In the wind...

For the home that has everything

Many organists dream of having a pipe organ at home. It’s a great alternative to schlepping off to church to practice, especially if the church is far away, if it’s a busy building in which it’s hard to find quiet and privacy, or if the church is not heated during midweek and it’s simply too cold to sit in there for any length of time. Having worked with many clients as they purchase pipe organs for their homes, I’ve picked up some insight into what you might consider as you plan a purchase.

Pretty much every day I speak with someone about the cost of pipe organ projects, and I’ve found that the prices of new pianos can be a helpful comparison. I’ve downloaded an “Investment Brochure” from the website of Steinway & Sons that publishes the 2012 price of a new “Model B” (that’s the seven-footer) as $87,500, and the 2012 price of a new “Model D” (the nine-foot “concert grand”) as $137,400. If we round up a little to account for a couple additional years, we might say they’re at $90K and $140K. Not all of us can shell out that kind of money for a piano, but I think this is a good point of reference.

There are two basic and common types of residence pipe organs, two-manual tracker action “practice machines” with at least one voice for each keyboard, and two or three-manual electric or electro-pneumatic “unit” organs with a small number of ranks spread through switching to create a larger number of stops. The latter is typically less expensive, as engineering, construction, and materials are simpler and less expensive. But for the price of that Steinway “B” you can order a brand-new tracker-action practice organ with at least four independent stops. That’s enough organ for serious practice, and for “real” performances of organ music to add to your dinner parties.

I’m well aware of colleagues who have scored real bargains—hearing through the grapevine about an available instrument, and racing off in a rented truck to get it themselves. If you have basic mechanical skills, and if the organ is a good playable condition, you can be successful moving an organ yourself. There are even simple and inexpensive apps available that will help you tune your organ by watching a needle on the screen of your smart phone.

When planning to purchase a used car, many people arrange to take the car to their mechanic and ask him to assess it. You pay the usual hourly rate and receive a professional opinion as to whether it’s a good deal or not. Just because that gorgeous eighteen-year-old Jaguar looks like the car you’ve always dreamed of, you’ll be sorry if you find out the hard way that it has a fatal rust condition, or is running on only eleven cylinders.

In the same way, you can engage a professional organbuilder to give you advice about a purchase, to make suggestions about how to move it, to help you with the assembly at your home, and, I would add, ideally doing the tonal finishing and tuning for you. After all, those are specialized tasks and if you’ve never tuned an organ yourself, you’ll probably not achieve a really musical result.

What does it take?

Just this afternoon I received what I would call the most common type of inquiry regarding a residence organ: “I’ve always wanted to have an organ at home. Do you have anything that doesn’t need much work and doesn’t cost very much?”

I understand that personal budgets might be more limited than those of churches or other larger institutions. But if the price is your principal consideration, I doubt you have much chance for success. A fine pipe organ is a work of art, not a utilitarian machine. You should ask yourself what you hope to achieve. If you simply want two keyboards and pedal with sound coming from each key, you’ll be fine buying the cheapest thing out there. But consider these criteria:

1. If you’re serious about practicing, you should care about the “touch” of the keyboards. Some keyboards have simple spring actions that return the note just fine when you release, but have a dull, insensitive, mushy feel. That would hinder the development of the fine control of your technique. Your keyboards should have a precise clean feel, and if you’re going to develop your control, they must be regulated accurately, both in weight and contact point.

2. The response of windchest actions is just as important as that of the keyboards. Some electro-pneumatic and all-electric actions are sluggish, and while you might perceive that to be slow attack, it’s more common that it’s caused by slow release. A sluggish release hinders the repetition rate and produces a “gummy” feel. Also, some all-electric actions have a characteristic “bounce” on release that leads to actual repetition of a note on release. That will surely mess up your trills!

3. The stability of the wind supply is important to even playing. You may prefer winding that has some motion in it, but in tiny organs, this can be a real nuisance. If the original builder has squeezed a miniature wedge-bellows into the case, there might not be enough air to support the larger pipes. Also, in compact tracker organs, the scale of the windchest might be too small. If key channels and pallets are not adequate, the larger pipes in a stop will not get adequate wind, and you’ll be stuck waiting for them to speak. 

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My colleague Amory Atkins and I are just back from a trip to Oregon and Idaho during which we finished the installation of two residence organs. The trip was quite an adventure for a couple of lifelong easterners, and while both locations were remote to the extreme, the two projects were very different. One of the organs is a two-manual tracker-action instrument built by Casavant in 1979, the other was built in 1964 by M. P. Möller—the nearly ubiquitous “Double Artiste.” Both organs came from churches for which they were too small, and both are now nicely ensconced in their new homes. And both clients are accomplished attorneys who elected to leave the big cities of California to live quietly in remote locations.

Chillin’ in Coolin

Robert Delsman recently completed building a beautifully appointed Craftsman-style house in Coolin, Idaho, located in the north-pointing “pan-handle” of the state, close to the border with Canada. We shipped the organ from New England in a rented truck. Roughly, the directions are to drive 2,800 miles west on Interstate 90 to Coeur d’Alene (Koor-dah-lane), Idaho, take a right, and drive north 150 miles. Once the organ was delivered, we flew back and forth from Spokane, Washington, which is less than two hours from Coolin by car. The town of Newport, Idaho, is between Spokane and Coolin, so it’s less than an hour’s drive to a real grocery store and the amenities of a mid-size town, but for real shopping, medical care, and other conveniences, Spokane is the nearest place. 

Wikipedia says that Coolin has about 210 residents. When I mentioned that to the proprietor of the Coolin Motel, he said, “Oh no, there aren’t that many people here.” Once you’re in the village, you drive twenty miles further north to get to Robert’s house. The twisting and pitching road is a nice drive in the summer time with plenty of sunlight and fragrant forest and mountain air, but when we were there last winter for the physical setup of the organ, there were two or three inches of hard ice on the road, giving us a difficult white-knuckle drive back and forth to town. Add to that excitement the large population of deer and elk, and you have a lot of chances to get in trouble. The local guys in the Moose Knuckle Bar and Grill told us that the spooky place with treacherous curves high above the surface of Priest Lake is actually the deepest place in the lake.

Robert’s house is on the shore of Priest Lake, with stunning views of forested mountains. It’s beautifully appointed inside with black walnut doors and alder paneling that would be the pride of any organbuilder, all held up by an internal timber frame complete with mortise-and-tenon joints, graceful curves, dovetails, and bow-tie shaped “keys” holding joints together. The organ is in the Great Room, with the console on a balcony facing the two-and-a-half story window overlooking the lake, and the two organ cabinets on nice perches on either side of the console. The blower, static reservoir, and power supply are located about twenty feet away in a lovely hardwood cabinet in the closet of Robert’s bedroom, with windlines laid down and cast into the cement slab that forms the second floor. It’s a beautiful installation, made classy by the skill of the architect and contractor.

The scheme of the Double Artiste is just what the name implies—two independent Möller Artistes, one for each keyboard, played from a two-manual console. Unlike most two-manual unit organs, the two divisions are discrete from each other, with the exception in this case that the Gemshorn of the Swell is also playable on the Great. The Great comprises a Diapason, Rohrflute, and a two-rank Mixture. The Gedeckt is extended to sixteen-foot pitch playable on both Great and Pedal, and each rank is playable at several pitches. The Swell comprises Gedeckt, Viola, Spitzflute, Gemshorn, and Trumpet. The Trumpet extends to 16-foot pitch playable on both Swell and Pedal and again, each rank is playable at several pitches.

Those organists toiling in the vineyards of symphonic music will benefit greatly from having two independent expression enclosures in their home practice organ.

Entering Enterprise

Stephen Adams lives in Enterprise, Oregon, the seat of Wallowa County. With over 1,900 residents, Enterprise is a much larger community than Coolin, but it’s more remote. It’s about a four-hour drive across prairie and ranch land from Spokane, and just as far from Boise, Idaho. Lewiston, Idaho, and Clarkston, Washington (get it, Lewis and Clark?) are on the Snake River just about halfway from Spokane to Enterprise, but that’s it. Leaving Lewiston on our way to Stephen’s house, we followed a nearly empty school bus on a forty-five minute route across that rugged terrain.

Stephen’s home is less than ten minutes outside town, but since the town is so remote, the place is in the middle of nowhere. It’s an old established farm/ranch with a Music House right by the gravel road, and the main house isolated by trees and landscape, up on a hillside remote from the road. The Casavant organ, with eleven stops and fourteen ranks, came from a closed Roman Catholic Church in Wyoming, Pennsylvania (near Scranton and Wilkes-Barre). It endured its own long ride on Route 90, and the ride from Lewiston to Enterprise includes a particularly challenging road from high elevations to river valleys including dramatic switchback curves and steep grades. Organ Clearing House drivers had a special challenge to “keep the shiny side up” that time.

The Music House was already home to two Steinway pianos. The Casavant organ replaces a unit organ by Balcom & Vaughan, completing the fleet for Stephen, who is, later in life, a very serious student of keyboard playing. He travels to the east coast for “binge” sessions of organ lessons, and practices many hours a day, working to satisfy a lifelong goal. He has a strong interest in the music of the Baroque era and earlier, and this fine tracker-action organ with precise, sensitive key action and sprightly voicing is just the ticket.

Be your own boss.

In 1987, I was working for Angerstein & Associates in Stoughton, Massachusetts. It was a nice place to work—a large, airy space with wood floors in an old mill building with lots of equipment. While I was there, we had a deep pit dug through the concrete floor of the large lower room, which increased the available height for erecting organs by about eight feet. It was an unusual setup in that you had to climb down to work on keydesk and ground-level action, but it was fun to “walk the plank” across from the main floor to the impost level of the organ. Loading pipes into an organ was a breeze.

We completed several fun projects in my three years there, and I have lasting friendships with co-workers, but the fun ended in 1987 when Daniel Angerstein accepted the appointment as tonal director for M. P. Möller, Inc., and decided to close the workshop. As I had been doing much of the organ maintenance work for the company, Daniel and I made a deal allowing me to continue that work as an independent organ builder. The service work continued without interruption for the clients, and I was off on my own.

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Loyal readers of The Diapason will remember that I’m a fan of the genre of historical fiction involving the exploits of the British Navy during the Napoleonic Wars. My favorites are the epic tales by Patrick O’Brien known as the Aubrey/Maturin series comprising nineteen novels, and the eleven book series by C. S. Forrester known as the Hornblower novels. I love the accurate description of the techniques of handling and equipping those ships, and am fascinated by the deep character development possible in such extended stories.

I have all of them as audio books, and just as some people listen to the same recording of music repeatedly, I enjoy listening again, sometimes to a particular passage, sometimes through a whole series from beginning to end.

Forrester’s Captain Horatio Hornblower seems to be modeled after Lord Viscount Admiral Horatio Nelson, the heroic real-life officer responsible for Britain’s great naval victory at Trafalgar. Throughout the series, Hornblower struggles against his personal weaknesses, from seasickness (which affected Nelson horribly in real life) to fear and trepidation—all characteristics unbecoming a naval officer. As my relationship with Captain Hornblower has developed, I’ve singled out two contradictory quotations that define the responsibilities of authority, and by extension resonate deeply with me as a self-employed worker.

In one installment, Hornblower is in a French prison after his ship, The Sutherland, was defeated in a battle in which it had been outnumbered four-to-one by ships of the French navy. He imagined that he would be executed by Napoleon, and in the agony of this confinement he relives an earlier period of imprisonment that had occurred before he reached the rank of Captain: 

“In those days, too, he had never known the freedom of his own quarterdeck, and never tasted the unbounded liberty—the widest freedom on earth—of being a captain of a ship.”

At another moment in his career, he is thinking about his coxswain Brown (we never learn Brown’s first name). Hornblower admires and envies Brown for his powerful physique, his natural cheerfulness, and his unbridled courage—all attributes that Hornblower lacks. He reflects on the relative ease of the life of an ordinary sailor (tar, swab), who is subject to the absolute authority of his superiors, and “never knows the indignity of indecision.”

I’m amused and perhaps informed by the idea that serving as a naval captain, or being the owner of a business, is either an incredible freedom, or the road to ignominy. Truth is, it’s a mixture of the two, see-sawing from day to day and from project to project. What a ride. 

John Bishop is executive director of the Organ Clearing House.

A show of hands

It’s the middle of March and here in the frigid Northeast we had a little tease last week when the temperature outside went up into the fifties for a day or so. But while this is a beautiful sunny morning, it’s around twenty degrees outside, and the wind is blowing hard from the northwest. It’s bone-chilling cold and so dry that joints in floor boards are wide open, and my hands feel like baskets full of fall leaves. The almond scent of Jergens™ fills the room to no avail. 

In the last few days I’ve been working with the old-fashioned hot glue that organbuilders favor. I start with crystals of dry glue the consistency of fancy rough-grain raw cane sugar (funny how much extra we’re willing to pay for something that isn’t highly processed!) and cook them with water in my temperature-controlled glue pot. It’s a versatile glue because I can make it as thick or thin as I want. It bonds leather and other materials to wood beautifully, and fifty years later when it’s time to replace the leather again, it can be removed from the wood with hot water.

I’ve been gluing the hinges, belts, and gussets on an Aeolian-Skinner wind regulator (bellows). I spread glue on the wood and the material I’m applying, put it in place, and rub it down with a hot damp rag, squeezing excess glue out of the joint so the chemical bond is between two pieces of material, not a layer of thick glue.

I have a big double-boiler—the kind of thing from which you ladle soup in a cafeteria—to keep that rag nice and hot. It holds two gallons of water (or soup) and keeps it as hot as I can stand. I put my hands in the water, then wring the rag as dry as I can. No wonder my hands are uncomfortably dry. It has led to one of those painful splits at the corner of my right thumbnail.

But wait, there’s more. The other day I was installing a new rectifier in that same Aeolian-Skinner organ because the old one was soaked in the flood that wrecked the regulator. The wires that carry the direct current power from the basement to the console and organ chambers three floors up are about the thickness of my little finger. When I was stripping the insulation from the wires, I took a teeny sliver of copper through the skin of that same thumb. Now as I write, every time I touch the spacebar my thumb throbs. I’m a big guy and I think of myself as pretty tough, but those two little injuries are nearly all I can think about just now.

Hanging by a thread

According to USA Today, there were five major league pitchers with annual salaries above $20,000,000 in 2012. These are the cream of the crop of prime starting pitchers, so they would be starting about every fourth game. Each team plays 162 games each year, so without injury, those pitchers would start about forty games. Let’s say for argument that they pitch six innings each time they start a game, face five batters each inning, and throw five pitches to each batter. That’s 6,000 pitches in a season or $3,333.33 per pitch. Do the same math another way and it comes to roughly $500,000 per game. One of those guys gets a hangnail and each time he throws the ball he’s in agony. His accuracy suffers, and the manager puts him on the bench. Okay for him because he’s on salary. But his employers lose the benefit of $500,000 worth of his effort for each day of the hangnail.

Me, I just go back to the glue pot and put my hands in the hot water. Walk it off. You’ll be fine.

The panda’s thumb

Our hands define us. They define us as a species, they define us as individuals, and they define us as musicians. We join some of the primates including the great apes, a few rodents, and to a lesser extent, the panda, in being blessed with an opposable thumb. While the primates use their thumbs to climb trees, and make primitive tools from sticks, our thumbs have allowed us to achieve extraordinary dexterity. We use that dexterity for practical tasks and for expression.

There are twenty-seven bones in each of our hands and a complex network of muscles and nerves. It was the physical therapy I had following a bout of “Carpenters’ Elbow” (I don’t play tennis) that taught me how the tendons and muscles in our forearms are related to the bones in our hands like the strings of a marionette. Put your left hand on the beefy part of your right forearm and wiggle your right fingers, and you’ll feel those little strings moving around like manual trackers. Come to think of it, they are like manual trackers.

Keyboard musicians are defined and define themselves by their hands. I have to admit I’m amused by publicity headshots of colleagues that include their hands. The photographer has struggled to find natural looking poses to include the hands in a close-up of an organist’s face, when most of the reasons we bring our hands to our faces shouldn’t be photographed. I chuckle as I remember my grandmother chiding me and my siblings to “get your hands away from your face.”

Wave it like it is.

Wendy has been actively involved at her alma mater, Brown University, as long as I’ve known her. She served on the Board of Fellows (she was a jolly good fellow!) for most of twenty years, as an officer of the Corporation for much of that time, and now serves as co-chair of the committee planning the observation and celebration of the university’s semiquincentennial (250th) anniversary. Last weekend we were on campus for the grand kickoff of more than a year of anniversary events including a President’s Colloquium on the Virtues of Liberal Education. One of the panel discussions that day brought four sitting state governors together with a professor of political science as moderator for a wide-ranging discussion about modern American politics. 

Two of the participants, Governor Maggie Hassan of New Hampshire and Governor Peter Shumlin of Vermont, had hands that were unusually large and expressive. They were seated in plush armchairs (brown, of course) onstage in a large lecture hall, and I was struck as I listened and watched at how much their beautiful hands added to the effectiveness of their delivery. The other two governors had good things to say, but they seemed less eloquent.

In March of 2011, Wendy accompanied her client, former United States Poet Laureate Donald Hall, to the White House as he was awarded the National Medal of Arts. Among the tales with which she came home was the lengthy conversation she had with another honoree, Van Cliburn, the storied pianist who won the Tchaikovsky Piano Competition in Moscow in 1958. Along with comments on his legendary grace and regal carriage, Wendy spoke of his enormous, expressive hands.

I googled Van Cliburn and watched a few performances on YouTube. I saw the obligatory tours de force of Rachmaninoff and Tchaikovsky, but was singularly impressed by his presentation of the National Anthem at the start of the 1994 opening day game of Major League Baseball’s Texas Rangers in the newly completed Rangers Ballpark in Arlington, Texas. We’ve all seen the worst of so-called musicianship in such venues, not to be confused with soprano Renée Fleming’s marvelous offering at this year’s Super Bowl, but watching the sixty-year-old Van Cliburn stride on to the playing field dressed in white tie and tails, waving to the crowd, and seating himself at the piano was to witness a classy man bringing his classy act to a venue otherwise not known for my present definition of class.

And those hands. They were big as all outdoors. I marveled as I saw that left hand playing three- and four-part chords at the spread of a tenth in rolling eighth-note passages. It looked as though there was about eighteen inches between the piano’s fallboard and Van Cliburn’s wrists.

You can read about this performance and see the video at http://tinyurl.com/p6faslj. I bet you’ll agree, the Fort Worth Symphony didn’t add much to the experience, except that it was fun to see Van Cliburn stand for the second verse, place a huge hand over his huge heart, and sing. Isn’t America a great country? 

Last night, Wendy and I attended an all-Beethoven concert of the Boston Symphony Orchestra conducted by Christoph von Dohnanyi. They opened with a lackluster performance of Leonora Overture Number 3, and then were joined by pianist Yefim Bronfman for the First and Second Piano Concertos. That’s pretty good work for a pianist, especially when you consider that he plays the remaining three concertos and the Triple Concerto with the same band in the next two weeks. Wow, what a lot of notes.

Mr. Bronfman does not cut a dashing figure as he crosses the stage toward the piano. But I don’t have to risk my relationship with him by describing any further because I can rely on novelist Philip Roth to do it for me. In his novel, The Human Stain (Houghton Mifflin, 2000), the narrator observes the main character, the disgraced Coleman Silk, having his somewhat creepy and typically Rothian way with the fragile woman on whom he is preying during a live rehearsal at Tanglewood:

Then Bronfman appears. Bronfman the Brontosaur! . . . He is conspicuously massive through the upper torso . . . someone who has strolled into the music shed out of a circus where he is the strongman . . . Yefim Bronfman looks less like the person who is going to play the piano than the guy who is going to move it . . . this sturdy little barrel of an unshaven Russian Jew.

Philip Roth can say what he likes, because Mr. Bronfman is more than just a pretty face. He can rely on his hands to speak for him. I often marvel at how a great pianist can project the illusion of fluidity when in fact, the tone of the piano is generated by percussion. The musician’s hands allow a control that produces the image of a waterfall rather than a hammer hitting an anvil. And Yefim Bronfman sprinkled that magic all over Symphony Hall. It’s impressive that he played two concertos—I wonder how many hundreds of thousands of notes there were, and not one out of place. As I sat listening with my thumb throbbing, I marveled at the understated assurance of his hands—those amazing structures of joints, muscles, and sinews—and how they could project such torrents of expression and emotion. 

We’ve got to hand it to you.

The business of learning to play a keyboard instrument involves training the hands to perform specialized tasks. We develop those muscles in unusual ways, refining the accuracy of aim and attack, and learning to simultaneously apply different amounts of pressure so as to emphasize notes of a melody. The muscles in our hands develop their own memories for the patterns of fingering in scales and passages in the pieces we learn. Our hands grasp the unique patterns of each of the twelve major and minor keys as easily as a doorknob. It is that tactile memory that allows us to play without looking at our fingers.

As miraculous as the human hand on the keyboard might be, the basic position of our hands on the keys as we play is common to many other activities. Place your hands flat on your desk and you have a pretty good start for the hand position of a keyboard player. Contrast that to the left hand of the violinist or guitarist. I grab a handful of nuts from a bowl by turning my hand over and clasping my fingers in a position similar to what I might clumsily do on the neck of a violin, but if I move my fingers I drop the nuts. The position of the violinist’s hand as he selects notes by pressing the strings against the neck is pretty much opposite that of an organist. 

Take the violinist’s tactile control a step further. It’s difficult enough to learn to play the right notes on a piano keyboard. But let’s face it, we’re given a simple choice and a relatively wide margin. If you manage to play the key that is F-sharp without touching another key, you get whatever F-sharp the instrument has to offer. On the violin, some combination of seeing, hearing, and feeling must be achieved to allow the player to seemingly randomly select an accurate note. Listen for a few seconds to a beginning violinist and you’ll know what I mean. The first four measures of Twinkle, twinkle, little star is like looking at your reflection in a fun-house mirror.

Even the guitarist has it easy because his luthier has reduced care by adding frets. But as much as the frets ease some of the difficulty of playing the instrument, our guitarist relies on the strength and evenness of the nails on his plucking hand to create his tone. No bundle of horsehair for him. A cousin of mine who lives near Paris was married to a classical guitarist who asked me to help him purchase the 800-grit sandpaper he liked to use to preen his fingernails. Snag a nail pulling open a cardboard box and you’re on the bench, sitting next to the pitcher with a hangnail.

Practice and use has another effect on the fingers of a string player. Anyone else’s fingers would get pretty sore jumping around on those strings. I think mine would be bleeding in ten minutes. But witness a great violinist playing a complex concerto and you’ll know that thousands of hours of practicing is necessary to condition those little pads of flesh to endure that abuse. Adding to the physical punishment of playing the violin is the hickey they get from the neck rest.

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Modern carpenters are armed with pneumatic nailing machines. Walking past a construction site you hear POW POW POW at march tempo as nails propelled by air pressure slam through wood. But a good carpenter still has the old-time rhythm of placing a nail with one hand and driving it home with three rhythmic strokes of a hammer in the other. Watching a beginner start a nail in a piece of wood is like listening to that infant violinist. Many of us know the special feeling when hammer strikes and thumbnail goes black.

A potter throws a lump of clay on a wheel, wets his hands, and coaxes it into center. Then with one hand open cupping the lump and the other closed with thumb pointing down, a cup or a bowl emerges by metamorphosis. Practice allows the creation of a set of plates similar enough in size to produce a set.

A surgeon uses forceps to tie complicated knots in monofilament thread to make leak-proof joints that can contain the pressure of blood as driven by the beating heart.

A tailor or seamstress puts the end of a thread through the eye of a needle, then bonds two pieces of fabric with microscopic stitches.

The massive boom of an excavating machine responds to the touch of the operator’s fingertips on the controls, combining multiple movements into fluid, nearly human motion. 

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As generations pass, our bodies adapt to our circumstances. We rely on clothing and central heating systems to keep us warm so we evolve toward hairlessness. The balding man takes comfort in the knowledge that he’s more advanced than his hairy friends.

Early humans had to rely on large vestigial molars to reduce plant tissue to digestible forms. Think of a cow chewing her cud. Today the plants we eat grow in convenient forms and we get a lot of our nutrition from meat that is cooked and cut into small pieces, so we have evolved smaller jaws than our ancient predecessors. But we still have those pesky vestigials, ironically called wisdom teeth, and as few of us have space on our jaws for them, out they come.

Like our hair and our teeth, our hands have evolved and adapted to operate the devices we’ve created. One quick handshake is enough to tell the difference between a carpenter and an office worker. Notice how many tiny motions we combine to button a shirt. And look across the symphony orchestra to see how many ways our hands can be used. 

What’s next? If our hair is getting thin and our jaws are getting smaller, think of our thumbs. Sit on a seat in the subway or a bench at the mall and watch the teenagers texting and playing hand-held games. Our thumbs will keep getting more nimble and I figure we’ll always need our fourth and fifth fingers to grasp hand-held devices. But it will take fewer than a hundred generations for our index and third fingers to wither away from disuse. So put down that phone and go practice! 

Blest be the tie that binds

Our hearts in Christian love;

The fellowship of kindred minds

Is like to that above.

That’s one of the great old chestnuts of hymnody. Who reading those words doesn’t have that tune buzzing in their ears? Everyone knows it. Verse after verse goes by, each building on the way we depend on each other, support each other, and live with each other. It’s usually in F Major or G Major—I prefer G, or maybe start in F and modulate a couple times. Nice to step the tonic of the last chord down a major third, let that become the dominant of the new key, throw in the seventh, and start This glorious hope revives . . . up a half step!

The text is by John Fawcett, London, 1782. The tune is Dennis by Hans Nägeli (1773–1836) and later adapted by Lowell Mason (The Psaltery, 1845). It’s as familiar as they come. But did you ever stop to think that the meter (SM; 8.8.6.6.8) is that of a limerick? Everybody sing: 

Writing a limerick’s absurd,

Line one and line five rhyme in word,

And just as you’ve reckoned, 

Both rhyme with the second;

The fourth line must rhyme with the third.

To make this trick work, you may choose between including the upbeat or not, and you sometimes have to place two or more syllables on the last beat of a line. Everybody sing:

There once was a fellow named Beebe,

Planned to marry a woman named Phoebe,

He said, “I must see 

What the minister’s fee be,

Before Phoebe be Phoebe Beebe.”

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Last month our friend Jim passed away. His death is a first for us—the first of close friends roughly our age to pass away—and he’s been on my mind a lot. He was a prolific organic gardener and a quintessential “foodie.” He had a great love and real appreciation for fine wine and, since a recent trip to Scotland, single malt scotch. He played guitar a little, and he and his wife Lois were frequent attenders and strong supporters of musical ensembles, especially the Boston Symphony Orchestra and the Metropolitan Opera. They traveled together frequently, especially to Italy where they spent much time and had many friends.

In addition to all this, Jim was a geologist, and he had a huge collection of minerals and ores. After his death, Lois is dealing with the dispersal of hundreds of specimens. Some are the size of a chestnut while others are huge—too heavy for one person to carry. The garage and basement are full of Jim’s rocks. Thankfully, Jim’s friends from the Boston Mineral Club have rallied to help with the task. That fellowship of kindred minds—each individual a little crazier than the last—is a tight society of people who are passionate about the variety of minerals that comprise the earth. You might say (as they often do), they have rocks in their heads. But they sure have been wonderful to our friend Lois in her sadness. Everybody sing:

Some people I hang with are jocks

With an aura of dirty white socks.

When they ask me to play

I say, “Maybe some day.

But my principal passion is rocks.”

§

Last summer Wendy and I launched and christened our new boat, Kingfisher. She’s a Marshall 22 built by Marshall Marine in Padanaram, which is a village of South Dartmouth, Massachusetts, just across a bay from the great fishing and whaling capital of New Bedford, an easy sail in a small boat from Nantucket. She’s a broad-beamed, gaff-rigged craft of a class that was used originally for commercial fishing before boats had engines because she can carry lots of cargo and can be sailed single-handed. When I tell people she’s a catboat, they often think of those little rocketship-boats with two hulls. No, not a catamaran, a catboat. She’s only twenty-two feet long, but more then ten feet wide, with lots of space inside for hauling fish! She has a centerboard so we can go into shallow inlets, a little diesel engine to keep us off the rocks, and pretty, classic lines.

Even before we had a chance to put her in the water we joined the Catboat Association. There are about four hundred members, and annual dues are $25. Last February we attended the CBA Annual Meeting at the Marriott Hotel in Groton, Connecticut. We had such fun that we’re going again this year—we’ll miss the Super Bowl, but I’d rather talk about boats. Having been to lots of meetings of pipe organ groups, I’m used to seeing displays of combination actions, tuning tools, CDs, and published music in the exhibition room. This time it was boats on trailers, wood carvers (who could make you a bowsprit or a ribbon-shaped name board for your transom), a couple of smart guys from Yanmar (Japanese manufacturer of marine diesel engines), and monogrammed life jackets. There were workshops about sail handling, navigating, diesel engine maintenance, and lots of storytelling. This fellowship of kindred minds organizes races and other fun events. Catboats, for all their practicality and beauty, are not very fast. One wag spoke up in an open forum saying, “If you wanted to go fast, you should have bought a bicycle.” Racing catboats is a little like racing turtles. May the best man win. Everybody sing:

We’re gathered to talk about boats.

At our meetings, we never take notes.

We organize races

In watery places,

And officers win with most votes.

§

In the summer of 2010, Wall Street Journal reporter Jennifer Levitz was covering a story in Washington, D.C., when she noticed a large crowd milling about in the front yard of a church. When she realized they were all wearing nametags on lanyards she figured they were part of a convention and like any good reporter, she walked across to investigate. She was dumbfounded to learn that they were all organists attending a convention, a fellowship of kindred minds. It had never crossed her mind that organists would gather for large professional meetings so she asked a lot of questions about the current state of the pipe organ. She mentioned that she was based in Boston and someone suggested she should interview me to learn about the role of the organ in modern society. 

The result was a story in the Wall Street Journal with the headline, “Trafficking in Organs, Mr. Bishop Pipes Up to Preserve a Bit of History.” (See http://tinyurl.com/mc9xu2y.) The story begins, “John Bishop leaves the soul-saving to the clergy. He’s content to save the pipe organs—and even that isn’t easy.”

By the way, I suggest there are three areas of public life where puns are
a nuisance:

1. Pipe organs (organ donor, organ transplant, piping up, Swell, Great, Positiv?)

2. Boat names (Liquid Assets, A Crewed Interest, Ahoy Vey)

3. Beauty shops (Shear Delights, The Mane Attraction, A Cut Above)

Feel free to continue with new categories!

In response to Jennifer’s call, we met at Starbucks near Faneuil Hall in Boston. We chatted over lattés for an hour or so. Jennifer is a tall, quick-witted, athletic woman, and from her enthusiasm about my topic, you might have thought she had been interested in the organ all her life. But as this was her first foray into our winded world, I took her through Organ Building 101, Church Music 101, and AGO 101. When she asked what I was working on at the moment, I invited her to come with me to Cambridge, near Harvard Square, that afternoon, where I was meeting with officials of Lesley University. The school had purchased a vacant building, formerly the North Prospect Congregational Church, and planned to move the building across its lot to adjoin a planned new building where it would become part of the Art Library, and the Aeolian-Skinner organ was being offered for sale.

Jennifer’s article concluded:

It can take years to place an organ, but sometimes there are matches made in music heaven. Within weeks of visiting Lesley University, Mr. Bishop found a home for its organ in a church in Texas. It was loaded onto a tractor-trailer, and off it went, the victory recorded by Mr. Bishop on Facebook.

“Another one leaves town ahead of the wrecking ball,” he wrote.

Everybody sing (add another syllable!):

We’re glad to have all that publicity.

Helps preserving works of historicity.

She wrote in the paper

’Bout that tricky caper;

By writing, she joined in complicity.  

§

In 1956, Walter Holtkamp installed a revolutionary organ in the tower gallery of the chapel at the Episcopal Theological School (now Episcopal Divinity School) on Brattle Street in Cambridge, Massachusetts—again, near Harvard Square. My father, a retired Episcopal priest, was instructor of Homiletics there when I was a teenager, and he introduced me to Dr. Alastair Cassels-Brown who was professor of church music there, and with whom I had my first years of organ lessons on that Holtkamp organ. 

Over a number of years I learned various tidbits about the early history of that organ; that Charles Fisk was an apprentice with Holtkamp, that E. Power Biggs lived a few blocks away, that Daniel Pinkham as a young disciple of Biggs was always around, that organ historian Barbara Owen was a close part of that circle, and that Melville Smith (director of the Longy School of Music and organist at the First and Second Church in Boston) was strongly connected with the seminary, and friend with all those others. The Holtkamp organ—with low wind-pressures, slider-windchests (though electro-pneumatic action), baroque-inspired reeds, full principal choruses, and a Rückpositiv—was quite the statement for 1956. And that fellowship of kindred minds (Holtkamp, Fisk, Pinkham, Owen, and Smith) must have had some heady conversations as the organ was being installed.

Christ Church (Episcopal) in Cambridge is an eighteenth-century building, complete with Revolutionary War bullet hole, around the corner from the seminary chapel. Stuart Forster is the current organist, and the World War II era Aeolian-Skinner has been replaced by a stunning new organ by Schoenstein. E. Power Biggs was appointed organist there in 1932, work that coincided with his blossoming concert career. In his book All the Stops (PublicAffairs, 2003, page 86), Craig Whitney relates a (to us) delightful story from that era:

Juggling all this took its toll, and when the rector of Christ Church asked Biggs to read the early Sunday service in addition to his musical duties, Biggs refused. The upshot was reported by Charles Fisk, a nine-year-old member of the church’s boy choir, in a note dated January 2, 1935, in the diary his mother had given him for Christmas. “I went to choir practice,” Fisk wrote. “Mr. Biggs wasnt there.” For (at least) the second time, Biggs had been fired from a church job. The leadership of Christ Church had decided that “Mr. Biggs” was more interested in his professional concert career than he was in being a good church musician, and they were right.

Everybody sing:

The choirboys all had to stand,

At a wave of the organist’s hand.

But Charlie had noted

And later he wroted

That dear Mr. Biggs had been canned.

§

The same year that Holtkamp installed the organ at the seminary, Rudolf von Beckerath installed a four-manual Werkprinzip tracker-action organ with sixty-five ranks at Trinity Lutheran Church in Cleveland. You can read all about that landmark organ at its own website: http://clevelandbeckerath.org/beckerathorgan.html.

That instrument was a major step toward the revival of interest in classic styles of organbuilding. In the following few years, many more new European-built organs were imported to American churches and schools, notably the 1958 Flentrop installed at the instigation of E. Power Biggs in the Busch-Reisinger Museum (now Adolphus Busch Hall) at Harvard University. That’s the organ on which he recorded the wildly popular series Bach Organ Favorites for Columbia Records—a series that still stands as the best-selling solo classical recordings of all time. Nice going, Biggsy!

In June of 1956, G. Donald Harrison was hard at work finishing the great Aeolian-Skinner organ at St. Thomas Church on Fifth Avenue in New York. He was working under a whopping deadline—Pierre Cochereau, organist of the Cathedral of Notre Dame in Paris, would be playing the opening recital on June 25 as part of the 60th national convention of the American Guild of Organists. During those weeks, New York was suffering both a heat wave and a taxi strike. After working late on June 14, Harrison walked to his Third Avenue apartment, ate dinner with his wife Helen, and sat down to watch Victor Borge present his shenanigans on television. At 11:00 p.m. he suffered a heart attack and died.

Last Christmas, and the previous two Easters, Wendy and I have worshipped at St. Thomas Church, to bask in the glorious sounds of the Choir of Men and Boys led by John Scott, who must be considered among the finest living church musicians. And, it’s a poignant thought that as I write, today is the second anniversary of the death of Dr. Gerre Hancock who led the music there with such distinction from 1971 until 2004. 

I never had a chance to meet G. Donald Harrison, but I can at least say our lifetimes overlapped—by less than two weeks. I was born on March 16, 1956!

As we think about the big changes that were going on in the American pipe organ industry, it’s fun to note other developments in the music world. On January 5, 1956, a truck driver named Elvis Presley made his first recording, “Heartbreak Hotel.”

§

Tom Gleason was Wendy’s Russian History professor at Brown University. He was a wonderful mentor, and as Wendy babysat for his kids when she was a student, Tom and his wife Sarah have remained dear friends to this day. Our daughter Meg was also Tom’s student at Brown—Tom and Sarah were hosts for Meg’s graduation party in their house and garden. And Tom and Sarah joined us for a sailing vacation around Greece’s Dodecanese Islands in the Aegean Sea. Tom and I share a fellowship of kindred minds with a love of limericks. Now, let’s face it, the limericks I’m sharing here, most of which are mine, are not the sort that we usually hear. But in the pages of this august journal, I’m not going there. Everybody sing: 

The limerick packs laughs anatomical

In a space that is most economical.

But the good ones I’ve seen 

So seldom are clean, 

And the clean ones so seldom are comical!

The limerick is furtive and mean.

You must keep her in close quarantine.

Or she sneaks to the slums

And promptly becomes

Disorderly, drunk, and obscene.

(Modulate up a step, kindred minds.)

The next time we’re sitting at table,

And finish the sharing of fable,

We’ll pour from the jugs

And hoist up our mugs,

Sharing limericks as rude as we’re able.

Photos of cats

Read recently on Facebook:

“We each have in our hands an instrument with nearly limitless computing power that gives me instant access to worlds of information, and we use it to publish photos of cats.”

My iPhone is sitting on my desk. It’s seldom more than a few feet away from me. It’s my link to the world. I get nervous when the battery is low. Imagine how awful it would be if the phone went dead while I was on the subway in the middle of a game of solitaire. I’d have to sit there and stare at a carload
of nutcases.

The iPhone (or any so-called “smart phone”) is a fantastic tool. It enables me to stay in touch with co-workers and clients when on the road. The ability to take a photo and send it away instantly is a fantastic aid when sorting out mechanical issues at projects. Need to send the specs of a blower motor to a repair shop? Take a photo of the engraved plate. Poof. I can make and change airplane, train, and hotel reservations. I keep my calendar and contacts organized. I can access bank accounts to transfer funds and pay bills. I can create and send invoices for service calls as I leave the church. You’d think that such a gizmo would have nothing but positive effects.

But there’s a hitch. They’ve turned us into a race of navel gazers. On any street corner you’ll see people standing still, staring into their phones. People stop suddenly while walking to go into their phones. The other day on the street, I was hit in the shoulder by a woman who was gesticulating while arguing with someone on the phone. And another tidbit from Facebook—a friend posted a photo of a woman dressed in yoga togs on the down escalator from New York’s Columbus Circle to the Whole Foods store, balancing a huge stroller laden with toddler with one hand, the other hand holding the phone to her ear. Sounds like child neglect and endangerment to me.

People talk on the phone at restaurant tables with friends, they talk on the phone at the cashier in a grocery store, they talk on the phone in the middle of a business meeting. Do those phones help us get more done, or do they keep us from getting anything done?

And worse, if we let them, our phones will affect the flow of human thought in generations to come. I did perfectly well without a smart phone until I was in my forties, but my kids have pretty much grown up with them. And our grandson Ben, at eighteen months old, is adept at managing touch screens—giggling as he swipes to change photos, touching icons, all the while staring intently at the thing. Thank goodness his parents read to him, and I hope he grows up learning conversational skills that seem to be eroding today. 

Innovation

The last century has been one of innovation. Many of the most important developments have come with significant downsides. The automobile has given us unlimited mobility, but it has torn up the landscape and poisoned the skies. The technological revolution has given us connectivity that we could not have imagined a generation ago, but it has compromised good old-fashioned face-to-face human contact. Image a guy breaking up with his girlfriend by text message. It happened in our family! Suck it up and face the woman, bucko.

Also, mass production and mass marketing has led to homogeneity. People in Boston and Tucson buy the same candlesticks at Crate and Barrel, as if there were no cultural differences between those regions.

These concepts apply to our world of pipe organs. In that world, the second half of the twentieth century was dominated by a debate about innovation. We argued in favor of the imagined purity of historic instruments and wondered exactly how they sounded when played by the artists of their day, or we argued in favor of the convenience of registration devices, the effect of expression enclosures, and the flexibity of organ placement made possible by electric actions. Both sides made cases about how unmusical were the instruments favored by the other camp. 

The result of the decades-long debate is generally a positive one. It’s true that many wonderful historic organs, especially early twentieth-century electro-pneumatic organs, were displaced and discarded by new tracker organs. But after all, that trend was a simple repeat of one sixty years earlier, when hundreds of grand nineteenth-century instruments were discarded in favor of the newfangled electro-pneumatic organs in the beginning of the twentieth century. 

Described in terms of the history of organbuilding in Boston, we threw out Hook organs in the 1910s and 1920s to install Skinners, and we threw out Skinners in the 1960s and 1970s to install Fisks and Noacks. What goes around, comes around.

Homogeneity

Until sometime in the second half of the twentieth century, each organbuilder’s work was unique. Any serious organist, blindfolded, could tell the difference between a Skinner console and an Austin console. The profile of the keycheeks, the weight and balance of the keyboards, the layout of the stop controls, the sound of the combination action, and the feel of the pedalboard were all separate and distinct.

I had a fascinating conversation with a colleague one night in a bar, during which we discussed the evolution in organbuilding toward homogeneity. Supply houses have become increasingly important to us, which means, for example, that our consoles have that “Crate and Barrel” syndrome. For example, there’s one brand of electric drawknob motors widely favored in the industry. They work beautifully and reliably, and they’re easy to install. So many firms building both electric and mechanical action organs use them on their consoles. They’re great, but they smudge the distinguishing lines between organbuilders.

There are several firms that supply keyboards to organbuilders. There is a hierarchy of quality, and builders can make choices about which organs should have what keyboards. If you’re renovating the console of an indistinct fifty-year-old organ, it doesn’t make much sense to install fancy keyboards at ten-thousand a pop, when a thousand-dollar keyboard will work perfectly well. But when comparing organs of high quality, we notice when different builders are using keyboards from the same sources. Again, the lines are smudged.

But here’s the thing. If a basic component of an organ is developed at high quality and reasonable cost by a specialist, the organbuilder can cross that off his list knowing that it will function perfectly and reliably, freeing him to put his effort into another part of the instrument. Ideally then, each hour saved by the purchase of ready-made parts can be put into voicing and tuning.

Ernest Skinner put lots of time and resources into the development of his famous Whiffle Tree expression motor. Today, there are three or four suppliers who manufacture electric expression motors with digital control systems. They use the motors developed for wheelchairs, and the controls allow the organbuilder to program the speed and distance of each stage. When shutters are opening, it’s great when the first step can be a tiny one, with the subsequent stages getting larger and larger. And even Mr. Skinner knew that it was an advantage when closing the shutters, for the last stage to be slower than the others to keep the shutters from slamming. He did it by making the exhaust valve smaller in the last stage so the power pneumatic wouldn’t work as fast. We do it by programming a slower speed.

When organbuilders get together, you hear chat about who uses which drawknobs, which expression motors, which solid-state relays and combination actions. We compare experiences about the performance of the machines, and the customer support of the companies that sell them.

Human resources

A fundamental difference between today’s organbuilding companies and those of a century ago is the size of the firms. Skinner, Möller, Kimball, Hook & Hastings, and others each employed hundreds of workers. The American church was powerful, and as congregations grew, new buildings were commissioned by the thousands. There were decades during which American organbuilders produced more than two thousand organs each year. And because the market was so strong, the price points were relatively higher than they were today. So when Mr. Skinner had a new idea, he could put a team of men on it for research
and development. 

Today there are a couple firms with more than fifty employees, but most organ companies have fewer than ten. A shop with twenty people in it is a big deal. In part, this is the result of the ethic of hand-craftsmanship championed during the twentieth-century revival. “Factory-built” organs had a negative stigma that implied that the quality of the artistic content was lower in such an instrument. And there can be little argument that in the mid-twentieth century, thousands of ordinary little work-horse organs were produced.

But the other factor driving the diminishing size and number of independent companies is the decline of the church. Congregations are merging and closing, and other parishes are finding new contemporary forms of musical expression. Electronic instruments now dominate the market of smaller churches. And it’s common to see congregations of fifty or sixty worshipping in sanctuaries that could seat many hundreds. Century-old coal-fired furnaces equipped with after-market oil burners gulp fuel by the truckload. And an organ that would have cost $50,000 in 1925 now costs $1,500,000. That’s a lot of zucchini bread at the bake sale.

I think these are compelling reasons in favor of the common use of basic components provided by central suppliers. Ours is a complicated field, and it’s unusual for a small group of people to combine every skill at the highest level. When I talk with someone who has done nothing but make organ pipes all his life, I marvel at his depth of understanding, the beauty of his drawn solder seams, and his innate sense of π, that mathematical magic that defines circles. He can look at a rectangle of metal and visualize the diameter of the tube it will make when rolled and soldered. The organ will turn out better if he doesn’t also have to make drawknobs.

The comfort of commonality

When Wendy and I travel for fun, we sometimes stay in quaint bed & breakfast inns, enjoying their unique qualities, and chuckling about the quirks and foibles of the innkeepers. But when I’m traveling for business, trying to maximize each day on the road, I prefer to stay in brand-name places. I want to check in, open my luggage, and know that the plumbing, the television, the WiFi, and the heating and air-conditioning will work properly. I want to find a functioning ice machine, and I expect a certain level of cleanliness. Besides, I like amassing rewards points.

Likewise, I’ve come to understand that traveling organists benefit from finding the same few brands of console equipment wherever they go. If you’re on a concert tour, taking a program of demanding music from church to church, you get a big head start when you come upon an organ with a solid-state combination system you’re familiar with. 

Peter Conte, Grand Court Organist of the Wanamaker Store in Philadelphia, played the dedicatory recital on the Casavant we installed at Church of the Resurrection in New York, and I took him to the church to introduce him to the organ. Seconds after he sat on the bench, he was delving through the depths of the menus of the Peterson combination system, setting things the way he wanted them. He knew much more than I about the capabilities and programmability of the organ.

Recently I was talking with a colleague who was telling me about the installation of a new console for the organ he has been playing for nearly forty years. He told me how he had to relearn the entire organ because while it had much the same tonal resources as before, he was able to access them in a completely new way. It was a succinct reminder of how sophisticated these systems have become, and how they broaden the possibilities for the imaginative organist.

So it turns out that for many, the homogeneity of finding the same combination systems on multiple organs allows organists a level of familiarity with how things work. It takes less time to prepare complex registrations, which is ultimately to the benefit and delight of the listener.

The top of the world

Many of us were privileged to hear Stephen Tharp play the massive and magical Aeolian-Skinner organ of The First Church of Christ, Scientist (The Mother Church) in Boston as the closing event of this year’s national convention of the American Guild of Organists. The majestic building was crammed with thousands of organists and enthusiasts. I suppose it’s the most important regularly recurring concert of the American pipe organ scene. And what a night it was. The apex, the apogee, the zenith —the best part—was his performance of his transcription of Igor Stravinski’s Le Sacre du printemps (The Rite of Spring). It’s a wildly complex score, but luckily, Stephen is a complex and wild performer! He didn’t play as though it were a transcription, he played as though it were an orchestra. He made 243 registration changes in the course of about thirty-three minutes. That’s roughly 7.4 changes a minute, which means thumping a piston every 8.1 seconds. Try that with two stop-pullers on a big tracker-action organ! For that matter, try that on a fancy electric console with all the bells and whistles. If there ever was an example of how a modern organist is liberated by the possibility of setting thousands of combinations for a single concert, we heard it that night.

Free at last, free at last, thank God almighty…

Last May, Daniel Roth, organist at the legendary church of St. Sulpice in Paris, played a recital on our Casavant organ in New York. Besides the thrill of hearing such a great artist play our instrument, a very deep part of that experience for me was a conversation with Mr. Roth about his research into the life and work of his predecessor, Charles-Marie Widor. It’s a lovely and oft-repeated bit of pipe organ trivia that Widor was appointed as temporary organist there in 1870, and retired in 1937 having never been given a permanent appointment. I don’t know when the first electric organ blower was installed there, but let’s assume it was sometime around 1900, thirty years into his tenure.

There are 1,560 Sundays in thirty years. So Widor played that organ for thousands of Masses, hundreds of recitals, and countless hours of practice and composition while relying on people to pump the organ’s bellows. I’ve seen many photographs of the august Widor, and I don’t think he shows a glimmer of a smile in any of them. He must have been a pretty serious dude. But I bet he smiled like a Cheshire Cat the first time he turned on that blower and sat down for an evening of practice by himself. ν

The secret of life

Donald Hall is an American writer. Because he’s Wendy’s client, I’ve met him several times. He was born in 1928 and last saw a barber or handled a razor at least ten years ago. He published an essay in the June 12, 2013, issue of The New Yorker with the title “Three Beards,” in which he chronicled his long relationship with facial hair. It begins:

In my life I have grown three beards, covering many of my adult faces. My present beard is monumental, and I intend to carry it to my grave. (I must avoid chemotherapy.)

It concludes: 

As I decline more swiftly toward the grave I have made certain that everyone knows—my children know, Linda knows, my undertaker knows—that no posthumous razor may scrape my blue face.

In 2011, Wendy accompanied Hall to the White House, where President Obama awarded him the National Medal of Arts. (That’s the same day she chatted with Van Cliburn, as noted in the May 2014 installment of this column.) The neatly trimmed and dapper President met the self-styled Methuselah. 

Donald Hall lives in the New Hampshire farmhouse that was built by his grandfather, whom he helped harvesting hay. Today, hay is harvested by powerful and intricate machines that spit out neatly tied bales in the wake of a tractor. (Hay bales are legitimately held together with baling wire.) Donald Hall, then a child, and his grandfather did it with scythes, pitchforks, and horse-drawn carts. And that’s the way he writes—the old-fashioned way.

He has published dozens of books of poetry, and dozens more of non-fiction, memoirs, and collections of essays. He has written hundreds of articles of literary criticism and countless essays for many publications. And his lifelong collection of thousands of letters to and from other literary and artistic giants will be the grist of many future dissertations. He writes in longhand and dictates into a tape recorder, and leaves a briefcase on his front porch every morning for his typist who lives across the road, who in turn leaves a corresponding case of typed manuscripts.

When we were first dating, Wendy shared Donald Hall’s memoir Life Work with me (Beacon Press, 1993). At 124 pages, it’s an easy read, but when he describes his process, you feel obligated to read it again, and then again. He writes drafts. There were fifty-five drafts of that essay about beards, and there are hundreds of drafts for some of his poems. He started working on his poem Another Elegy in 1982, and put it away, disgusted, in 1988 after more than five hundred drafts. He numbers the drafts. In 1992, he picked it up again, wrote thirty more drafts, then showed it to his wife, the poet Jane Kenyon, “who remembered the old one; her response encouraged me.” As he brought it toward conclusion, he woke many days before the alarm, jumping out of bed to start writing, but reminding himself that “You felt like this, about this same poem, a hundred times between 1982 and 1988.”

In Life Work, Donald Hall writes about his grandparents’ work ethics, about baseball players’ dedication to their work, and of course about his own routine, but he makes it clear that hates the phrase “work ethic.” Shortly after leaving the security of a professorship at the University of Michigan to move to the farm with Jane to support himself with his own writing, he attended his Harvard class (1951) reunion where he found himself complimented over and over about his self-discipline. He responded, “If I loved chocolate to distraction, would you call me self-disciplined for eating a pound of Hershey’s Kisses before breakfast?” He simply loves the process of moving words about, mining the English language, dog-earing his beloved Oxford English Dictionary—no matter what it takes to get it right to his own ears.

One of the principal characters in Life Work is the British sculptor Henry Moore. They met in 1959 when Hall was commissioned to write a magazine piece about Moore, and Hall was moved and inspired by Moore’s approach to his work. There was always a sketchpad at hand, there were studios scattered about the property allowing work at different stages to proceed concurrently, and when in his seventies, Moore built a new studio next to the house allowing him to spend another hour at work after dinner. The last time they were together, when Moore was eighty, Hall asked him, “What is the secret of life?” Moore’s response:

“The secret of life is to have a task, something you devote your entire life to, something you bring everything to, every minute of the day for your entire life. And the most important thing is—it must be something you cannot possibly do!”

Wrapped around a monument

Last week, the Parisian organist Daniel Roth played a recital at Church of the Resurrection in New York where a couple years ago, the Organ Clearing House renovated, expanded, and installed a Casavant organ built in 1915. It was a treat and a thrill to be around him for a couple days as he prepared and presented his program, and I particularly enjoyed a conversation in which he gave some deeper insight into the heritage of the magnificent Cavaillé-Coll organ at St. Sulpice in Paris, where he has been titulaire since 1985. His three immediate predecessors were Jean-Jacques Grunenwald, Marcel Dupré, and Charles-Marie Widor—four tenures that span nearly a hundred-fifty years. 

Those four organists are identified by their relationships with that organ. Their improvisations and compositions have been inspired by its beautiful tones and enabled by the ingenious mechanical registration devices built in 1862, maintained to this day in their original condition. Roth confirmed the legend that Widor’s original appointment was temporary, and though it was never officially renewed or confirmed, he held the position for sixty-seven years. I’ve known this tidbit for years, but Daniel Roth shared some skinny.

Aristide Cavaillé-Coll was a tireless champion of his own work. He was disappointed in the general level of organ playing in Paris in the late 1860s, but was enthralled by performances by Jacques-Nicolas Lemmens, the professor of organ at the Royal Conservatory of Brussels, who first played recitals in Paris during a tour in 1850. Widor was born in Lyon into a family of organbuilders and Cavaillé-Coll was a family friend. It was he who arranged for Widor to study with Lemmens, and the twenty-five year old Widor was Cavaillé-Coll’s candidate for the vacant position at St. Sulpice.

As a reflection of the political and even racial tensions leading up to the Franco-Prussian War (1870–1871), Widor’s detractors competing for the important position claimed he played like a German! (Quelle horreur!) The rector compromised by appointing Widor for one year.

Hundreds of American organists have been treated to Daniel Roth’s hospitality at the console of that landmark organ, hearing his improvisations and compositions, and his interpretations of the immense body of music produced by his predecessors. My conversations with him last week reminded me of that quote from Henry Moore. When a great musician spends a lifetime with a great organ, does that qualify as something to which you devote your life, but cannot possibly do?

Opera vitae

The mid-twentieth century renaissance in American organbuilding has given us a bevy of small companies building organs under the name of their founders. Among these, C. B. Fisk, Inc. is notable, in that the legendary Charlie Fisk passed away relatively young, and the work of his company has been continued by his co-workers—dare I say disciples? But when I think of names like Wolff, Wilhelm, Noack, Brombaugh, and the double-teaming Taylor & Boody, I think of these men, now elderly, retired, or deceased, who have had long careers personally producing many instruments with the help of their small and talented staffs. I think Fritz Noack is in the lead. His company was founded in 1960 and has completed nearly 160 organs. Nice work, Fritz, quite a fleet. Imagine seeing them all in a row. 

Considering all the effort and expertise involved in selling, planning, designing, building, and installing a pipe organ, I marvel at what Fritz and his colleagues have accomplished personally, with a lot of help from their friends. That’s work to which you devote your life, but cannot possibly do.

What was the question?

An old family friend is an expert in “heat transfer”—how heat moves from one mass to another, from a mass to a gas, or any other way heat moves around. One evening sitting with drinks in my parents’ living room and staring at the burning fireplace, I asked him, “Just what is fire?” He told me that it’s a chemical reaction. Yes, but what is it? I never did get an answer I could understand. I think he thought I was a bit of a prig, and I think I was asking a question that couldn’t be answered.

The more you know about the organbuilding trade, the more you realize you don’t know. Building pipe organs is a profession that remains mysterious to its most experienced practitioners. How does that air get from one place to another inside the organ? How does that thin sheet of pressurized air passing through the mouth of an organ pipe turn into musical tone? And how do those tones blend so beautifully with each other? How do we move such volumes of air silently? We have answers that refer to the laws of physics, but like my question about fire, they seem unanswerable. I’ve come to think that all you can do is know the questions and keep working to achieve better understanding of how to answer them. It’s work to which you devote your life, but cannot possibly do.

Go Daddy, go.

My father passed away at home on April 8, about six weeks shy of his ninetieth birthday. He was born four years before Donald Hall. He had a stroke a few months before from which he had largely recovered, although the gorgeous handwriting for which he was well known was gone. A vicious headache, which may have been another stroke, was our signal that the end was near. His doctor helped us establish home hospice care, and after about a week of comforting medication and declining consciousness he was gone. My three siblings and I, and our spouses, managed to gather during that week along with lots of the grandchildren. My brother Mark and his wife Sarah, my wife Wendy, and my mother Betsy were with Dad at his moment of death. Coincidentally, I was at work in St. Paul’s Cathedral in Boston, where my parents were married almost fifty-nine years ago.

The Rev. John J. Bishop was ordained an Episcopal priest in the Diocese of Massachusetts in 1952, and all the parishes he served were in that diocese. Everyone called him Jack. He served as rector of churches in Somerville and Westwood before he was called to be rector of the Parish of the Epiphany in Winchester, where he served from 1966 until his retirement in 1989. That was when my parents moved to the newly renovated and expanded family summer home on Cape Cod. After that retirement, he served as interim rector at churches in Dedham, Woods Hole, Falmouth, Provincetown, and Belmont. In December of 2012, the Parish of the Epiphany hosted a celebratory Eucharist honoring the sixtieth anniversary of his ordination.

My father grew up in Cincinnati, Ohio, as a member of Christ Church, which is now the Cathedral of the Diocese of Southern Ohio. Our grand colleague and mentor Gerre Hancock was organist and choirmaster there in the 1960s. Dad had recordings of that church’s Boar’s Head Festival led by Gerre Hancock—the first improvisations I ever heard. As he grew up in Ohio in the 1920s and ’30s, some of the liberal causes for which he was later known hadn’t been contemplated, but before he was finished, my father had championed civil rights, social justice, the ordination of women, and
same-sex marriages.

The Rev. Jeanne Sprout was the first woman to be ordained in the Diocese of Massachusetts. Her ordination in 1977 happened at the Parish of the Epiphany in Winchester as she joined the staff there. And Dad chaired the steering committee that nominated Barbara Harris as the first female bishop in the Anglican Communion. As interim rector in Provincetown, he blessed same-sex unions many years before the ruling of the Massachusetts Supreme Judicial Court that made them legal as marriages ten years ago. During his adolescence in Ohio and while serving in the United States Army during World War II, he would never have imagined such a thing.

At the height of the Vietnam War, the parish’s associate rector Michael Jupin participated in a widely reported protest on the steps of Boston’s Arlington Street Church, placing his draft card in an offering plate in the hands of William Sloane Coffin, pastor of New York’s Riverside Church, and activist and pediatrician Benjamin Spock. This created a firestorm in the then conservative parish (Winchester was cited as the town where the politics met the zip code: Zero-1890). The wardens approached my father, demanding to know “how to get rid of Jupin,” as important pledge-units left the parish in droves. Dad’s immediate answer was, “you get rid of the rector.” He told us later about that crisis in his career and the life of that church, how he sat alone in his car weeping, wondering what to do, and how he sought the council of his bishop, who encouraged him to “stand in the midst of those people and lead.”

Through all of that, Dad remained devoted to the traditions and liturgy of the Anglican Communion. He was a strong supporter of the music of the church, and during his tenures, the parishes in Westwood and Winchester both purchased organs from Charles Fisk. I remember the thrill of using my newly acquired adult voice, singing in harmony accompanied by orchestra as the adult choir presented Bach’s Cantata 140, Wachet auf, ruft uns die Stimme. 

Dad understood the importance of the “theater” of liturgy. My childhood friends who were acolytes laugh today about how they were terrified of “blowing it” around Rev. Bishop. He needed it to be right. He led worship and celebrated the Eucharist with enthusiasm and joy—his “church voice” was nothing like his everyday voice. The crisp cadence and musical intonation of his delivery of the Prayers of Consecration are still in my ears, and remain my ideal. He really celebrated communion.

I’ve spent many days working as an organbuilder in churches of the Episcopal Diocese of Massachusetts. Often, when I’m introduced to a rector, I’ve heard, “There’s a priest in this diocese with that name,” followed by unsolicited tributes. It’s been wonderful to hear accounts of my father’s work from so many different sources. I’m grateful for Dad’s encouragement and inspiration.

What a weekend.

Today is Monday. Dad’s memorial service was Saturday. There were four bishops and twenty priests in robes up front and the pews were full of family, friends, and parishioners from across the diocese and around the world, and plenty more priests. In a piece included in the leaflet for Dad’s memorial service, I wrote, “The definition is ‘Great excitement for or interest in a cause.’ It’s from the Greek root, enthousiasmos, which came from the adjective entheos, ‘having God within.’ Enthusiasm.” That is the way he lived his life, inspiring people, encouraging them to think and grow, and sharing his love for the church, for better or for worse.

That’s work to which you devote your life, but cannot possibly do.

Of course I’m sad. Of course I miss him. But when a man lives such a long and productive life, has nearly sixty years of marriage, sees four children grow up, knows ten adult grandchildren, and with our grandson Ben, knew his first great-grandchild, we can only be grateful.

Yesterday, we interred Dad’s ashes. There were about thirty of us at the end of the boardwalk over the marshes that led to Dad’s favorite Cape Cod swimming hole. As the last of the ashes sprinkled into the water I blurted out, “Go daddy, go.” ν