double-edged blade. How marvelous that we can cross-reference copulas and crash-cymbals all under one easy heading. Unfortunately, with similar ease, anyone discomfited by any marginal aspect of this broad topic can, with one flip of a subconscious switch, get “turned off” to organ music, or at best, become very confused.

Page through a concise history of the organ and you discover that, in each era and in every country, what constitutes “organ” and “organ music” resists an easy uniformity. Through personal experience, you’re well aware of the energy with which Belligerent Bachophiles eschew Fractious Franckists, Wild Wurlitzerites rebuff Supercilious Schnitgerians. Old music versus new, counterpoint versus color, mechanical versus electric, pipes versus electronic…are we organists a “family” (if such a diverse collective exhibits any relational energy) only insofar as the instrument we love is named organ? And, if so, even if our family suffers from multiple-personality-disorder…in spades…what’s wrong with our beginning to think of all of it as worthy of our enthusiasm?

Might not this become an advantage? What other instrument can embrace simultaneously two famous composers for the Phantom of the Opera theme (Bach and Webber)? This covers a lot of ground, but how much of it is common?

What do we do to reinforce a public awareness of the pipe organ? Not a lot, it seems. We lock the console and keep untrained curiosity-seekers at bay. We’d never spend the time to invite school music classes (or even Sunday School classes) in for an introductory demonstration. Then, when we schedule a recital, we’re late with our press releases, we don’t establish relationships with local newspaper arts editors or writers, we don’t coordinate our activities with other presenters (to avoid unnecessary simultaneities). Is it a wonder than our audiences are small?

Are we too proud to publicize? Much as we may wish it were otherwise, publicity and advertising are part of the energy of modern life. In ways more numerous and subtle than we might prefer, product marketing and attitude adjustments have impact on the way we view ourselves and the world in which we live and work. The Coca-Cola Company (which I pick at random from a huge list of potential exemplars), purveyors of a product known around the world, does not sit on its laurels, history, or traditions. Despite the fact that virtually every man, woman and child on this planet knows what Coca-Cola is, the Company spends billions of dollars annually reminding us of its product’s primacy in slaking our thirst and improving our life. Billion$ of dollar$ to refre$h our memorie$ about $omething we already know.

I know. The pipe organ community does not have billions of dollars to spend on publicity. But the pipe organ does have a few media ambassadors working on its behalf…The Joy of Music, with Diane Bish (television) and PIPEDREAMS (radio). Though some additional, locally-produced organ programs exist, these two mentioned are the only ones of which I am aware in national distribution. They are a precious pair, (since the broadcast industry’s attitude concerning organ music is one of disdain and loathing, only some of which is justified), but these programs do exist, they do reach out to audiences and have potential for being seen and heard by many more…if….

Our challenges may be distilled into two points:

1. Connect with audiences who WANT to listen but don’t know the programs are there (or who cannot hear the programs because of non-carriage)
2. Use audience/market information to mold a broadcast-industry-positive profile of the organ-music listener

An action plan is essential, and must begin immediately. Even with the best efforts, it will take nearly a year of involvement before any change will register. But don’t hold back just because the payoff isn’t instantaneous.

First, let’s energize the core…and that means you! More than 20,000 individuals are members of 352 local chapters of the American Guild of Organists, with representation in most of the major and minor cities of the nation. Though we are not the most manageable lot, as A.G.O. members we do offer a potential mechanism for efficient and economical outreach. (The 6000 members of the American Theatre Organ Society offer expanded potential, but perhaps that’s another story).

For the sake of this discussion, we will grant that all 20,000 A.G.O. members are church organists, and that as such each plays, on average, to “communities” (parishes, congregations) of 500 souls each week. Obviously, some play for huge congregations numbering in the thousands, others play for a hearty handful, but I think this nationwide ‘500-per-organist’ average is realistic.

Now, what IF we A.G.O. members were to involve ourselves in a bit of consistent self-promotion? How about putting the following regularly recurring listing (or something similar) into our church bulletins and/or church newsletters (perhaps alternating from one to the other each month, or more often….), or at the bottom of every organ recital program presented or sponsored by a guild member:

“If you’ve enjoyed the organ music today, you might also enjoy listening to PIPEDREAMS, a weekly 90-minute broadcast which features a broad cross-section of repertoire for the King of Instruments. Tune to WCLV-95.5FM Sundays beginning at 10PM. For more information, call 216-464-0900.”

[This, in fairness, could be expanded to mention other church-music-related media programming which might be available to your area, i.e. With Heart and Voice and even The Joy of Music on television, though for this article I’m focusing only on radio’s potential, perhaps shortsightedly…but that’s where I work.]

Think of the consequences of such a promotion, which happens at little or no cost. If done even only once, it reaches 10,000,000 (that’s ten million!) people…a significant number insofar as it represents more than half the total cume audience for all Public Radio listening. And, with recurrent placement, even if this outreach actually mobilized only a tenth of that number (not impossible, insofar as this constituency already is potentially organ-friendly, as compared with the general community at large), what a boost that might be…for organists, organ awareness and, not incidentally, for the local broadcaster (who, at least in Public Radio, is in pretty much the same predicament organists are…urgently in need of a mobilized constituency).

This, of course, presupposes that our Guild Chapters are regularly promoting these broadcasts to their individual members through monthly chapter newsletters. Unfortunately, the reality is otherwise. Even in communities where an A.G.O. chapter has donated hundreds (or thousands) of dollars from the chapter treasury to “underwrite” the broadcast of PIPEDREAMS on a local station, that same chapter may give absolutely no mention of PIPEDREAMS broadcast information in its monthly member mailings, presuming that everyone knows about it. Presumptions can be erroneous, even fatal.

We’ve got to get up and out there, folks. Remember the billions that commercial enterprises spend to reinforce their messages? We don’t have the billions (well, maybe we do…any closet philanthropists out there, waiting to fund a National Media Initiative for Increased Organ Awareness?), but we do have ourselves and some accessible and cost-efficient means of communicating with each other and with our communities of influence. All it takes is a bit of resolve, consistency, and follow-through.

Additionally, there is potential for interaction between station membership/ development folk and local A.G.O. members…to generate both individual membership support and (in the case of the larger chapters) perhaps also station underwriting monies (at least to cover out-of-pocket expenses to the station). A.G.O. chapter newsletters should also promote awareness of local Public Radio stations and, in particular, prep people for upcoming station fund drives. Hit the core audience, folks. Get them involved.

And also from the A.G.O. Chapter end, we should encouraged station management to foster and maintain these relationships, which can only help the overall Public Radio cause.

Yes, this is a challenging environment, for church music, for organ music, for Public Radio. But there are real opportunities here. It’s up to us to use them. You are only powerless if you refuse to use the powers in your possession. Don’t expect someone else to do it. Good luck!

© Michael Barone

Hear the Organ! Excerpt of Albert Renaud Toccata in D Minor, played by Martin Setchell

When Christchurch opened its new Town Hall complex in 1972, it was the only city of the four main New Zealand centres (Auckland, Wellington, Christchurch and Dunedin) to boast a modern 2500 seater concert hall. But the downside of this achievement was the absence of a pipe organ, plans for which were axed when building costs escalated beyond budget. For a quarter of a century the city had no civic organ. But in 1997, after a sustained fund raising campaign, not without its own setbacks and disappointments, the hall was eventually ‘completed’ by the installation of a fine pipe organ by Rieger Orgelbau of Austria.

Over the last four years since its installation, the sustained, successful profile of the organ here has become something of phenomenon both locally, nationally and increasingly internationally. People often ask me to explain why and how this has happened. The honest truth is I’m not sure, but I guess it reflects a whole number of factors, not least civic pride (the people virtually gave the city its organ) and feast succeeding famine. But four years is too long a time to write off as a mere honeymoon period! (A preview of the first year can be read at www.nzorgan.com/birthday/birthday.htm)

When I was appointed curator one of the tasks in my job specification was to ‘actively promote the organ’. I found the fact that I was starting from scratch was both a positive and a negative; there was no tradition set in place, no established practice to graft on to, but on the other hand there was a clean sheet with which to start. So we had the element of surprise and innovation. I was conscious from the start that after the surge of interest which surrounds every new organ and its inaugural activities, there’s only one way its popularity can go, and that’s downwards, unless you constantly keep its profile high. I don’t have any panacea answers, but I do know that hard, sustained work is essential.

Phantom Dinner

As curator you represent the human face of the instrument, and you can either be the path or the barrier to the instrument and its success. Let’s face it, organists have sometimes been their own worst enemies in keeping consoles locked, not always being welcoming or hospitable, and somehow encapsulating the mystery and inaccessibility of the King of Instruments with a kind of misplaced ‘royal reserve’. I decided I’d consciously go as far as possible the other way. I can get as frustrated as the next organist when a party of tourists wander in and start talking just as you are desperately rehearsing with inadequate time for tomorrow’s concert, but I decided to use every such interruption as a marketing opportunity, take the chance to welcome the visitors, play them a special little piece, tell them about the organ and the concert. I’ve answered countless enquires about the organ by letter and phone call in a personable and friendly way however awkward the timing. I’ve tried to accommodate every request to speak to groups, have groups visit the organ at close quarters, show visitors both organist and non-organists the instrument and so on. In my experience the personal touch has really worked. I guess if people like me, by a process of transference there’s a good chance they’ll fall for the organ also.

Setchell as Bach

This extends to the presentation of my solo concerts in which I always speak to the audience, taking them with me to the console. Not that I dislike programme notes, but I’m conscious that for most of the time the audience is going to have nothing more than my back to look at. That’s certainly an improvement on the invisibility of the organ loft, but still low in the communication stakes. So I talk to the audience to pull back the communication balance a little, as well as to break down the impersonality of a recital, and any mystique about the repertoire. Humour is undoubtedly one of my chief weapons. Without cheapening the whole show, I think a little bit of laughing at yourself, the quirks of composer’s lives or the instrument’s complexities and potential for disaster can help a lot. When I play, the audience is taken close by cameras (one for the hands, one for the feet) which project the image onto large screens mounted either side of the case. This helps remove the distance factor. There is still something of the circus act in an organ performer, and people are as fascinated by physical machinations, whether it’s of a skilled organist, sportsman or airline pilot in action. They feel they are getting in on the act, being taken behind the scenes as it were.

Of course the whole question of repertoire is a key factor. We have to face the fact that with the exception of Bach and possibly Franck, Mendelssohn and Messiaen, organ composers are not familiar to the general Classical listening public. That doesn’t mean to say that all their music is unpalatable to an audience, just that marketing based on the composer’s name and maybe the piece’s title doesn’t always work. As someone remarked recently ‘On the one hand we complain that people aren’t interested in organ anymore, and on the other we don’t seem to want to play the pieces they love’. I believe you have to constantly find touchstones, points of reference which will identify with the listening experience of the majority. Obviously we have to ‘borrow’ repertoire from other media and provided it’s suitable, not be ashamed of using transcriptions. Bach certainly wasn’t, and look at the audiences Lemare, Best and co pulled in. Establishing ‘extra-musical’ connections is always useful. My latest CD “Bonbons for organ” features a group of programmatic pieces entitled ‘Creatures Great and Small’ and finishes with Korsakov’s ‘Flight of the Bumble Bee’. People may not recognise by title Gounod’s ‘Funeral march of a Marionette’ but they all know Alfred Hitchcock’s TV theme. Once your audience learns to trust you not to bore, patronise or overface them, you can gradually start raising the levels and introducing them more and more to traditional organ fare.

Organ Poster

Essential to this public profile was of course a purpose designed website, and I was fortunate that my wife Jenny is not only an organist herself, but a website designer. The organ website www.nzorgan.com, began life with the organ, initially as part of a school’s webpage supported by the local daily newspaper. Daily photos of the process of installation were put up with videos, sound files and short, basic explanations of what was happening. Thousands of people followed the “birthing” process from Iceland to Tasmania, South Africa to Toronto. At the opening concerts, video clips of the action were included, especially those taken during the schools concerts attended by 4500 children over two days. Today the site exists as a storehouse of historical photos of the building, information about events involving the organ in any way, crossword competitions, jigsaw puzzles of organs, news, selling the two CDs made on the instrument, organ posters , a guestbook, organ links, organists’ association news, links to New Zealand sites for tourists, and soon, even a page selling t-shirts of the organ.

“Bach’s Back” die-cut program

Inventive marketing whenever there is a chance is hard slog, but it’s worth it. At the release concert for “Bonbons for Organ” we bought 10kg of bonbon sweets and offered them to the startled but delighted audience; before major events we print envelopes at home with dates and basic info in colour on the front; selling tickets as “three for the price of two” encourages people to bring a friend; spreading advertising throughout the media, not just newspapers. Anything that helps people remember, and lifts their association of the organ out of the commonplace, helps fix it in their mind. Even concert programs and notes can stand out in this way, like this for the Bach’s Back concert, which was die-cut into Bach’s profile enclosing the whimsical pair on the cover!

Children at the organ

Schools in the Auditorium

Winning Entry

I regard the schools concerts I’ve given as perhaps the most important investment in audience potential growth. Of course there was a certain amount of ‘mass hysteria’, the usual sort of thing when 2500 kids get an hour out of school, but the organ experience at a tender age could be the essential seed planting for the future. I got a well-known kids TV presenter to help me. He was hidden in the case (with ear-muffs) before the kids were admitted, and only appeared from inside the case after the end of the Widor Toccata. The kids loved it. They had the chance to sing to the big theme of the Saint-Saens symphony and clap to the Radetzky march. They learnt a bit about how the instrument works and how it is played, and I got a young organist of their own age to play a piece with me. The daily newspaper ran a colouring-in competition for very young children and also ran a picture of the winner with her prize (one of my organ CDs). Now these concerts are part of local schools’ calendars – but don’t appear to have lost their appeal.

I’ve had to be prepared to be a bit of an actor as well as a player. Last year on the 250th anniversary of Bach’s death, I presented ‘Bach’s Back’ – see www.nzorgan.com/events/bachsback.html . This was a show (sponsored by a prominent firm of undertakers!) in which Bach (alias me) was re-incarnated for the day in full 18th century costume, and appeared out of the mists of time. Sure it took a producer, some lighting effects, some dry ice, and some script writing, but it put the organ and its best music right up there in the commercial world. The lunchtime performance was tailored for kids, and the evening a full length concert.

I’ve had to be proactive in creating organ opportunities, by suggesting the organ in ensemble with choirs, brass bands, singers, orchestras, and as a surprise element in conferences and other ceremonies. Some of the more zany have involved me playing for silent movies, and appearing as the phantom of the Opera organist! The most gratifying experience is when people come to my dressing room afterwards and tell me they came because they love choirs, or orchestras, or brass or whatever else is performing, but actually fell in love with the organ, and ask when the next organ concert is. That’s conversion!

The best back-handed compliment I’ve received was from an American lady who breezed up after a concert and said ‘I wanted you to know I used to like organ music just about as much as root canal surgery, but not any more!’ If we can provide more people with that kind of change of heart, the organ in the 21st century will still be the King. If we can’t, we risk it becoming the Dinosaur.

– Martin Setchell   www.nzorgan.com

For information on the Katsbaan pipe organ, believed to be the oldest extant three-manual organ in America, contact Janice M. Trevail at:trevail@francomm.com.
Visit the website: http://www.katsbaanchurch.org

Church History: 

The Katsbaan Reformed Church is located about 3 1/2 miles north of Saugerties on the Old King’s Highway. The congregation was established in 1710 with the arrival of the Palatine immigrants to West Camp. Visible from all parts of the surrounding Catskill countryside, the old stone Church “de steene kerk op de Kats Baan” was built in 1732 – the year George Washington was born. It is a Church built literally “upon a rock.” The land on which it stands was leased in perpetuity on March 1, 1731 by the trustees of the Kingston Commons at an annual rental of three peppercorns per annum if demanded.

The first records of the Church begin November 30, 1730, in the handwriting of Reverend George Wilhelmus Mancius. The Church was incorporated on March 28, 1796 when its title became “The Minister, Elders, and Deacons of the Reformed Protestant Church of Kaatsbaan in the town of Kingston, Ulster County.” The Church at Katsbaan was the place of worship between Kingston and Katskill (Leeds). It remained unchanged until 1816, with few minor improvements. In 1816 the walls were raised and galleries built in the east, west, and north side. The pulpit was placed in the north, doors inserted in the south wall, and a steeple erected in which a bell was hung. In 1867 it was rebuilt with its wall extending seventeen feet to the south. Thus the building remains as it is today. The initials of some of the builders may be seen in the north wall. The lines of the 1732 Church and old entrance may also be seen in the north wall. On July 1, 1892 it was re-incorporated as the Reformed Church of Katsbaan.

As of the year 2002, the Katsbaan Reformed Church has been supplied by twenty-one ministers. During the Revolutionary War the ministers and Church members were very active in the cause for freedom. Reverend Henry Ostrander preached from 1812-1862 (50 years) and Reverend Arad Joy Sebring preached from 1885-1916 (31 years). Church services have been held continuously by ordained ministers or supply ministers since 1732.

Website: http://www.katsbaanchurch.org

Pipe Organ Information: (provided by Dana Hull and John Ogasapian)

It is believed that the Katsbaan Pipe Organ was originally built in New York City c. 1820. In the 1850’s this organ was dismantled and installed in the Saugerties Reformed Church, where it was used until 1892. It was then given to the Katsbaan Reformed Church. Amazingly, throughout this instrument’s mobile history, it remains largely intact with its original workings.

Nothing substantive is known of the history of this instrument before its arrival in Saugerties. According to tradition it came from either an Episcopal or Reformed Church in New York City. However, its few stops, small pipe scales and compact size on one hand, and its fine woods and workmanship on the other, suggest the strong possibility that it was originally intended for a prosperous residence. Although it shows traits similar to an English organ, the heavy use of walnut in the instrument indicates that it was made in America, and structural facets in the swellbox and pipes suggest a date well before 1820. Without a doubt, it is the oldest extant three-manual organ in America.

The pipes, visible in the gothic case are actually wooden dummies. In fact, the two side flats themselves are additions from the 1860’s. The actual organ case, made of superb oiled walnut, and gracefully curved back at each side, is hidden behind them. Only the center pipes are real. The pedal appears originally to have had no stops of its own; however, two sets of pipes were added in the 1860’s, and their stop action is in the outer case flats. The kick-board is of rosewood, as are the keyslips and keychecks.

The compass of the keyboards on the Katsbaan organ are from a low G to a high f, with no low G# (standard practice in a G compass organ). The pedalboard compass is from low G (includes the G#) to a C.

The stoplist is as follows:
Great: Open Diapason, Stopped Diapason, Principal, Fifteenth, Sesquialtera, Copula (which is a coupler)
Choir: Dulciana, Principal, Flute, Copula (couplers)
Swell: Open Diapason, Cornet, Trumpet
Pedal: Bourdon, Open Diapason. These two stops were apparently added later. The original pedal was probably pull-downs (coupled). However, the pedal board now having a G# makes me wonder if the present pedalboard replaced an earlier on without a G#. Otherwise, the G# would have nothing to “pull down”.

The following memo was sent to the Katsbaan church by Nelson G. Burhans in March, 1973:

Information relative to the organ in the Katsbaan Reformed Church

“This is a three manual Erben organ built around 1830. We think it was first used at Trinity Church, New York, or Marble Collegiate Church and moved here about 1860, installed in the Saugerties, NY Reformed Church. When the Saugerties Reformed Church bought their new Frank Roosevelt organ about 1895, the Erben was moved to the Katsbaan Reformed Church. Robert Rowland of Ossining, NY rebuilt it there with no structural changes in 1925, though there had been some changes before his time. There were two cases, one inside the other. If you remove the case work on the three sides, it reveals another of different architectural design. The original has speaking display pipes and the added case has dummies. This is the most outstanding of all I know.”

This above is a basic quote with some added clarification words of a letter from Bob Rowland to the editor of The Tracker, a magazine for and about organ and organist.

The Katsbaan Reformed Church has a very small congregation, but we are strong in faith and spirit. A complete and faithful restoration is the single goal of our Pipe Organ Restoration Committee, and we are searching every possible avenue in order to achieve this goal. In 2010 our church will celebrate its 300th anniversary, and nothing would please us more than to have our beautiful instrument restored to it’s original glory in time for this momentous celebration.

The restoration of the Katsbaan pipe organ will be a once-in-a-lifetime event of significance to organ players, organ repairers, and especially organ restorers. Your prayers would be most welcome, and if you would be kind enough to spread the word about this project we would be truly grateful. If you are aware of any foundations who might be willing to help fund our project, please let us know.

If you would like to make a donation to the Pipe Organ Restoration Fund, checks can be made payable to the Katsbaan Reformed Church and mailed to:
Katsbaan Organ Restoration Committee
c/o Janice M. Trevail
1866 High Falls Road
Catskill, NY 12414

The historic Voit organOne does not usually hear the name of this beautiful Balkan country together with the name of the king of instruments. It will perhaps come as a surprise to some to learn that Bulgaria has not only organs and organists, but also many people who write music for organ. Bulgaria’s official religion is Orthodox Christianity, and for five centuries, until the 19th century, it was a province of the Ottoman Empire. These factors tend to have perhaps had a negative effect on the development of an organ culture. However, in the late 19th century, there was a project to build an organ in one of the Catholic churches in the city of Rousse, a small town on the river Danube, in North Bulgaria. After completing the church in 1892, three different firms submitted their projects for a new organ: E. F. Walcker – for a two-manual/pedal organ with 12 stops, Gebr. Rieger, who suggested a one-manual/pedal, and H. Voit (Karlsruhe) who proposed a two-manual/pedal organ with 13 stops. The last offer was accepted. The organ was completed in 1907 and installed one year later in 1908. The dedication recital was played by the Bucharest organist Emanuel Pol, who played works by Matioli, Guilmant, Bordese and Dubois, as well as many of his own compositions. Currently, this organ is the only pipe organ in a church in the entire state of Bulgaria; it is the only historical German Romantic organ in existence there.

Disposition of the organ in the Church St. Paul on the Cross:
I. Manual

Bordun 16′
Prinzipal 8′
Viola di Gamba 8′
Flauta Amabile 8′
Oktave 4′
Cornett 3 fach II.
Manual Geigenprinzipal 8′
Salicional 8′
Vox coelestis 8′
Lieblich Gedackt 8′
Rohrflote 4′

Pedal
Subbass 16′
Zartbass 16′
Couplers II/I, I/Pedal, II/Pedal,
Sub II/I, Super I One (Tutti)
piston hand stops on/off,
walze (rollschweller)
Manual II enclosed.

Sadly, this wonderful historical instrument is today in very poor condition and has been rendered unplayable due to neglect. The firm that built it is no longer in existence. There is an ongoing fundraising campaign for the organ’s restoration and maintenance. There are also plans for establishing concert series’ programs and recordings on this beautiful instrument. For those interested in aiding in this historic restoration, please contact one of the following locations:

For donations:

Austrian Bank Account

Salzburg account number: 05401256445
Bank: Salzburger Sparkasse
Bank code: 20404

on the bank order please write: Spende Restaurierung Russe

Bulgarian Bank Account:

Central Cooperative Bank Rousse
Account Number: 5000699812
Bank code: 79077934

on the bank order please write: Nicopol Catholic Eparchy

or for more information contact:

Mr. Sabin Levi
1625 Ellis Drive #100
Lawrence KS 66044

phone/fax: 785 812 3323
email: sabin@ku.edu

For more information on organs and organists in Bulgaria:
Organs in Bulgaria