In the Wind: Instruments and their makers

Music as community . . .

When I was offered the opportunity of joining the Organ Clearing House during the summer of 2000, I faced a critical choice. In addition to working independently as an organbuilder and technician, renovating and maintaining a gaggle of organs in the Boston area, I was also director of music at a large suburban Congregational church. I knew that the Organ Clearing House would sweep me into a busy travel schedule, and that I would have to make a choice.

That was a difficult decision on many levels. I had developed many friendships over my nearly twenty-year tenure at the church. For the first sixteen years, it was a privilege to work with the senior pastor, a kind and wise man and fellow sailor who preached beautifully and supported the music program vigorously. The privilege diminished after his retirement with a string of short-term successors who ranged from silly to terrible, but I valued my relationship with the choir enormously. We were fortunate to have a superb professional quartet joining the twenty or so volunteers, and we had a blast preparing and presenting all sorts of music from simple unaccompanied hymns to great oratorios with orchestra.

Each Thursday night, we opened our home after rehearsal, and at least half, sometimes all of the choir would show up. BYOB was the order of the day (though we made sure to have extra on hand, just in case), and we would order pizza or some appropriate substitute and spend a couple hours discussing the music we had worked on that evening, projects that various members were involved in outside the church, and simply nourishing our friendships. I have no doubt that the camaraderie of those many evenings enhanced our music-making by building special levels of trust and respect among that cheerful group of musicians.

Almost twenty years have passed since I faced and made the decision to leave all that and join the Organ Clearing House. I do not regret the choice, but I miss the fun and richness of working with that choir. Of all the aspects of playing the organ for worship, I miss most the pageantry of processional and recessional hymns—the movement of the sound of the choir through the building, the relationship between the choir and congregation, the ebb and flow of the poetry, and the wonderful feeling of producing all that acoustic sound to surround, lead, encourage, and inspire the congregation. As the choir mounted the chancel steps and split into the rows of center-facing choir stalls, I loved having eye contact with them as I played and they sang. Sometimes an exchanged wink would remind us of a joke, sometimes we simply reveled in the joy of it.

The living organ

Charles Brenton Fisk (1925–1983) was an innovative and inquisitive organbuilder and founder of the venerable firm C. B. Fisk, Inc. Charlie was revered by his coworkers for his Socratic teaching, inspiring creative thought by posing questions. He famously said, “The organ is a machine, whose machine-made sounds will always be without interest unless they can appear to be coming from a living organism. The organ has to appear to be alive.” I have often written that it is the challenge, even the responsibility of the organbuilder to remove the mechanics from the equation. Practically, it is impossible. Every organ has some elusive click, buzz, or hiss. But careful attention to fabricating techniques and quality control, especially being sure that moving parts are identical in form and function can tame the wild beast within.

Some organs, especially undistinguished organs with electro-pneumatic action, can seem like industrial products with lifeless tone, but when I am working inside an instrument, there is a big difference in the sensations I feel whether the blower is running or not. When the blower is not running, the organ is static and lifeless. When the blower is turned on, I hear and feel the air surging through the windlines, filling the reservoirs and pressurizing windchests. There may be a few creaks and groans as wind vessels fill. The organ gains breath and comes alive.

Organs that are conceived, intended, and built to seem alive are those that can become part of a community of music making in a church. They join the choir in air-driven acoustic musical leadership, that unique type of tone that carries and blends so well.

At one with the machine

In his book, Violin Dreams (Houghton Mifflin, 2006), Arnold Steinhardt, the now retired first violinist of the Guarneri String Quartet, wrote sensually about his relationship with his violin: “When I hold the violin, my left arm stretches lovingly around its neck, my right hand draws the bow across the strings like a caress, and the violin itself is tucked under my chin, a place halfway between my brain and my beating heart.” (page 5)

I have shared this quote in these pages several times over the years. When I first read it, I was touched by his eloquence about the intimacy of his relationship with his instrument, and I wondered further, what about the clarinetist or bassoonist who puts the business end of his instrument in his mouth. It does not get much more personal than that.

Compare that to the organist sitting on the bench at one end of a large room. She draws a simple stop, perhaps the most beautiful Diapason voice on the instrument, and plays a single note. If the organ has tracker action, the motion of her finger has moved a few levers to open a valve, releasing stored pressurized air to move into the pipe and produce tone.

If it is an electro-pneumatic organ, her finger has closed an electric contact (switch) sending current through a wire to an electro-magnet. The energized magnet moves a metal armature (valve), which opens one end of a pressurized channel to the atmosphere. The other end of that channel is closed by a leather pouch with a valve glued to it. When the pressure is released from the channel, the pouch collapses, pulling open the valve. It takes a lot more words to describe simply the motions of an electro-pneumatic action, and if it is a large instrument, there can be many more steps between key and valve including intermediate relays and switching. But in a well-built and well-regulated action, it all happens instantaneously.

That one motion of the organist’s finger sends a single tone across the vast space. It is similar to flipping a switch to turn on a light. But the lively thrill of playing the organ comes in the clever and seamless operation of the machine. Touch a button with your thumb and that single note releases a roar. Hold the note and flex your ankle, and the note gets softer. And to think you have done all this with a single note. Multiply those gestures exponentially, and you create a musical whole with an expressive range greater than that of a symphony orchestra, deftly skipping from one family of instruments to another, combining them, giving them solos, filling the room with complex tones.

Mr. Steinhardt is one of our greatest violinists. He can produce magic from that pound of spruce, producing a kaleidoscope of colors. He can shift from stentorian majesty to nimble coloratura. But Steinhardt’s kaleidoscope is miniscule when compared to the organist shifting from a mighty chorus of Tubas to a distant Aeoline. And the organist’s ability to superimpose a variety of tone colors simultaneously is unique in the world of music. The contrast between a Diapason and a Trumpet is the perfect example. The two voices may have the same volume level, but they are significantly different in harmonic structure. They can be compared one after the other, they can be contrasted, each being given an independent line of music, or they can be combined and played together. And that is just two stops. Multiply that by dozens or even hundreds, and the organist has a seemingly limitless variety of tone available at the touch of a finger. Or thousands of touches of fingers.

And that is where the seamless machine comes in. Recently, a colleague mentioned that he was using a sequence of forty-five pistons for a single decrescendo. What does that statement mean to a knowledgeable organist? First, it must be a huge organ to have that many pistons and enough stops to make that many meaningful changes in a single passage. Second, the organist is seeking a very grand, sweeping effect. Third, the organist is putting in a lot of work to prepare. Does it take an hour, two hours, or more of practice time to create such a sequence? Did he need to have a friend present to share in the listening as he made decisions? And we can assume (or hope) that this monumental organ is in a huge acoustic space. And that is one of the singular aspects of playing the organ—creating vast tonal structures in vast acoustic spaces. (I was right on all counts. It was David Briggs working on registrations for his new transcription of Bruckner’s Seventh Symphony at the Cathedral of Saint John the Divine in New York City on February 26.)

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A violin typically weighs less than a pound­—400 grams is usual. The luthier labors for months with a half dozen pieces of wood, each of which weighs a few ounces. We weigh pipe organs by the ton, and the process of building an organ involves thousands of hours of managing hundreds of components, some of which weigh as much as a ton. You see that big tower crown with moldings and carvings, sitting on top of a forty-foot organ case? And how did it get there? That’s right. People put it there. Notice how it is just a foot or two from the ceiling arch? And what does that mean? Right. There could be no hoisting point above it. People put it there without mechanical assistance.

How do we build a ten-ton machine whose mechanical presence can vanish under the fingers of an artist? Here are a few of the myriad issues to be considered by the organbuilder.

Architectural design

The excellent monumental organ should claim a commanding architectural presence in its surroundings. The organ relies on the building for the projection and blending of its tone, and the symbiotic relationship should include visual harmony. In that sense, the organ is the mouthpiece of the building.

Tonal structure

If an organ is intended for liturgical use in a large space, it must include:

• a wide dynamic range with individual voices carefully planned so as to allow subtle gradation between different levels of volume;

• enough variety of tone to satisfy the requirements of congregational leadership, expressive accompaniment of solo voices and choruses, festival outbursts, and the realm of solo organ literature;

• multiple keyboard divisions, each with a specific purpose and individual character, and each blending seamlessly with all the others.

Limitless lungs

A mentor and colleague once shared his mantra with me, “Air is the fuel we burn to produce organ tone.” If we are setting out to produce monumental tone in a monumental space, we are going to need a lot of fuel. It takes a hurricane of air to make one big bass pipe go. Once in a while, when servicing an organ, I have occasion to lift one of those big babies from its hole, and let me tell you, until you have experienced ten or fifteen inches of wind blasting through that six-inch hole, you cannot have full appreciation of the amount of energy involved in the speech of that pipe.

Add to that one toehole the hundreds involved in the last fortissimo chord of French toccata, and you might get a sense of what’s going on. A six-note chord with a hundred stops playing equals how many toeholes? A large organ blower might be able to move ten thousand cubic feet of air per minute at whatever pressure the organ is running on. How big is ten thousand cubic feet? It’s fifty by twenty by ten feet. A professional bowling lane is sixty feet long.

The machines and reservoirs that create and store the pressure are accurately regulated to provide pressure at a steady and constant rate. If the pressure varies, so does the pitch and intensity of the tone.

Sensitive mechanics

I have stressed several times the importance of silence of the organ’s mechanical systems. Once again, it is impossible, practically, to make such a complex and monstrous machine disappear. The listener may hear a “thump” from the console during a big registration change, a squeak from an expression shutter, a click from a distant primary valve. The organist and the organbuilder or maintenance technician cooperate to correct and repair those conditions as they arise. I know I have spent hundreds of hours crawling around in organs looking for extraneous mechanical noises. On more than one occasion, it has turned out not to be the organ at all, but a light fixture above the nave ceiling that rattles when low FFF# is played. The last time the bulb was changed, the custodian did not tighten all the screws.

The keyboards are regulated so that all feel alike, and the “strike point” of each is at precisely the same level. All the keys travel the same distance and have the same spring tension and weight.

Windchest actions are silent and consistent. Precision is essential in fabricating the mechanical parts of a pipe organ. Each must have exactly the dimensions, density, and weight in order to ensure that each note performs the same as the rest. The standard for the best pipe organ actions is the repetition rate. In both tracker and electro-pneumatic organs, the action must be free and capable of repeating faster than any human fingers can move. While many musicians assume that speed of attack is essential to rate of repetition, the offending issue is more often the (lack of) speed of release.

With all these factors faithfully executed and carefully balanced, the pipe organ becomes the perfect extension of the musician. It is an acoustic pantograph, expanding the scale of musical thought according to physical settings.

Community spirit

That organ, so beautifully balanced and scaled to its environment, is not only an extension of the thoughts and inspirations of the organist, but for the entire community of listeners and singers. While plant life takes in oxygen and produces carbon dioxide, a transformation that is essential to the balance of life, a pipe organ takes in air and exhausts air. The same air that runs through the works and the pipes of the organ is inhaled by the singers, soloists, choristers, and congregants alike, who in turn produce musical tone in harmony with the instrument. The inspiration and exchange of air enables the inspiration and exchange of musical ideas, emotional responses, worshipful experiences, and the range of human interaction. Those sensations are measured in goose bumps.

The organ in the church where I played last was not extraordinary, but it was a good, solid, pretty complete three-manual electro-pneumatic organ. It was in good condition and everything worked, and the independent voices blended nicely into choruses, with solo singers, the choir, and with the congregation. It was a familiar part of the family, and together we rode its broad back through countless adventures. It was a magic carpet ride with plenty of seats and cup holders. I loved it.

O praise ye the Lord! All things that give sound;

each jubilant chord re-echo around;

loud organs, his glory forth tell in deep tone,

and sweet harp, the story of what he hath done.

—William Henry Baker

So goes the third verse of hymn 432 in The Hymnal 1982 of the Episcopal Church. It is set to a soaring tune by C. Hubert H. Parry that is supported with rich and compelling, even dramatic harmonies. The tessitura is high, which allows space for broad chords­—it is a doozey of a hymn that is a blast to sing. And of course, anyone who has devoted a big part of life to playing, building, and working on pipe organs will be a sucker for this one. It does not take a rocket scientist to think of punching General 12 to start that third line, and do not forget to play the comma after “organs” for all it is worth. It was Claude Debussy who said, “Music is the silence between the notes.”

On Saturday morning, October 6, several hundred gathered at New York City’s Church of the Heavenly Rest, proudly placed on Fifth Avenue between the Cooper Hewitt Smithsonian Design Museum (the former home of Andrew Carnegie) and Frank Lloyd Wright’s iconic masterpiece, the Solomon R. Guggenheim Museum, for the memorial service of Steven Earl Lawson. Steve was the assisting organist at Heavenly Rest for twenty-one years, and a tireless active member of the New York City Chapter of the American Guild of Organists. You can read his obituary in the October 2018 issue of The Diapason, but it bears repeating that he has made contributions of inestimable value to the organ world through his creation of the New York City Organ Project, which chronicles hundreds (thousands?) of pipe organs in New York City, including specifications, photographs, and histories accompanied by histories of the buildings and parishes. For example, take a look at http://www.nycago.org/Organs/NYC/html/HeavenlyRest.html and see what Steve had to say about the organs at his church.

In addition to the New York City Organ Project, Steve contributed mightily to the Organ Historical Society Pipe Organ Database, where you can type keywords into a simple form and find documentation of thousands of pipe organs nationwide. Hundreds of us who work daily with pipe organs routinely reap the benefits of Steve’s dedication.

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Standing in that church last Saturday, surrounded by valued colleagues, I was moved to be reminded of the purpose of our work as organists and organbuilders. A tag-team procession of organists shared the bench, including Steve’s prolific and beloved octogenarian teacher, Wilma Jensen, each offering their talents in his memory. The large and talented choir, including many volunteers, gave freely of their autumn Saturday, singing a variety of beautifully chosen music including the sublime “Sanctus” from Gabriel Fauré’s Requiem. Fauré’s genius was evident in the shimmering ascending lines sung by the sopranos and later by the organ—vivid pictures of the freeing of a human soul to rest and life eternal.

It is hard work to devote one’s self to artistic expression. As you walk through a grand museum, you see countless examples of physical labor. I am not sure I have read anything about Renaissance painters suffering from carpal tunnel syndrome, but consider this: Peter Paul Rubens lived sixty-three years between 1577 and 1640. According to the catalog compiled by Michael Jaffé in 1989, there are 1,403 works attributed to Rubens. Rubens finished his apprenticeship and entered an artists’ guild in 1598, so let’s assume his first documented paintings were completed around the time he was twenty years old. That means he produced an average of more than thirty paintings a year. And that was before the Utrecht chain of art-supply stores was founded. Rubens had to spend a lot of time “hunting and gathering” the materials and supplies needed to make his paints.

A gallon of today’s latex paint weighs a little over eight pounds, and I assume that Rubens’s paints were heavier than that. At those rates, I suppose he shoveled a couple tons of paint onto canvas over his career, a dab at a time. Based on my experience of painting rooms in our house, I know that there were thousands of days when Rubens went home with aching arms and wrists. I read that he died of “complications from gout.” I share the diagnosis of the “disease of kings” and can add that along with his aching carpal tunnel, Rubens suffered a lot of serious pain in his life.

And I have to ask, just how did he do it? How can it be that a 375-year-old painting shimmers with life? Can you buy a tube of “Rubens’s Sunset” or “Rubens’s Nacreous” at a Utrecht store? No? I guess that is the definition of genius.

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Antonio Stradivari lived from 1644 until 1737. He built around 1,100 instruments including 960 violins, of which something like 500 are extant. As a young teenager, he apprenticed with Nicolai Amati and started making instruments under his own name around 1666. He was 93 years old when he died—let’s assume he stopped making violins at age ninety. That works out to about sixteen instruments per year across a sixty-nine year career, or an average of more than one each month. His work must have included traveling from Cremona, the city where he lived and worked, into the forested mountains to acquire materials. Along with his legendary professional career, he had an active personal life with ten children, three of whom worked in his shop.

Like Rubens’s paintings, Stradivari’s violins have stood the test of time, shimmering with life after 300 years. In recent days, we have heard the newest chapter in the dramatic story of a Stradivari violin. The “Ames” Strad was built in 1734, when Stradivari was ninety years old. It was owned by the virtuoso Roman Totenberg who taught at the Longy School of Music in Cambridge, Massachusetts. After a concert there in 1980, the instrument was stolen from Totenberg’s office by Phillips Johnson, an aspiring young violinist. Following Johnson’s death in 2015, his ex-wife and her present boyfriend were cleaning out closets and found the violin. She took it to an appraiser who gave the classic response, “I have good news, and I have bad news.”

The violin was returned to Totenberg’s daughters Amy, Jill, and Nina by the FBI through the office of New York District Attorney, Peet Bharara. Nina Totenberg’s stories about her father’s violin have been broadcast and published by National Public Radio where her voice is well known as NPR’s legal affairs correspondent. Her most recent story was published on October 9. You can read it at https://www.npr.org/2018/10/09/654490918/the-tale-of-the-stolen-totenbe….

In that story, Ms. Totenberg continues by telling of how she and her sisters have chosen to dispose of the instrument. She wrote that they “could sell it for oodles in Asia but would likely never hear it again.” They had placed the instrument in the hands of Rare Violins in New York City, where Ziv Arazi and Bruno Price were restoring it when “an angel” came forward, offering to buy it and place it on loan to deserving students. Eighteen-year-old Nathan Meltzer, a student of Itzhak Perlman and Li Lin at the Juilliard School, is the first to receive use of the instrument on a long-term loan. Nina Totenberg reports that he “already has enough of a career to pay the considerable insurance and maintenance costs.”

According to The New York Times, the “angel” paid between five and ten million dollars to purchase the instrument, which sounds like oodles to me but is a fraction of the record sixteen million paid for a Stradivari violin. An even more rare Strad viola was sold at auction in 2014 for $45,000,000. The Totenbergs chose this path in honor of their father’s devotion to teaching, and in the interest that his beloved instrument would be heard on the world’s stages “long after we’re gone.”

Some people think pipe organs are expensive but consider this: violins weigh between 400 and 500 grams, or something close to one pound which means violins can cost as much as $15 million a pound! In comparison, a three-manual pipe organ with sixty or seventy stops, a solid wood case, and steel frame weighs around 65,000 pounds and costs $1.5 to $2 million which is around $30 per pound. That’s quite a bargain!

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Last Saturday at the Church of the Heavenly Rest, sitting among a throng of colleague organbuilders, listening to the beautiful music and singing those rousing hymns, I was reflecting on the nature of organbuilding. I thought of the math and physics involved in the production and projection of acoustic tone. I thought of the myriad skills required, like woodworking, metalworking, engineering, logistics, rigging, and hoisting. A good organbuilder is well schooled in the history of the instrument including geographical influences, in the flow and volume of air, and the physics of musical tone.

There is a huge amount of pure heavy physical labor involved. That 65,000-pound organ I mentioned includes 65,000 pounds of parts that have to be built, painted, soldered, joined, and carried around the workshop countless times. That is 65,000 pounds of stuff that has to be sorted, wrapped, packaged, and loaded onto trucks, then taken out of the trucks and carried up the steps into the church. Sometimes when relocating a vintage organ, we take it apart, pack it and load it into trucks, unload it into storage, take it from storage to an organbuilder’s workshop, and then move it from the workshop to its final destination. That means lifting, carrying, sorting, and stacking 65,000 pounds of gear three times. That is a lot of cardio training.

Building a twenty-five-foot-tall organ case involves deriving a cutting list from drawings and running thousands of feet of rough lumber through jointer, thickness planer, table saw, and cut-off saw. It means cutting joints, gluing up panels and frames, cutting and mitering moldings, making everything fit together, and hoisting it all into place. Making wood trackers for a big organ is another long shift at the table saw, ripping carefully planed boards into hundreds of two-millimeter strips. Casting the metal for organ pipes means lifting sixty-pound ingots of metal into a melting pot. Be careful not to splash.

In March of 1982, my former wife and I were expecting our first child. In the days leading up to the “due date,” I was drilling holes in the rackboards of an organ. It was not a large organ, fewer than 1,000 pipes, but that was several days of work, changing the bit to a larger size every couple of holes. (Always start with the smallest holes, because if you make a mistake it is easier to make a hole bigger than to make it smaller!) I do not remember if I was making mistakes with drill sizes because I was preoccupied with the idea of becoming a father. Michael was born on a Thursday night, so I had to cancel choir rehearsal. We shipped that organ to Annandale, Virginia, that June, and Michael is now six foot, four inches and a magician with tools and sailboats.

If you are drilling 1,000 rackboard holes in a fifteen-stop organ, you are also drilling 1,000 holes in sliders and 1,000 holes in windchest tables. A big part of the art of organbuilding is knowing where to put the holes.

Many organ companies, including the Organ Clearing House, have heavy schedules of seasonal organ maintenance. We are in the north where the climate changes twice a year. While some organists like to have the organ tuned for Christmas and Easter, because organ tuning is affected by temperature, we like to think of the schedule as winter and summer. It is defined specifically by when the church’s heating system comes into use. If we tune in mid-to-late November, the organ will be ready for the winter season, and around here, Easter is still typically a winter holiday. We tune again in May, and the organ is ready for summer weddings.

I go to about forty organs each season. We arrange the schedule to group neighboring churches. Some organs can be serviced in a couple hours, so we can do three in a day. Most are half-day tunings. This adds up to about three weeks of driving from one church to another, carrying toolboxes into organ lofts, and climbing ladders. Today we have snazzy battery-powered work lights with brilliant LEDs. They are light and compact and have hooks and magnets on them so you get them to stay just where you need the light. But “back in the day,” we had “trouble lights,” incandescent bulbs with metals cages around them powered by heavy yellow cords. It was a trick to keep the cord out of the mixture, and when you were making a difficult repair in a tiny space, there was nothing like the feeling of that hot light scorching the sweaty skin on the inside of the arm.

If that repair involved making a new solder joint, there was nothing quite like that drip of solder on your cheek. I drew laughter from a co-worker when I dubbed a certain move the “Skinner Jerk.” That is when you kneel on a loose screw on a concrete floor, jump up, and hit your head on the torn slot of a bottom-board screw, and pull away leaving a tuft of hair caught in the compression spring. I can hear colleagues chuckling over this because I know we have all done it.

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Why do we go to all that trouble? Why do we go to all that expense, $30 per pound at 65,000 pounds? Why do we tax our bodies and our brains? That question was answered eloquently for me at Steve’s memorial service. There is a mighty organ at Church of the Heavenly Rest, with plenty of power to support lusty singing, and ethereal affects for the most-tender moments. That organ is maintained by Jim Konzelman, a familiar figure in the New York metropolitan area. He was present for the service, and I know he had spent many hours the previous week preparing the organ for Steve’s service. So many of Steve’s friends were there to play it. So many of Steve’s friends were there to listen and to participate.

We do this work because the results move people. I was surely moved last Saturday. It was a special thrill to sing with other organ tuners. It occurred to me that hardly any choir can tune accidentals and leading tones as well as a choir of tuners, there was just something about it.

The memories of a lifetime of hard work have been in mind all week. I know I have shared the story of façade pipes in Cleveland in these pages before. It was the summer of 1977, between my junior and senior years at Oberlin, and my mentor Jan Leek and I joined a crew of Hollanders from Flentrop to install the marvelous three-manual organ at Trinity Cathedral in Cleveland, Ohio. Jan is a first generation Dutchman and was a great friend of the Flentrop firm. The mahogany case was erect, and we were installing the façade pipes. It is a sixteen-foot façade of polished tin, and the pipes are very heavy and require careful handling. I was wearing a harness that could have been used to carry a flagpole in a parade. The toes of those huge pipes sat in the cradle, and as a team we climbed ladders and hoisted from above, guiding the precious and massive pipes into place.

When the day was over and Jan and I were walking down the nave to leave the church, we turned to look at the organ and saw those spangly new pipes reflecting a brilliant blue and red wash of afternoon light coming through the stained-glass windows. I burst into tears.

That’s why we do this.

Pipes, wind, and wood

During the 1960s and 1970s, a number of organ building firms were founded, dedicated to building mechanical-action pipe organs according to ancient principles. This proliferation has been generally called the “Tracker Revival,” among other names, but more to the point, it was a renaissance of the philosophy of building pipe organs in small workshops rather than in large factories. In the years leading up to World War II, the larger American organ building firms adopted mass-production practices and controlled expenses diligently, which diminished the artistic and musical content of the instruments.

The idea of building pipe organs by hand was revolutionary, and there was a steep learning curve for these artisans. Early in the twentieth century, most American organs used relatively high wind pressure. Four inches on a water column was common, and firms like the Skinner Organ Company routinely used pressures from four to six inches on the Great, six to eight on the Swell, and often included Solo Tubas on ten, twelve, and even twenty-five inches. Such high pressures in large organs were only made possible by the invention of the electric blower that could produce huge volumes of pressurized air. Historic European organs typically used pressures of three inches or less (remember that before about 1900 pipe organs were blown by human power), and twentieth-century American builders, starting more or less from scratch, had to learn anew how to make large organ pipes speak beautifully on low wind pressure.

A critical part of measuring wind pressure is volume. The output capability of an organ blower is measured in cubic feet per minute at a given pressure. And in a mechanical-action organ with slider windchests, the delivery of pressurized air from the blower depends on the dimensions of the windlines from blower to reservoir to windchests, of windchest tone channels, of pallet (valve) openings, toe holes sizes in both windchests and pipes, and many other minutia. Several years ago, I visited the huge Beckerath organ at the Oratory of Saint Joseph in Montreal while the people of Juget-Sinclair were at work on the renovation and was amazed to see that small paper tubing was used to provide wind for the behemoth 32′ façade pipes, demonstrating that in the 1950s, venerable European firms were also busy learning how to do great things with low wind pressure.

E. Power Biggs released his influential two-record set, The Golden Age of the Organ, featuring the organs of Arp Schnitger and the chorale preludes of Ernst Pepping in 1968. That recording was a bellwether, as important as any single document in the inception of the new age of organ building. I wore holes in those LPs as a teenager, poring over the published specifications, gobbling up Pepping’s cheerful leaping music, and forming a lifelong relationship with Bach’s transcription of Vivaldi’s Concerto in D Minor. The gorgeous tones of the 8′ Principal in the Pedal with intertwining 4′ stops playing the violin are fully in my ears as I write.

John Brombaugh established his company in 1968 in Middletown, Ohio, and gathered a group of five partners that included John Boody and George Taylor. In the following years, an absolute who’s who of the twentieth-century pipe organ worked in Brombaugh’s shop, including many who went on to form their own companies. Brombaugh was one of the first to dig hard into the study of older organs in Europe, taking thousands of measurements, trying to learn what made those instruments sound so wonderful, and bringing that information back to the workshop to convert the numbers into music.

Ten years after starting the company in Ohio, when Brombaugh was eager to move the company to Oregon, George Taylor and John Boody chose to stay and form their own company in Middletown. As part of the dissolution of the partnership, Brombaugh passed on to them a contract for a new organ of two manuals and eighteen stops for the Presbyterian Church of Coshocton, Ohio. George and John set up shop in John’s garage to build the organ. It was completed in 1979, and Harald Vogel played the dedicatory recital.

As they were finishing the organ in Coshocton, they dreamed of purchasing a school building, thinking that with high ceilings, big windows, and wood floors, such a building would make a great workshop. George’s sister was graduating from Mary Baldwin College in Staunton, Virginia. George and John drove down to attend, and a college friend of George’s suggested an old school in town that was available. During a short visit, they immediately started talking about the price and bought the building for $11,000. More than forty years later, Taylor & Boody is still building organs there.

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John Boody and I have shared a special bond as I maintained the E. & G. G. Hook & Hastings organ (Opus 635, 1872) in the First Baptist Church in Wakefield, Massachusetts, where John grew up and where his grandfather had been pastor. (Sadly, the church and organ were destroyed by fire on October 24, 2018.) We have been friends for a long time and have shared many a meal, wiling away convivial hours, and we have collaborated a few times. I spent a cheerful ninety minutes on the phone with John on January 10, 2021, hearing his thoughts about the history of Taylor & Boody.

John expressed gratitude for the opportunities he and George had to study European organs. He talked especially about their encounter with the 1702 Schnitger organ in the Aa-Kirk in Groningen, the Netherlands, where with Lynn Edwards and Cor Edeskes they had the privilege of removing the pipes from the iconic organ for exact measuring. They measured the windlines and other components of the wind system, measured critical dimensions of the windchests, and analyzed the structure of the organ. John spoke with reverence about blowing on those ancient pipes and how the experience defined the future of their work. “That really set the pace for us. That was before we plugged in a machine.” 

After that first organ in Coshocton, Ohio, several modest contracts came their way. Arthur Carkeek, professor of organ at DePauw University, Greencastle, Indiana, advocated Taylor & Boody to build a twenty-two-stop organ for the First Christian Church in Vincennes, Indiana (Opus 4, 1981). There followed a twenty-stop organ in Cincinnati, twenty-four stops for Richmond, Virginia, and a couple of one-manual organs, before they got to Opus 9 (1985), a four-manual organ with fifty-two stops for Saint Joseph’s Chapel at the College of the Holy Cross in Worcester, Massachusetts.

Late in our conversation, I asked John how he would define the work of Taylor & Boody. “It’s that sound we made at Holy Cross where we had all those lead pipes working together. We never built a squeaky organ like other people thought Baroque organs should be; our organs have that dark, chocolate, choral sound, the core of the organ was different. I think that really grabbed people’s attention, and that has worn well. And Grace Church, New York, still has that, and Saint Thomas Church Fifth Avenue. So that has stuck with us. And I think that, for me, that’s what makes an organ an organ. It’s that Principal, choral sound.” Their first few organs were built with the memories of that Schnitger organ fresh in their minds, and the opportunity to build the large organ at Holy Cross established the identity of their work.

John and I talked generally about the work of some of our colleagues, and I made the comment, “there’s a group among us who tip their hat to Mr. Skinner every time they get out of bed.” 

Boody: “That’s good, and that’s bad. I would say we have to move ahead.” 

Bishop: “Somebody listening to what John Boody just said would answer, haven’t you been looking 300 years back ever since you first had a chisel in your hand?”

Boody: “No, exactly the opposite. We were looking to the future. We wanted to build organs that stand tall into the future, that people would love on their own merits.”

Bishop: “So how do you translate the influence of Niehoff and Schnitger into the future?”

Boody: “You have to go with the music. You have to think of all the mechanical parts and other components you make in the shop as a conduit to making music. And you have to think about how all those parts work together. We focused on the music.”

The means of Grace

The Taylor & Boody organ at Grace Church in New York (Opus 65, 2013) was both a departure and continuation in the history of their work. Wendy and I live at Broadway and East 9th Street in Manhattan (Greenwich Village), Grace Church is at Broadway and East 10th. While the organ installation was underway, I shared some grand evenings with John and his co-workers, both in neighborhood restaurants and in our apartment. They were working on a complex instrument (tracker action in three separate cases with a remote console, and an “action tunnel” under the floor of the chancel), and those evenings were bright and fun.

That landmark organ with four manuals and seventy-six stops combines the Schnitger heritage of those marvelous “choral” choruses of lead Principals with the expressive range of the best Skinner organs. Acoustic scientist Dana Kirkegaard stipulated the construction of the expression boxes: two-inch-thick poplar lined on both sides with three-quarter-inch plywood, making a massive and dense enclosure, and shutters everywhere, even on the back of the box, shutters with an unusual range of motion, the whole providing an astonishing expressive effect. All that, plus a sophisticated solid-state combination action, sensitive mechanical action, and a few solo voices on really high pressure, combine to make an exciting instrument capable of countless effects. But wait, there’s more! Standing in the rear gallery, more than a hundred feet from the organ, are the lowest twelve notes of the 32′ Open Wood Diapason, all that remains of Skinner Organ Company Opus 707, built for Grace Church in 1928. Those twelve pipes were restored with a discreet wind supply and wired as an extension to the new 16′ Double Open Diapason of the Taylor & Boody organ, a fitting bottom to the grand new organ and testament to the musical history of the church.

Wind

As John Boody and I talked about the Grace Church organ, he spoke especially of the wind system. Superficially, we think of the pipe organ as a keyboard instrument. In fact, it is a wind instrument operated by keyboards. The organ at Grace Church has more than a dozen 16′ stops and twenty 8′ flue stops. Making an organ like that go is all about moving wind. John spoke proudly of the fellow in their shop primarily responsible for the wind system with large capacity wood wind ducts with curves for turns rather than right angles, those gentle turns moving the wind in different directions without creating eddies that can disturb the speech of the pipes. 

Multiple parallel-rise reservoirs ensure that there’s plenty of volume available to make those big sounds and that the wind is regulated effectively so there is no whiplash from a sudden shift from ffff to ppp. There is a lifetime of thought and experimentation in the wind system of each Taylor & Boody organ.

Pipes

There are a number of companies in the United States and Europe that make organ pipes to the specifications of the organ builders who order them. Pipe making is a complicated art that involves considerable specialized equipment for melting, blending, casting, planing, hammering, cutting, and soldering metal. It takes a lot of investment and effort for a small company to develop those abilities, but Taylor & Boody committed early to the idea that they should make their pipes. There is a room in their workshop with the cauldron for melting and mixing alloys and a ten-foot-long casting table. Molten metal is ladled and poured into a wood hod that runs on rails along the sides of the casting table. When the hod is full, two workers walk it swiftly down the table, leaving a thin pool of shiny molten metal. I have witnessed this process there, marveling at the moment a few seconds after the sheet is cast when the metal flashes over from liquid to solid.

When the sheet has cooled, it is rolled up like a carpet so it can be safely transported to the next steps in the process. John talked about the importance of the precision of making pipes. If a pipe is not neatly made, the voicer has to try to correct the pipe maker’s mistakes. John’s daughter-in-law B. J. Regi makes all the smaller pipes. John said, “she makes exquisite pipes. And you know, that’s the deal. If you go to start voicing an organ and everything’s lined up well, the mouths are beautiful, and the windways are pristine, you can make good sound right away.” Robbie Lawson heads the pipe shop, and B. J. helps him with the larger pipes. 

Wood

John Boody attended the forestry school at the University of Maine at Orono (he holds a Bachelor of Arts degree in vocal performance) and has loved and respected wood throughout his career. Taylor & Boody has a sawmill where they cut all the lumber used in their organs. After it is sawn into boards, the wood is dried in a kiln made from a retired refrigerated (and therefore insulated) semi-trailer. The lumber is stacked neatly in piles, separated by the organ. In 2009, Wendy and I visited Thomas Jefferson’s home at Monticello, and we spent a night with the Boodys. (We were treated to fresh eggs from John’s chickens for breakfast.) John showed us the huge oak logs from which the matching organ cases of the Grace Church organ would be made.

The sawmill provides the company with the most desirable wood, especially quarter-sawn white oak. Black walnut has beautiful grain patterns and rich color. It is very expensive to purchase from a hardwood supplier, and it is typically used only for decorative casework and furniture. But since walnut trees are plentiful in their area and they are messy to have in your yard, neighbors often cut down walnut trees and offer the logs to the T&B sawmill. This allows them to use the stable and beautiful wood to make action parts and wood organ pipes. Carefully milled, beautiful lumber is a hallmark of Taylor & Boody organs.

John’s affinity with wood is so widely respected that he has recently started writing a regular column for the journal of the International Society of Organbuilders called “The Wood Guy,” in which he answers colleagues’ specific questions and writes about the wonders of wood, that most natural of materials.

And the hope of glory

Eighty organs in forty years. Some are small continuo organs. Some are larger one-manual organs. Many are two-manual organs with twenty or thirty stops. There are a bunch with three manuals, and a couple of four-manual doozies. As the company produced all those organs, they also produced a clan. John has retired from the workshop, though he still runs the sawmill, the “light-duty” job for the older guy, and George is preparing to retire. John’s son Erik is running the company, and his daughter-in-law B. J. and son-in-law Aaron Reichert are both part of the workshop.

John is a prolific gardener. Looking at his Facebook page during the summer, you might think they were going to make zucchinis into organs. There is a swirl of grandchildren about. I recently saw a photo of a wee lass pushing a broom in the sawmill. It’s been a lifetime since those twenty-something partners were digging into that Schnitger organ in Groningen, understanding what the old master had to offer, and converting that experience into a creative career.

Halfway through our conversation, the name of a mutual friend and colleague came up, and John’s gregarious personality shone through. “He’s a dear man. And you think of our whole trade, we have great people. I love to go to APOBA meetings, I love to go to the AIO. Right down to the little one-man-shop guys, there are some great people out there.” John Boody and George Taylor have been faithful members of that band of great people. Their organs have influenced countless musicians around the world, and they reflect and amplify the harmonies of the workplace they founded in the schoolhouse on the hill.

Photo caption: Taylor & Boody workshop, Christmas 2020 (photo courtesy Taylor & Boody Organbuilders)

How does it work?

It happened again. I sat at this desk for days mud wrestling with an unruly topic for this column. Twice I had more than a thousand tortured words on the screen, went upstairs for a break, and came back to Ctrl-Shift-A-Delete. But Anthony Tommasini, music critic for The New York Times, came to my rescue with his article under the headline, “Why Do Pianists Know So Little About Pianos?,” published November 12, 2020. This article was born as the outbreak of COVID-19 got rolling in New York City last March and his piano needed tuning, but his apartment building was locked down and workers from outside were not allowed in except for emergencies. “An out-of-tune piano hardly seemed an emergency.”

He quotes the brilliant Jeremy Denk as not knowing “the first thing about piano technology.” Denk, whose playing I admire deeply and who like me is an alumnus of Oberlin College, had the same issue as Tommasini when his building locked down, but convinced the superintendent of his apartment building that because playing the piano is his profession, his tuner should be accepted as an essential worker. It worked.

Tommasini singles out Mitsuko Uchida as one prominent pianist who is an intimate student of piano technology. He quotes her as saying, “you get stuck when the weight is different key to key, the piano has been sloppily prepared, and the dampers have not been adjusted—or the spring in the pedal.” She went on, finding trouble when “the pin underneath the key [guide pin] is dirty, or the other pin in the middle of the mechanism [balance pin] is dirty, rubbing, or slurping.” I love the word slurping in this context.

Tommasini reminds us that orchestral players know more about their instruments than most pianists, and that unlike pianists, orchestral players own their instruments and can carry them with them between performances. Vladimir Horowitz traveled with his own piano, but then, Horowitz was Horowitz. You tell him “No.” Unusual among modern pianists, Mitsuko Uchida travels with her own piano. When Tommasini asked her if the institutions where she plays cover that cost, she said “usually not.” But she went on, “I have no excess otherwise. I don’t need country houses, expensive jewelry, expensive cars, special collections of whatever.” I suppose her usual fees cover that cost and still provide her with lunch money.

Tommasini concluded the column: Back at my apartment, the technician finally dropped by, tuned my piano, and made mechanical tweaks to a few of the keys. Afterward, it felt and sounded vastly better. I have no idea what was involved.

Press the key and the pipe blows.

The pipe organ is the most complex of all musical instruments. It is such a sophisticated machine that other musicians, including some world-renowned orchestral conductors, consider it to be unmusical. While a violinist or clarinetist can accent a note by applying a touch more energy, what a single organ pipe can do is all it can do. The organist can accent a note by tweaking the rhythm—a nano-second of delay can translate into an accent—or by operating a machine. A twitch of the ankle on the Swell pedal does it, so does coupling a registration to another keyboard with a soft stop so a note or two can be accented by darting to the other keyboard. The creative organist has a bag of tricks that bypass the mechanics and allow the behemoth to sing.

I have been building, restoring, repairing, servicing, selling, and relocating pipe organs for over forty-five years, and I know that many organists have little idea of how an organ works, so I thought I would offer a short primer. If you already know some or most of this, maybe you can share it with people in your church to help them understand the complexity. In that case, it might help people, especially those on the organ committee, understand why it is so expensive to build, repair, and maintain an organ.

Pipes and registrations

A single organ pipe produces a tone when pressurized air is blown into its toehole. The construction of the pipe is such that the puff of air, which lasts as long as the key is held, is converted to a flat “sheet” that passes across the opening that is the mouth of the pipe. The tone is generated when the sheet is split by the upper lip of the mouth. This is how tone is produced by a recorder, an orchestral flute, or a police whistle. Organ pipes that work this way are called “flue pipes,” and there are no moving parts involved in tone production. Reed pipes (trumpets, oboes, clarinets, tubas, etc.) have a brass tongue that vibrates when air enters the toehole: that vibration is the source of the tone.

Since each pipe can produce only one pitch, you need a set of pipes. We call them ranks of pipes, with one pipe for each note on the keyboard to make a single organ voice. Additional stops are made with additional ranks. There are sixty-one notes on a standard organ keyboard. If the organ has ten stops, there are 610 pipes. Pedal stops usually have thirty-two pipes.

The Arabic numbers on stop knobs or tablets refer to the pitch at which a stop speaks. 8′ indicates unison pitch because the pipe for the lowest note of the keyboard must be eight feet long. 4′ indicates a stop that speaks an octave higher, 2′ is two octaves higher, 16′ is an octave lower. Some stops, such as mixtures, have more than one rank. The number of ranks is usually indicated with a Roman numeral on the stop knob or tablet. A four-rank mixture has four pipes for each note. The organist combines stops of different pitches and different tone colors to form a registration, the term we use to describe a group of stops chosen for a particular piece of music or verse of a hymn.

The length of an organ pipe determines its pitch. On a usual 8′ stop like an Open Diapason, the pipe for low CC is eight feet long, the pipe for tenor c° is four feet, for middle c′ is two feet, and the highest c′′′′ is about three inches. Every organ pipe is equipped with a way to make tiny changes in length. Tuning an organ involves making those tiny adjustments to hundreds or thousands of pipes.

Many organs have combination actions that allow an organist to preset a certain registration and recall it when wanted by pressing a little button between the keyboards (piston) or a larger button near the pedalboard to be operated by the feet (toestud).

Wind

When playing a piece of music on an organ, the little puff of air through each organ pipe to create sound is multiplied by the number of notes and the number of stops being used. Play the Doxology, thirty-two four-note chords, on one stop and there will be 128 puffs of air blowing into pipes. Add a single pedal stop to double the bass line and you will play 160 pipes. Play it on ten manual stops and two pedal stops, 1,384. A hundred manual stops (big organ) and ten pedal stops, 6,420, just to play the Doxology, a veritable gale.

Where does all that wind come from? Somewhere in the building there is an electric rotary blower. In smaller organs, the blower might be right inside the organ, in larger organs the blower is typically found in a soundproof room in the basement. The blower is running as long as the organ is turned on, so there needs to be a system to deal with the extra air when the organ is not being played, and to manage the different flow of air for small or large registrations. The wind output of the blower is connected to a unit that most of us refer to as a bellows. “Bellows” actually defines a device that produces a flow of air—think of a fireplace bellows. Before we had electric blowers, it was accurate to refer to the device as a bellows. When connected to a blower that produces the flow of air, the device has two functions, each of which implies a name. It stores pressurized air, so it can accurately be called a reservoir, and it regulates the flow and pressure of the air, so it can accurately be called a regulator. We use both terms interchangeably.

Between the reservoir/regulator and the blower output, there is a regulating valve. Sometimes it is a “curtain valve” with fabric on a roller that operates something like a window shade, and sometimes it is a wooden cone that seats on a big donut of felt and leather to form an air-tight seal. In either case, the valve is connected to the moving top of the reservoir/regulator. When the blower is running and the organ is not being played, the valve is closed so no air enters the reservoir. When the organist starts to play, air leaves the reservoir to blow the pipes, the top of the reservoir dips in response, the valve is pulled open a little, and air flows into the reservoir, replenishing all that is being used to make music by blowing pipes.

Weights or springs on the top of the reservoir regulate the pressure. The organ’s wind pressure is measured using a manometer. Picture a glass tube in the shape of a “U,” twelve inches tall with the legs of the “U” an inch apart. Fill it halfway with water, and the level of the water will be equal in both legs. With a rubber tube, apply the pressure of the organ’s wind, and the level of the water will go down on one side of the “U” and up on the other. Measure the difference and voilà, you have the wind pressure of the organ in inches or millimeters. It is common for the wind pressure to be three inches or so in a modest tracker-action organ. In a larger electro-pneumatic organ, the pressure on the Great might be four inches, six inches on the Swell, five inches in the Choir, with a big Trumpet or Tuba on twelve inches. The State Trumpet at the Cathedral of Saint John the Divine in New York City is on 100 inches. I used to carry a glass tube full of water into an organ, a risky maneuver. Now I have a digital manometer.

In a small organ, the blower typically feeds a single reservoir that regulates the flow and pressure and distributes the wind to the various windchests through wind conductors (pipes), sometimes called wind trunks. In larger organs, it is common to find a regulator in the basement with the blower, and big pipes that carry wind up to the organ where it distributes into various reservoirs, sometimes one for each keyboard or division. Very large organs have two, three, four, or more windchests for each keyboard division, each with its own reservoir. A large bass Pedal stop might have one reservoir for the lowest twelve notes and another for the rest of the stop. And speaking of big pedal stops, the toehole of the lowest note of something like a 16′ Double Open Wood Diapason can be over six inches in diameter. When that valve opens, a hurricane comes out.

Windchests

The organ’s pipes are mounted on windchests arranged in rows on two axes. All the pipes of one rank or stop are arranged in rows “the long way,” and each note of the keyboard is arranged in rows “the short way.” The keyboard action operates the notes of the windchests, and the stop action determines which sets of pipes are being used. Pull on one stop and play one note, and one pipe plays. Pull on five stops and play a four-note chord, and twenty pipes play. In a tracker-action organ or an electric-action organ with slider chests, the keyboard operates a row of large valves that fill a “note channel” when a note is played and a valve opens. The stops are selected by sliders connected to the stopknobs, which have holes identical to the layout of the holes the pipes are sitting in. When the stop is off, the holes do not line up. When the stop is on, they do, and the air can pass from the note channel into those pipes sitting above open sliders.

It is common in electro-pneumatic organs for there to be an individual valve under every pipe. There is an electric contact under every note on the keyboard, a simple switch that is “on” when the note is played. The current goes to the “primary action” (keyboard action) of the windchest. The stops are selected through various devices that engage or disengage the valves under each set of pipes. When a note is played with no stops drawn, the primary action operates, but no pipe valves open. The stopknobs or tablets have electric contacts similar to those in the keyboards. When a stop is turned on and a note is played, a valve opens, and a pipe speaks.

We refer to “releathering” an organ. We know that the total pipe count in an organ is calculated by the number of stops and number of notes. An organ of average size might have 1,800, 2,500, 3,000 pipes. Larger organs have 8,000 or 10,000 pipes, even over 25,000. The valves under the pipes are made of leather, as are the motors (often called pouches) that operate the valves. Releathering an organ involves dismantling it to remove all the internal actions, scraping off all the old leather, cutting new leather pieces, and gluing the motors and valves in place with exacting accuracy. The material is expensive, but it is the hundreds or thousands of hours of skilled labor that add up quickest.

It’s all about air.

We think of the pipe organ as a keyboard instrument, but that is not really accurate. A piano’s tone is generated by striking a string that is under tension and causing it to vibrate. That is a percussion instrument. The tone of the pipe organ is generated by air, either being split by the upper lip of the organ pipe or causing a reed tongue to vibrate. The organ is a wind instrument. When we play, we are operating machinery that supplies and regulates air, and that controls the valves that allow air to blow into the pipes. When I am playing, I like to think of all those valves flapping open and closed by the thousand. I like to think of those thousands of pipes at the ready and speaking forth when I call on them like a vast choir of Johnny-One-Notes. I like to think of a thousand pounds of wood shutters moving silently when I touch the Swell pedal. I believe my knowledge of how the organ works informs my playing.

A piano is more intimate than a pipe organ, though technically it is also played by remote control as a mechanical system connects the keys to the tone generation. I am not surprised, but I am curious why more pianists do not make a study of what happens inside the instrument when they strike a key. I believe it would inform their playing. A clarinetist certainly knows how his tone is generated, especially when his reed cuts his tongue.

I have always loved being inside an organ when the blower is turned on. You hear a distant stirring, then watch as the reservoirs fill, listen as the pressure builds to its full, and the organ transforms from a bewildering heap of arcane mechanical gear to a living, breathing entity. I have spent thousands of days inside hundreds of organs, and the thrill is still there. 

That’s about 1,800 words on how an organ works. My learned colleagues will no doubt think of a thousand things I left out. I was once engaged to write “Pipe Organs for Dummies” for a group of attorneys studying a complex insurance claim. It was over twenty-five pages and 15,000 words and was still just a brief overview. Reading this, you might not have caught up with Mitsuko Uchida, but you’re miles ahead of Jeremy Denk.

A postscript

In my column in the November 2020 issue of The Diapason (pages 8–9), I mentioned in passing that G. Donald Harrison, the legendary president and tonal director of Aeolian-Skinner, died of a heart attack in 1956 while watching the comedian-pianist Victor Borge on television. The other day, I received a phone message from James Colias, Borge’s longtime personal assistant and manager, wondering where I got the information. I have referred to that story several times and remembered generally that it was reported in Craig Whitney’s marvelous book, All the Stops, published in 2003 by Perseus Book Group. Before returning Colias’s call, I spoke with Craig, who referred me to page 119, and there it was.

I returned Mr. Colias’s call and had a fun conversation. He told me that he had shared my story with Borge’s five children (now in their seventies). He also shared that when Victor Borge was born, his father was sixty-two-years-old, so when he was a young boy, he had lots of elderly relatives. His sense of humor was precocious, and when a family member was ailing, he was sent to cheer them up. Later in life, Borge said that they either got better or died laughing. I guess G. Donald Harrison died laughing.

Photo: Tracker keyboard action under a four-manual console, 1750 Gabler organ, Weingarten, Germany. (photo credit: John Bishop)

Let’s hoist a few.

On September 24, 2023, Alyson Krueger published an article in The New York Times under the headline, “My Running Club, My Everything,” telling of the culture of running clubs in New York City in which twenty-five or more people gather at a specified meeting place and run together for four or five miles. She described an outing of the Upper West Side Running Club that met at the American Museum of Natural History (Central Park West at Eighty-First Street) where members ran a loop around Central Park and wound up at the Gin Mill on Amsterdam Avenue at Eighty-First Street, one block west of the museum. I chuckled as I read because the Gin Mill is a favorite after hours haunt of the Organ Clearing House crew. I wonder how many of you reading this have sat there with our guys?

The Gin Mill has a happy hour routine with discounted drinks, and if you are anything like a regular and the bartender knows you, it seems as if you are charged by the hour. Your glass gets magically and repeatedly refilled, and the closing check is a nice surprise. I have spent quite a few evenings there, but our boots-on-the-ground crew has spent dozens. In 2010 the crew spent most of the summer hoisting organ parts into the chambers at the Cathedral of Saint John the Divine, followed by hoisting pints and other concoctions at the Gin Mill. Numerous subsequent projects have allowed reunions with the friendly staff there—friendly to good natured partyers, but hard on bad apples.

Since so many of our projects involve hoisting organ components in and out of balconies, towers, and high chambers, I spend a lot of time talking with scaffolding vendors around the country. I have first-name relationships with reps in a dozen cities, as well as with our personal representatives from national scaffolding vendors. We own several electric hoists, including one with a 100-foot reach purchased for that job at Saint John the Divine that can hoist a 2,000-pound load 100 feet in two minutes with a soft start and stop. A multiple-week job like that means that someone has held a finger on the up or down button for dozens of hours. We like to ship our own hoist across the country because specialized rental equipment like that can be hard to find and in poor condition. In a usual setup, the hoist is hung from a trolley that rolls on an I-beam so a heavy load like a four-manual console or ten-stop windchest can be lifted clear of a balcony rail, trolleyed out over the nave floor, and safely lowered. Safely for the console, safely for our crew.

The bells, the bells

Wendy and I left our apartment in Greenwich Village on the heels of the pandemic and moved early last year to bucolic Stockbridge in western Massachusetts, about five miles from the New York border. Our house is three doors up Church Street from Main Street where stands the granite Children’s Chime Tower on the Village Green that is shared by the First Congregational Church. After we moved in, we were delighted to learn that we can hear the largest bell ringing the hour, every hour, from the house—no more wondering what time it is in the middle of the night.

The tower was built in 1879, the gift of David Dudley Field II, son of David Dudley Field, pastor of the Congregational Church, and his wife, Submit (really). David II was a prominent New York politician and attorney who represented William Magear “Boss” Tweed in his Tammany Hall embezzlement trial. (Tweed died in prison.) David II dedicated the tower to his grandchildren, stipulating that the chimes should be played every day from “apple blossom time to first frost.” His grave is in the Stockbridge Cemetery, just across Main Street from the Chime Tower. My grandfather was rector of Saint Paul’s Episcopal Church in Stockbridge when I was a kid, and I remember sitting on that green with my grandmother at picnic suppers listening to recitals on the chimes. The music was simple as there are only eleven bells, but since it was more than fifty years ago, I remember it as grand. That tradition continued until recently when the timber frame supporting the chimes was deemed unsafe due to an infestation of carpenter ants.

The big bell continued to ring every hour until a storm caused a power failure last spring, stopping the clock at 2:16. The clock was not reset after the storm, leaving us wondering about the time during the night. At the last town meeting, the citizens approved rebuilding the chimes with a new steel frame, refurbishing the chimes’ playing action, replacing the roof, and re-pointing the stone work.

I was returning to Stockbridge last week from our place in Maine and saw a large crane set up next to the tower. I went home, unloaded the car, walked back to the green with Farley the Goldendoodle to see what was going on, and I found three men from the Verdin Company of Cincinnati, Ohio, preparing to hoist the bells back into the tower. They had removed them earlier in the week, placing them on a flat-bed trailer owned by the town so they could be driven to safety overnight at the public works yard a half-mile away. The new steel frame was in place, and they were hoisting the bells with their new striking mechanisms back into the tower.

In the twenty months since we moved to town, we had only heard the largest bell as it tolled the hours, but now, as the people from Verdin were putting things together and testing the new actions, I heard all the bells for the first time in more than fifty years. At least one of the technicians knew how to play a little so a few hymns and a couple children’s songs wafted up the street to our house. Before they left town, they set and started the clock, freeing it from 2:16 to cover all 720 minutes of the twelve-hour cycle. The morning after the first night of tolling the hour, I was walking Farley a few minutes before 7:00 and ran into our neighbor Marty with Brody the Labrador at the poop-bag kiosk across from the tower. When the bell tolled the hour and we were chatting about the return of the bells, Marty told me that Stewart across the street used to play the chimes and was looking forward to volunteering again when the rest of the work on the tower is complete and the chime goes back into service. I suppose I will, too.

Doing it the old-fashioned way

After Wendy and I visited Florence, Italy, in May 2023, I wrote about the hoisting equipment designed by Filippo Brunelleschi for the construction of the dome of the cathedral there. He had won the design competition in 1418, and construction started in 1420 on what is still the largest unsupported dome in the world. Brunelleschi’s hoisting gear was powered by oxen walking on a circular treadmill on the floor of the cathedral, a rig that was a lot messier and required more maintenance than what we use on our job sites. He made use of blocks and tackle, the same as used to handle the rigging of sailing ships. It is fun to picture workers hauling hay into the church to feed the oxen, and I suppose there was a poop-bag kiosk there also.

The real genius of Brunelleschi’s hoist was the crane at the top that could transfer stones weighing thousands of pounds laterally to every spot in the circumference of the dome. In the world of rigging, it is one thing to hoist a heavy load vertically; it is a very different challenge to move horizontally from under the hoisting point.

We marvel at ancient feats of lifting. Stonehenge in Wiltshire, England, is believed to be between four- and five-thousand years old. It includes some thirty stones, some as heavy as twenty-five tons. The stones came from a quarry sixteen miles away—simply bringing them to the site was effort enough. In most American states, the weight limits on tandem axles of commercial trucks are between 25,000 and 40,000 pounds. Rhode Island has the highest limit, 44,800 pounds, which is about the weight of one of the stones at Stonehenge. The Grove crane that was helping my friends from Verdin hoisting bells is a robust machine with a fifty-ton lifting capacity. The engineers and laborers at Stonehenge would have been pleased with help from Gary the crane operator.

We visit iconic churches in Europe built in centuries past and admire their seventeenth- and eighteenth-century organs. The monumental organ completed in 1738 by Christian Müller at the church of Saint Bavo in Haarlem, the Netherlands, has 32′ pipes in the pedal tower. As modern organbuilders, we know how much work it is to handle things like that. Those eighteenth-century craftsmen worked very hard.

I was twenty-one years old when my mentor John Leek and I helped a crew from Flentrop in Zaandam, the Netherlands, install the three-manual organ at Trinity Episcopal Cathedral in Cleveland, Ohio. The organ has a beautiful twenty-five-foot mahogany case topped with a massive crown with heavy moldings that stands on a pedestal balcony something like fifteen feet above the floor. The balcony is shallower than the organ case so when you are up on top, you look straight down to the floor.

There is a polished 16′ Principal in the façade, and come to think of it, we installed that organ using technology and equipment similar to that used by Brunelleschi, lifting everything to the balcony and into the organ using a block-and-tackle with hemp rope. Looking back, it would have been a lot more pleasant had anyone thought of using nylon rigging rope like you find on a modern sailboat because that hairy, prickly hemp was hard on our hands. The heaviest piece of the organ was the impost frame with the huge moldings that form the bases of the case towers and the rigid structure that connects the lower and upper cases. I suppose it weighed around 1,500 pounds; so instead of oxen, there was me and a young guy from Flentrop pulling on the rope. We were much neater and easier to maintain than Brunelleschi’s oxen. My sixty-seven-year-old shoulders and back could no more do that kind of work now than fly me to the moon.

To lift the big shiny façade pipes up to the case, a co-worker picked up the top of the pipe and climbed a ladder from the nave floor to the balcony as others moved the toe end toward the ladder, bringing the pipe to vertical. I wore a leather harness around my waist as if I was carrying a flagpole in a parade, we placed the toe of the pipe in the cup, and I climbed the ladder, toe following top as the others above me balanced and guided it into place. Today I stand in a church gazing up at the organ, remembering doing that work, incredulous. I am not half the man I used to be.

I have been with the Organ Clearing House for nearly twenty-five years, watching my colleague Amory Atkins set up scaffolding and hoisting equipment on dozens, even hundreds of job sites. There is still plenty of hustle to the work, but the I-beams, trolley, and electric hoist all supported by steel scaffolding make for a much safer and less strenuous work site.

Making the impossible possible

When I was running the Bishop Organ Company in the Boston area in the 1980s, we had a releathering project in the large organ of one of Boston’s great churches. As usual, we started the job with a string of heavy days disconnecting organ components covered with decades of city grime and removing them from the organ for transportation to our workshop. After we had wrestled a particularly awkward and heavy part down the ladders and out of the building, one of my employees announced that now he thought he understood organbuilding. “It’s squeezing into tiny spaces to remove screws you can’t reach, to separate a part of the organ the size of a refrigerator that’s covered with mud and sharp pointy things and carrying it down a ladder next to a Tiffany window.”

He was right. A big manual windchest might weigh 800 or 1,000 pounds, more for a large console. If we are planning to dismantle or install a Skinner organ that has one of those wonderful electro-pneumatic harps, we might plan an entire day to handle that single specialty voice—they are big and heavy and include row after row of little prickly things that dig into your hands, arms, and shoulders. When I hear a harp in service playing, recital, or recording, my mind jumps instantly to the titanic struggles I have had moving them. They sound so ethereal in a lofty room, but they are pugnacious bulky brats to handle.

The thrilling rumbles of big 16′ and 32′ stops do not happen anywhere else in music, but again, my mind jumps to the herculean task of moving such things. The pipes, racks, and windchests of a 32′ Double Open Wood weigh many tons and will fill half of a semi-trailer. One of the marvels of the pipe organ is the idea that a single pipe might be approaching forty feet in length including pipe foot and tuning length, weigh close to a ton, and can produce only one musical tone at one pitch at one volume level. What a luxurious note.

When I meet people at social events, they are invariably surprised when they learn about my work. “A pipe organ builder. I didn’t know there were any of you left.” Another common comment is someone remembering the organ looming high in the back of the church and if they ever gave it any thought, they assumed that it was part of the building. Not so. Every organ in every building anywhere in the world was put there intentionally by craftsmen. They had to figure out how to mount and secure each heavy component. Think of the sprawling sixteenth-century organ case at the cathedral in Chartres. It gives the impression that it is somehow hanging from the stained-glass windows, but 500 years ago, those workers built scaffolding clear up to the clerestory windows and hoisted and lugged the heavy woodwork and huge pipes to their lofty spots.

Twenty years ago, we were delivering a three-manual organ to a church in suburban Richmond, Virginia. There was a big organ case with polished façade pipes, five large windchests, all the machinery and ductwork for the wind system, seventy or eighty eight-foot pipe trays full of nicely packed pipes, the console, and all the mysterious looking bits and pieces that make up a full-sized pipe organ. Parishioners volunteered on a Sunday afternoon to help unload the truck, and by day’s end the sanctuary was jam packed with carefully made, expensive looking stuff. I had worked with the church’s organ committee and governing board to create and negotiate the project and knew several of the people involved very well. After the dust had settled that evening, one of them came up to me and commented, “John, it wasn’t until this moment that I understood why organs cost so much money.”

Humble π

Archimedes (c. 287–c. 212 BC) lived in the ancient Greek capital of Syracuse, located on what is now Sicily. He was one of the great mathematicians, engineers, inventors, and astronomers of his time, even of all time. He imagined and recorded the origins of calculus and pioneered the concept of applying mathematics to physical motion, the applications of a screw, and the multiplication of pulleys and levers to allow the lifting of heavy objects. He is the source of the quote, “Give me a lever long enough and a place to stand, and I can move the earth.”

Among his many achievements was the realization of π (spelled pi), the mathematical constant that defines the properties of a circle and all shapes that are related to circles. ∏ is an irrational number—it cannot be expressed as an exact number. We round it off at 22/7 or 3.14, so we actually arrive at approximations of the exact number. It is a little like figuring a third of a dollar: $0.33 + $0.33 + $0.34 = $1.00. Because it cannot be expressed in an exact way, we use the symbol π to indicate the exact number. Around 600 AD, Chinese mathematicians calculated π to seven digits after the decimal, and with modern computing power it has been calculated to trillions of digits. It is infinite. Let’s stick with 3.14 to save time. ∏ is known as Archimedes’ Constant.

RELATED: Read "The Life of Pi" here

In the June 2021 issue of The Diapason, pages 12–13, I wrote about an encounter I had with a twenty-something kid in a local lumber yard as I was buying material to make a circular baffle to keep squirrels off one of our birdfeeders. I was planning to fasten aluminum flashing to the circumference of the circle, so I rattled off thirty inches (the diameter of my circle) times π to get a little under eight feet, so the ten-foot roll of flashing would be enough. The kid did not know about π (didn’t know about π?) so I gave him a primer. ∏ times the diameter of a circle (πd) is its circumference. ∏ times the radius squared (πr2) is its area. I suggested that we could compare the area of a twelve-inch pizza with that of a sixteen-inch pizza, and using the calculator in my phone, I rattled off the two areas, and he was impressed by how much difference that four inches made to the size of the pizza.

But when I recreated the exercise while writing the June column, I mixed up the formulas and used πd for the area rather than πr² (circumference rather than area) and triumphantly reported the difference between a twelve- and a sixteen-inch pie as about twelve and a half square inches. Had I used the correct formula, I would have found that the sixteen-inch pie is larger by about 88 square inches, or 44 two-inch bites, over six times more than my published result.

Two readers caught my mistake and wrote to me and to the editors of The Diapason. Nicholas Bullat is a retired organist and harpsichordist and former chair of the organ department and head of graduate studies at Chicago’s American Conservatory who also worked as a corporate and securities counsel. Nicholas carried the pizza story a step further using prices from a local pizzeria. Their $12.50 twelve-inch pie costs about $0.11 per square inch while the $18.00 sixteen-inch pie comes out at $0.09 per square inch. If I am right estimating a bite at two square inches, then those 44 extra $0.18 bites seem quite a bargain.

Glenn Gabanski, a retired high school math teacher in the Chicago area, also caught my mix up of pizza recipes, adding that the sixteen-inch pizza is 1.78 times larger than the twelve-inch. I will never buy a small pizza again. If the large one does not get finished, we will have leftovers for breakfast.

Achimedes’ mental model

Glenn found another significant error in what I wrote for the June 2021 issue. Remembering long-ago visits to Boston’s Museum of Science, I wrote:

When I was a kid on school field trips, I was interested in an exhibit at the Museum of Science in Boston that showed a perfect sphere and a perfect cone on a scale. Each shape had the same radius, and radius and height were equal. They balanced. My old-guy memory of my young-guy thinking had me wondering, “Who figured that out.” You can prove it by using π to calculate the volume of each shape.

The last time I was in that wonderful museum would actually have been when my sons were teenagers, more than twenty years ago, and I have since learned that the exhibit was installed around 1980, long after my field-trip days. I should hesitate to guess because I am apparently often wrong. Glenn pointed out that my memory of the cone and sphere could not be correct because the cone would have to be four times the radius of the sphere for the masses to be equal when the radii were equal. The volume of a sphere is V = 4/3 πr³. If r = 1, V = 4/3 π. The volume of a cone is V = πr²h/3. If r = 1, then V = π/3, ¼ the volume of the sphere. Using 1 for the radius made it easy to understand.

My foggy senior-citizen memory needed a boost, so I called the Museum of Science and was connected to Alana Parkes, an exhibit developer. When I described the volume-balancing exhibit she knew exactly what I meant and responded with a photograph reproduced here showing the balance beam with a cone and sphere on one side, and a cylinder on the other. If the radius of the sphere and the radii of the base of the cone and the cylinder are all equal, the volume of the cone plus the sphere equals that of the cylinder. I shared that with Glenn, and he whipped out his pencil and responded with a sketch, also reproduced here, a lovely piece of teaching with the reduction of the equations explaining the properties of the drawing. I am sorry the fellow in the lumber yard did not have Glenn as a teacher in high school.

I had engaging conversations with Nicholas and Glenn on Zoom, and I am grateful to them for reading carefully enough to catch my errors and respond. When I told Glenn that he was one of two who had written, he responded, “Only two?” And many thanks to Alana Parkes of the Museum of Science in Boston for her cheerful willingness to correct my faulty memory and provide this fine photograph.

Glenn mentioned that he had always been troubled by the moment at the end of The Wizard of Oz, when the Wizard confers a “ThD” degree on the Scarecrow, a Doctor of Thinkology, he explains. The Scarecrow instantly responds by misquoting the Pythagorean theorem. Humbug. (You can watch that scene here: https://www.youtube.com/watch?v=DxrlcLktcxU.) And remember that bird feeder baffle? The thirty-inch plywood circle with less than eight feet of flashing around it? It didn’t work. The squirrels “took the hill” within an hour.

A life’s work: remembering Fritz Noack

Forty hours a week times fifty weeks is 2,000 hours in a year. Maybe you took three weeks of vacation, but I bet you worked more than eight hours a lot of those days. At that rate, there are 100,000 working hours in a fifty-year career. Did you use them all wisely and productively? Professional accomplishments add up over a long career. I started writing this column in April of 2004 so this is the 208th issue at an average of 2,500 words, well over half a million words. When you visit, I will show you my pitchfork, um, I mean tuning fork. In twenty years, a church organist playing one service a week for fifty weeks each year plays at least 3,000 hymns, 1,000 preludes, 1,000 postludes, 1,000 anthems, and 1,000 dramatic lead-ups to the Doxology. Did you do that without repeats? Oh, right, you played a certain “Toccata” on twenty Easters.

If your life’s work was a billion bits on a hard drive or 250,000 emails, you cannot stand them in a field and review them, but when you walk into the workshop of the Noack Organ Company you see photos of 160 pipe organs on the wall leading up the stairs to the office. Fritz Noack founded the company in 1960 in Lawrence, Massachusetts, moved it to a larger workshop in Andover, Massachusetts, in 1965, and in 1970 purchased an old school building on Main Street in Georgetown, Massachusetts. A tall erecting room with a voicing balcony was added, and the Noack team has been producing marvelous organs there for over fifty years.

Fritz Noack passed away on June 2 at the age of 86. He leaves a vast legacy that stretches from the infancy of the “Tracker Revival,” the renaissance of American organ building, to the present day. He apprenticed with Rudolf von Beckerath, and worked for Klaus Becker, Ahrend & Brunzema, and Charles Fisk (at the Andover Organ Company) before starting his own firm.¹ The nascent company was home to a host of apprentices who have had important and influential careers in the business including John Brombaugh and John Boody.

An American renaissance

As a teenager in the Boston area in the 1970s, I was swept up in the excitement of that renaissance. My mentors took me to concerts, workshop open houses, and parties, and I soaked it all in. I remember a moment in the Würsthaus in Harvard Square, a long gone but much-beloved haunt for the organ community. We had come from a recital played by Fenner Douglass on the Fisk organ at Harvard Memorial Church and were gathered around a large round table. It must have been around 1973 or 1974, because I was thinking about applying to Oberlin and was excited to meet Fenner for the first time. Someone at the table noticed that there were nine people present who were organists for churches that had Fisk organs. The guest list would have included John Ferris, Yuko Hayashi, John Skelton, and Daniel Pinkham. (If anyone reading was there that night, please be in touch and fill in my erstwhile memory.) That has stood out for me as an indication of just how much was going on in the organ world there and then. C. B. Fisk, Inc., was founded in 1961, and barely a dozen years later there were nine Fisk organs in the Boston area alone.

There is quite a list of adventurous instrument builders who opened workshops in the 1960s and jump-started that renaissance, including Fisk and Noack, Karl Wilhelm, Hellmuth Wolff, and John Brombaugh. Fritz Noack’s career was the longest of all these. It is hard to think of any field of endeavor that was affected by a renaissance as profound as the pipe organ. Comparing the organs built by these firms in the 1960s with those built at the same time by the long established companies like Möller, Reuter, and Aeolian-Skinner is like comparing chalk with cheese. The combination of research and imagination that went into that was dazzling. People were traveling to Europe to study ancient instruments supported by Fulbright scholarships and Ford Foundation grants and experimenting with their findings after returning to their workshops.

During the 1980s and 1990s, I maintained over a hundred organs in New England, and I was familiar with many of the earliest organs of that renaissance. Some of them could truly be described as experimental organs, prototypes that combined newly formed interpretations of ancient techniques with the practicality of creating a complex machine with an experimental budget, and some could be honestly described as not very good. There was a lot of plywood, contrasting with the opulent hardwood European cases. There were primitive electric stop actions using automotive windshield-wiper motors to move the sliders. The noise of those motors was a noticeable part of the experience of hearing the Fisk organ at Harvard.

A common flaw of organs of that time was “wind-sickness.” American builders were not used to working with low wind pressures, and there was much to do to develop the ability to deliver sufficient volume of air pressure to larger bass pipes. Lifting a pipe of a 32′ rank in a Skinner organ and playing the note will blow off your topknot. Visiting the famous five-manual Beckerath organ at the Oratory of Saint Joseph in Montreal while Juget-Sinclair was renovating it, I was struck by the two-inch paper tubing used to supply wind to the massive 32′ façade pipes. That one-inch radius squared times π equals 3.14 square inches. The largest Skinner toehole is at least five inches in diameter. The two-and-a-half-inch radius squared times π is 19.625 square inches. I will take the large pizza, thanks.

In a nutshell

The Andover Organ Company and Otto Hoffman of Texas were among the earliest American builders of modern tracker-action organs. Hoffman was building organs in the late 1940s, but the activity centered around Boston was the biggest concentration of the start of the renaissance. Four significant Beckerath organs were installed in Montreal in the 1950s including the five-manual behemoth at the Oratory. That inspired the leadership of Casavant to quickly branch out into mechanical-action instruments to establish a foothold in their own country.

In 1964, Casavant installed a three-manual tracker organ with forty-six ranks (many of them 2′ and smaller) at Saint Andrew’s Episcopal Church in Wellesley, Massachusetts, Opus 2791, and Karl Wilhelm and Hellmuth Wolff were among the Casavant employees present. Shortly thereafter, both established their own firms. (That organ has subsequently been moved through the Organ Clearing House to Holyoke, Massachusetts, and replaced with a new two-manual instrument by Juget-Sinclair.) That same year, Fisk built the thirty-eight-stop organ (Opus 44) for King’s Chapel in Boston where Daniel Pinkham was the organist, the first modern American three-manual tracker organ. The first modern American four-manual tracker was built by Fisk in 1967 for Harvard, Fisk’s forty-sixth organ in the company’s first eight years.

Fritz Noack’s first large organ was the three-manual instrument for Trinity Lutheran Church in Worcester, Massachusetts, built in 1969, the fortieth Noack organ in the company’s first nine years. Those two small workshops produced close to a hundred organs in a decade. By 1980 when both firms were twenty years old, they had produced a combined 170 organs including the ninety-seven-rank Fisk at House of Hope Presbyterian Church in Saint Paul, Minnesota. That’s what I mean when I mention the tremendous amount of activity in Boston in the 1960s and 1970s.

Today, sixty years into the renaissance, we have a raft of firms to choose from, many of which are led by people who started in the Noack shop. It is fun to trace the genealogy of the American pipe organ business to understand how the histories of the companies intertwine.

I know others will write Fritz Noack’s biography, telling of his personal history and family. I am happy to point out the significance of his diligence and imagination, the extraordinary number of excellent instruments he produced in a workshop that I am guessing never had more than twelve people working at a time, and how I valued him as a friend and mentor as I made my way through life. I maintained perhaps ten of his organs, including the big one in Worcester (there was a swell Mexican restaurant nearby), and we had lots of close encounters when problems arose that we solved together.

He had a positive outlook, charming smile, and a twinkle in his eye. He carried the wisdom of the ages, always remained an avid learner, and helped raise the art of organ building in America for all of us. He gave the art a further great gift, ensuring his company’s future by bringing Didier Grassin into the firm to continue its work. With Fritz’s support and encouragement, Didier has added his style of design and leadership and has produced two monumental organs in his first years after Fritz’s retirement, Opus 162 in Washington, D.C., and Opus 164 in Birmingham, Alabama.

I salute Fritz Noack for all he has added to the lives of organists around the world. I am grateful for his friendship and wish him Godspeed as he assumes his new job, tuning harps in the great beyond.

Notes

1. noackorgan.com/history.