Institute of British Organ Building releases volume 8 of <i>Organ Building</i>

Christoph E. Hänggi studied musicology, arts and history in Basel and Zürich (Ph.D.), later obtaining his Executive Master in Corporate Management. He is a member of the Swiss Musicology Society and was from 1990 to 1992 Head of Music for a classical radio station in Switzerland. From 1993 to 2003 he worked for the Bertelsmann Music Group (BMG), where he became Director International of a BMG Classics label in Munich. In June 2003 he was appointed Director of the Museum der Musikautomaten in Seewen SO, which is under the aegis of the Swiss Federal Office for Culture.
David Rumsey studied organ in Australia, Denmark, France and Austria. He rose to a senior lectureship in the Australian university system from 1969–1998, also pursuing an international teaching, concert and consulting career as an organist. He worked in various cross-disciplinary fields, especially linking broadcasting, drama and music, arranging a number of major presentations and seminars. In 1998, after mounting a 14-hour spectacle on the life of Bach with actors in period dress and musicians playing historic instruments, he left Australia and settled around 2002 in Basel, Switzerland, where he continues to work as an organist and consultant.

Background
The Welte Company was a German firm, first established in 1832 at Vöhrenbach (in the Black Forest) by automata manufacturer Michael Welte (1807–1880). About 1865 he moved to Freiburg im Breisgau and registered there as M. Welte & Söhne. During the remainder of the 19th century, the firm expanded considerably and became particularly noted for its orchestrions. In 1904 Edwin Welte (1876–1958, grandson of the founder) invented the Vorsetzer, and from that By 1909 a recording organ had been built for Welte’s studios in Freiburg. The Philharmonie was displayed in November 1911 at the Turin Exhibition in Italy. Welte successfully went on to market player organs, cinema organs, cinema player organs and, later, when that market contracted during the 1930s, church organs. They issued punched paper roll recordings dated between 1912 and 1930 of performances by the great organists of the day, and sold them with considerable commercial success. From 1865–1917 they also ran a branch in New York (M. Welte & Sons) under Emil Welte (1841–1923, eldest son of the founder), but it was closed during World War I as an “alien enterprise.” Edwin Welte’s sister, Frieda, married Karl Bockisch (1874–1952), who was active in the firm from 1893 onwards. He later assumed a leading role and became a partner.
Player organs became status symbols of the rich. They were the epitome of home entertainment in their day and, along with orchestrions, were manufactured in both Europe and the USA by a number of specialist firms. Welte instruments were installed in homes, palaces, schools, department stores and one was apparently even in a luxurious “house of pleasure” (the Atlantic Garden orchestrion). Apart from Europe and the USA, Welte’s market is known to have extended to Turkey, Russia, China and Sumatra. The Sumatran instrument was broken up and lost in 1985.
Around 1926 Welte began to be threatened by a rapidly growing radio and recording industry. Business declined so much that in 1932 the firm only narrowly escaped bankruptcy. At this time they were also engaged in a collaboration with the Telefunken Company involving the development of electronic organs, using analog sampling, glass plates and photo-cells. It was a prophetic development for that time. The collaboration had to be terminated because Edwin Welte’s first wife, Betty Dreyfuss, was Jewish. Had Welte been successful, they might well have eliminated the Hammond organ from the pages of history.
World War II finally precipitated the total demise of the firm. Apart from being blacklisted by the Nazis, the Freiburg premises—all but a few scraps of stock, instruments and historical documents—were annihilated by Allied bombing in November 1944. The ruined Welte factory was something of a landmark next to the Freiburg railway station until the mid-1950s. No trace of it remains today—a housing estate replaced it.

Time lines

1902–3
Olympic and Titanic were first planned. Orchestrions and other mechanical musical instruments had long been available.

1908
December 16: Olympic’s keel was laid.

1909
Welte’s first Philharmonie recording organ was built in their Freiburg studios.
March 31: Titanic’s keel was laid.

1910
October 20: Olympic was launched.

1911
May 31: Titanic was launched; Olympic was delivered to the White Star Line.
November: the Philharmonie was publicly demonstrated at the Turin exhibition and the company’s order book opened.
November 30: Britannic’s keel was laid.

1912
April 1: Titanic’s trials first were scheduled.
April 15: Titanic’s sinking.
Work ceased on Britannic pending the Titanic inquiry, after which some changes to design were made, mainly safety items.
Welte first made their Philharmonie available in a range of specific models.

1913
Welte consolidated their organ designs, including modifications to their 1909 Freiburg recording organ, possibly on advice from Edwin Lemare (Kurt Binninger, 1987). Variant models became available in the same year, including the largest, as represented by the Seewen instrument, whose specification well matches the Freiburg recording organ of 1909. Manufacture began in earnest. This gave ample time to build Britannic’s organ. Since work on the ship was delayed, even more time became available.

1914
February 26: Britannic was launched and her fitting-out begun.
July 28: beginning of World War I.
August: the ship became subject to requisitioning by the Admiralty; work was again “slowed.”

1915
May: mooring trials were undertaken; Britannic was on standby for military service.
November 13: Britannic was officially requisitioned as a hospital ship and fitted out accordingly.
December 11: Britannic sailed to England and entered service on the 23rd.

1916
November 21: Britannic hit a German mine and sank off the Greek island of Kea (Tzia) in the Aegean Sea.

The Seewen Britannic organ
Until recently it was unclear exactly when the organ now preserved at the Museum für Musikautomaten was originally built. The museum contains a major collection dedicated to mechanical musical instruments and musical automata, and is located at Seewen, Switzerland (http://www.landesmuseen.ch/e/seewen/index.php). 1912–1920 were the considered limits since such instruments had only just come out of their development stages in 1912, and the Seewen instrument was definitely known to have existed by 1920. Internal evidence such as specification, roll formats, pipe construction, comparison with similar instruments and known availability led us to moot a dating of about 1913 as most likely.
It is a variant of Welte’s “Grundmodell V–VI,” having a two-manual and pedal console with stop tabs and a roll-mechanism for automatic playing. From 1920 it is well documented. However, signposts to its pre-1920 history turned up in the course of restoration work during March 2007. In cleaning some normally unseen wooden beams around the original windchests, the word “Britanik” was found inscribed in four places. By late May 2007, more inscriptions were found, bringing the total to six.
The console is not, or not completely, original. An earlier console would naturally have been modified or even replaced in 1920 or 1937 when the organ was slightly enlarged. The present console, however, gives the impression of having re-utilized at least some of the earlier components.

Organs aboard ships
During the mid-19th century, beginning with calliopes, keyboard musical instruments increasingly came to be featured on the river boats, yachts and ocean liners of Europe and North America. Jules Verne’s 1869–70 novel Twenty Thousand Leagues under the Sea contains a reference to Captain Nemo playing a pipe organ installed on his ship Nautilus. From fiction to fact took a little time. Harmoniums and grand pianos were featured in such vessels as the Cunard line’s Campania and Lucania (both 1893). Campania even had false pipes arranged, as was sometimes the custom with harmoniums, to make it look like a pipe organ. The race for luxurious on-board musical entertainment was gradually intensified. It became a serious pursuit in the greatest luxury liners of the early 20th century. In their catalogue of c1913–14, Welte identified and illustrated a number of piano and organ installations, including player pianos such as the Welte-Mignon, aboard yachts and ships. Their New York branch installed at least one orchestrion, “operated by electric motor,” aboard the Pocahontas, an American river boat.
But the largest of ships’ organs was destined to be the Britannic’s organ. Others, mainly on vessels of the White Star Line or Lloyds, but including some private yachts such as Howard Gould’s steam yacht, “Niagara,” which also featured a Philharmonie, are well chronicled in these catalogues. The Aeolian company was also involved in ships’ organs. Documents exist showing that the Britannic was originally intended to have a player organ from Aeolian.
Of the White Star Line’s three great “Olympic” class ships—Olympic, Titanic and Britannic—there is neither evidence nor suggestion that Olympic ever had an organ. With the later ships, however, there are different stories to be told.

Titanic
On-board entertainment was an important item in the inventory of luxuries aboard these ocean liners. Titanic had no less than four uprights and one grand piano. In the light of this, oft-repeated suggestions that “an organ” was planned, built, or even installed aboard Titanic, cannot be ignored. There are said to be survivors’ reports of an organ that “played” (Internet Site 1—see below). The detail is vague and the report is seriously questioned. If it has any credibility at all, then we might extract from it that “played” might suggest an orchestrion aboard. It does not discredit other reports, although a second instrument aboard is highly unlikely and has never been suggested. If an organ was installed, then it now lies with the wreck and all claims of a surviving instrument “built too late” are completely errant.
There is an interesting consistency in perpetuation of a belief that the Titanic’s organ was not completed in time for the voyage. A number of collections in North America and Europe possess orchestrions claimed to be “built too late to share the ship’s fate.” Certainly, if there is any element of truth in this, then it was probably an orchestrion. These were available for decades before Titanic was conceived. The Deutsches Musikautomatenmuseum at Bruchsal in Germany has one. It is sometimes claimed that an undated letter from Ilse Bockisch (widow of Karl, his second wife, married in 1932) associates it with Titanic. The letter leaves many unanswered questions.
Suggestions have been made (Internet Site 1) that a Philharmonie was originally intended for Titanic. Welte’s Philharmonie was not offered for sale until some eight months after Titanic’s launching. A specific model was further out of the question until immediately prior to Titanic’s sea trials. The idea that Welte catalogue illustrations (see later) were of a Philharmonie organ aboard Titanic is thus ruled out by the time lines. The earliest known illustration is from 1913–14, well after Titanic’s sinking. If there is any credibility at all here, then the only possibility was an installation after the maiden voyage.
Most evidence points against an organ or orchestrion ever belonging to Titanic. Expert researchers, such as Günter Bäbler and Mark Chirnside, have looked into this matter exhaustively. Both are emphatically of that opinion.

Britannic
By contrast, evidence for an organ intended for Britannic is overwhelming. There is an interesting existing reference to an Aeolian organ with two chests for music rolls in the Britannic’s specification book. There is no evidence that these plans ever proceeded. Illustrations in Welte’s catalogues are renderings that are so accurate that they appear to be or have been made from photographs. The firm variously identifies them as “Welte-Philharmonie aboard a large English steam ship” and “Welte-Philharmonie aboard S. S. Britannic.” Surviving architects’ sketches, now preserved in the Ulster Folk and Transport Museum, show exactly the same organ case in the stairwell area of Britannic. The ship’s plans allocate this space as “ORGAN.” Seewen’s organ has “Britanik” inscribed in at least six places.
The dimensions of the original Seewen organ have been carefully checked against the ship’s plans. It fits exactly into the space allocated.

Time and space considerations
What was possible? Plans survive for all three ships showing their main stairwell areas. These are virtually identical, except that on Britannic a rectangular space identified with the word “ORGAN” was added, jutting out into the stair area. Any of these three ships could easily have had this modification, but only plans for Britannic include it. A Philharmonie Grundmodell V–VI could have fitted into this space on any of them.
Orchestrions generally take little more ground space than an upright piano. They typically had about 260 pipes, whereas a Philharmonie V–VI could have over 2,000 pipes. Orchestrions and salon organs the size of Bruchsal’s (and the other Titanic claimants seem to be of commensurate size) could have been placed almost anywhere aboard these ships. These would not have required identification in architects’ plans; detailed accommodation plans show nothing of this kind.
Even assuming for a moment that the reports of a Welte Titanic organ were true, which organ was too late? Certainly not one of their mass-produced instruments. Orchestrions, having been in production for years, should either have been in stock or available on very short notice. This meant that delivery of such a salon organ should have been easily achievable. It could not be entirely ruled out that delays in development of the Philharmonie might be the issue here. For what it is worth, Ilse Bockisch’s letter describes a failed attempt to deliver “an organ” to Titanic at Southampton. Her letter leaves open too many questions to be trusted as a basis for firm conclusions in this context.
We must conclude that Jules Verne’s idea was best going to be realized with Britannic.

Discussion points
A Welte catalogue of around 1914 has an illustration captioned “Welte-Philharmonie-Orgel an Bord eines grossen engl.[ischen] Dampfers” (“Welte-Philharmonie aboard a large English steamer”). The vessel is not identified by name. The illustration is very lifelike, although some background detail differs from the known architecture of the ship. Another Welte catalogue from about this time reproduces this but now unequivocally identifies it as “WELTE-PHILHARMONIE-ORGEL auf S. S. Britannic der White Star Line” (“Welte-Philharmonie on the White Star Line’s steam ship Britannic”). (See page 26.) The architect’s sketch in the Ulster Folk and Transport Museum and the Welte illustrations show identical organ casework. These all clearly identify ship, organ, size and placement. They show the casework fully in place. Both captions expressly state that the organ was “aboard.” This suggests its presence behind the case. Since a responsible and proud firm repeated this in at least two catalogues, it can leave no doubt that the organ was a Philharmonie and that it probably was installed. No final proof either way is yet to hand.
Time lines easily allow this. By February 1914 there was ample time to build and transport the organ. By the end of July there was also time to install and remove it. The illustrations appear to have been the property of Welte themselves, so all evidence points to the instrument being at least in preparation for, or process of, installation by summer 1914.
The two-story space near the stairs offered ideal dimensions for an organ the original size of Seewen’s. Britannic’s Philharmonie could easily have been finished in Freiburg by late 1913 and moved to Belfast, arriving sometime between March and July 1914. We do not know whether the main staircase was installed before then. The portrayed roll player hints at a console and possibly the wind apparatus being located underneath, with windchests and pipes on top. The apparent width of the roll in the illustration lines up well with the dimensions of Welte’s Philharmonie V–VI rolls: the paper was 390mm wide and there were flanges on either side.
Welte may well have used a hybrid pneumatic-electric action. The company is reported (Binninger 1987) to have used electric actions in “larger organs” and “where consoles were detached.” Welte had developed electro-pneumatic actions as early as 1885, one of the first firms ever to master this technology. Arguments in favor of a fully pneumatic original action also exist. The two main manuals of the almost contemporary three-manual organ at Tunbridge Wells (see Appendix) are pneumatic. Although it is unclear until 1937, the Seewen organ does appear to have always had a hybrid action. Experts such as Peter Hagmann fully acknowledge this possibility and, having searched, can find nothing to disprove it.
Another photograph, from 1916, shows Britannic fitted out for wartime service. Explanations accompanying this photograph refer to a very basic state of furnishing—just white-painted metallic walls. Woodwork from the stairwell later appeared as collectors’ items. Stored items from the ship were publicly auctioned in Belfast in 1919, and many are still preserved in private ownership. This indicates that the internal outfitting of the ship was probably advancing at the time that possible requisitioning became an issue during August 1914.
Although the Welte catalogues show the roll-playing mechanism, no keyboard is apparent. This might lead to a belief that this instrument was a large orchestrion. However, Welte calls it a Philharmonie. This specifically meant that it had a keyboard. The ship’s plans unequivocally identify its space as “organ.” It is instructive to compare the design with the Welte-Philharmonie at the Salomons Centre, Tunbridge Wells, England. This has pipes above and console below, flanked by pillars. The console is on the inside, screened off from the auditor. It is exactly the arrangement with Welte’s organ for Britannic, only decorative details differ and the specifications are very similar.

Installation aboard Britannic 1914
The overall period during which the organ could logically have been installed was February 26 to late summer 1914. This is far more time than an installation would have required. Britannic’s final requisitioning theoretically allowed until November 1915 for de-installation, although Welte staff could hardly have remained or returned then. We do not yet know if anybody from Welte was in Belfast, so we simply cannot say if installation was proceeding or completed before late July 1914. Welte’s illustrations and captions prima facie support the notion that it was.
If Karl Bockisch was in Ireland for the installation, then he may have had to return quickly to Germany with the imminent outbreak of war. Edwin Welte was pursuing an extremely busy traveling schedule, especially across the Atlantic, although he was known to be “in England” (which could include Northern Ireland) at about this time. In 2005 some missing documentation that might clarify the firm’s travel arrangements came into the possession of Gerhard Dangel of the Augustiner Museum, Freiburg, but it has so far proven inconclusive. There is evidence that the Welte family traveled on the German steamer, the Kronprinzessin Cecilie, in September 1912 (this ship also had a Welte-Mignon piano aboard), but no records have yet been found clarifying the movements of Welte employees. Since they were quite itinerant, we must assume these records are now missing. Further clarification as to whether Bockisch or his team were ever in Ireland seems now dependent on finding something of this kind or from dives to the wreck planned for 2008.
Welte staff would rapidly have found themselves behind enemy lines by July 28, 1914. The inscriptions “Britanik” and “Salomoons” in the Salomons Centre organ at Tunbridge Wells make it clear that Welte identified their clients and organs in this way, a practice already established for their pianos and pneumatic roll player devices.

1917–19
There is a lack of surviving documentation that might indicate the fate of the organ between 1914 and 1919. Since Britannic sank in 1916, the organ could not be returned to her. After the war, in the natural course of events, ownership and other details had to be sorted out. White Star Line—no doubt in some disarray with the loss of two of its three most prestigious ships—had no further use for it. So the instrument (with or without casework) would have been available for sale, presumably around 1919, allowing for decisions, communications and paperwork (and possibly transportation back from Belfast).
There were negotiations between shipping company, state and insurance brokers that lasted until 1919 when final damages were paid and an auction of remaining items took place. The organ, being a part of this, would not have been available for sale until all was finalized. It probably elucidates the timing of its sale in 1920. As far as we can currently ascertain the organ was not mentioned in the inventory of items for auction in Belfast mid-1919. A Steinway piano thought to have been lost with the ship, was found after government compensation for the ship’s loss had been agreed in 1917. It was then offered for sale “as Admiralty property,” after which all traces of it disappear. An organ would have been even more obvious. We can only assume that the organ was not part of the compensation negotiations and therefore was either still or once again in Welte’s possession in Freiburg in 1919.

From 1920 onwards
Around 1920, an organ was sold by Welte to Dr. August Nagel (1882–1943) for his residence. Nagel began a highly successful camera manufacturing business in 1908 that later became the “Contessa” brand. He was a great music lover and lived in a magnificent villa in Stuttgart. In 1926 his business went to the Zeiss-Ikon concern. In 1928, he founded another camera manufacturing company that flourished in spite of hard times. This was taken over by Kodak in 1932. No photographs have yet been located of the instrument in Nagel’s possession. Indeed, the apparent absence of even one photograph of this organ is curious for a camera manufacturer: one reason could be that the organ simply was not visible and had no casework to photograph (see later). It seems that the new owner had two small supplementary windchests built to accommodate some additional stops.
Nagel returned the organ to Welte in 1935 for reasons that are now unclear. In 1937, after work on it in their Freiburg workshop, Welte sold it on to Dr. Eugen Kersting (1888–1958), owner of “Radium GmbH,” an electrical manufacturer. Werner Bosch (1916–92), German organ builder, worked on it as a young employee of Welte’s at the time. It was installed in the Radium Company’s Concert and Meeting Hall in Wipperfürth, Germany. Changes were made at Kersting’s request—mainly two reed ranks added and some interesting but small concessions made to organ reform movement principles. Once again modifications to suit a client were a normal part of Welte’s operation. The original Wienerflöte was replaced by a Harmonieflöte (also by Welte), and somewhat miraculously all pipes of both stops have survived. The Wienerflöte can now be returned to its proper (and original “Britannic”) configuration. There was again no sign of earlier original casework: a simple but elegant wooden grille appeared in Wipperfürth.
Towards the end of World War II, in 1945, water damage occurred as a result of bombing. The instrument survived this quite well and was offered for sale through Werner Bosch during the 1960s. No buyers were forthcoming. In 1961 it was used to make an important LP recording, issued in English-speaking circles as Reger plays Reger. The organ was selected as the best available for this purpose, having a specification capable of closely reproducing organists’ registrations on the original Freiburg recording organ.
By 1969, after the meeting room had been turned into a storeroom and the organ had become an encumbrance, it was to be sold for scrap. Heinrich Weiss-Stauffacher (*1920), who owned a collection of automatic musical instruments that later formed the basis of the Seewen collection, was informed. He acquired the organ at the last minute and, in somewhat dramatic circumstances, packed and moved it carefully to its present home. There, after renovation, its re-inauguration was celebrated on May 30, 1970.
During its removal to Switzerland, Bosch’s experience was critical in ensuring its preservation and proper functioning. He and Basel organ builder Bernhard Fleig helped Weiss with the re-installation and subsequently also its maintenance. Apart from normal wear and tear, the organ has remained in good original condition, with few losses or changes.

The restoration
Years of investigation into these instruments (and submissions from experts and organ builders) began in 1998 with the Seewen organ’s removal and storage while the museum prepared for extensions. These created much needed additional space, partly to properly accommodate and display the organ.
The restoration contract was awarded to Orgelbau Kuhn, Männedorf, in 2006. In early 2007, in the course of restoration, the “Britanik” inscriptions began to show up around the original windchests. The beams were carefully checked to see if they might have belonged to another organ. However, all experts—two highly experienced organ builders, the museum director, its conservator and the organ consultant—independently concluded that the beams and the organ were part of the same original instrument.
Very few relevant Harland and Wolff (shipbuilders of Belfast, Ireland) and essentially no Welte records have survived. However, all evidence overwhelmingly points to the Britannic and Seewen organs being one and the same instrument, little changed in its 90 years of existence. The Britannic’s pipework, windchests, console and possibly the action are all either fully original or have been only slightly modified, overwhelmingly by Welte themselves. The organ’s 1920 and 1937 forms are fully valid Welte configurations, developed out of their Grundmodell V–VI. In the few cases of missing or damaged pipework, replacement has been arranged with surviving original Welte pipework or pipes carefully reconstructed to the firm’s manufacturing methods and standards.
The Seewen/Britannic organ is today probably the most typical, intact and best preserved of its size and kind. So far as is currently known, there is only one other Philharmonie of comparable size, Freiburg manufacture and with tonal resources capable of doing justice to the full-sized rolls (Tunbridge Wells, see Appendix below). The collection of rolls at Seewen—nearly 1,300 of them—is well in excess of any other existing collection currently known.

The fate of the organ’s original casework
Welte’s case designs are not noted for standardization, although stylistically they are mostly consistent with their epoch. Cases and organs are sometimes sold separately. No surviving organs or photos show other Welte instruments with casework in the style of Britannic’s.
Welte also specialized in installations in basements, attics and “adjacent rooms,” the organs speaking through holes in walls or floors. This may well have been the reality with Nagel’s residence and might explain a lot in this connection—e.g., the suitability of an organ on offer without a case and the absence of case photographs. Since the Philharmonie was totally enclosed in a swell-box, façade pipes, where they existed, were always “dummies.”
Was the casework removed with the refit to a hospital ship? The photo of the bare-walled area can but indirectly suggest that it was not there. Simon Mills’s Britannic Foundation, now owners of the wreck, believe that whatever was installed—probably not much—was simply covered up and left in place. Reports of Jacques Cousteau’s divers who went down there in 1976 could point to the organ case still being present. They identified “an organ” and reported “metal organ pipes.” The value of these reports has been questioned—indeed the rendering published by Welte in their catalogues hints at wooden pipes or just simple slats of wood, “pipe look-alikes.” If the Cousteau report turns out to be true, then that could hint that the organ was at least partially installed when hostilities began.
An exhibition in Kiel, Germany in mid-2007 reconstructed the Titanic’s stairwell. Given that the three ships’ designs were essentially identical here, it was clear that the organ could be installed or removed with its façade in place. Being a totally enclosed instrument, the façade was purely decorative. The Britannic Foundation has undertaken more recent dives to the Britannic wreck and is currently planning another for about mid-2008 when currents are favorable. The area where the organ was to be placed will then be very closely investigated.
Effectively, Britannic’s casework has now completely disappeared. It is either, as per the Cousteau hint, barnacle-encrusted some fathoms under the Aegean Sea, or it was destroyed, saved in an unknown location, or broken up for use in other organ façades.

The motor and blower
Speculation of wind-raising using Britannic’s steam power sometimes arises (Internet Site 3). The availability of electric power, and potential evidence of a possibly original blower and electric action argue very strongly against steam. In fact, steam was rarely used as motive power for organ blowing. Even then it was associated more within the period of 1812–85 than the early 20th century.
An old motor and blower has survived with the organ. No dates are evident. The motor is rated at 220 volts DC and was made by Meidinger of Basel. The firm was established in the late 19th century and located not far from Welte in Freiburg. Their records only date back to about the 1960s. From its serial number, we only know that it was certainly made before then. Both motor and blower are being restored as part of the historically conscious approach to the project. It is interesting to observe that it is rated at 220 volts DC and the ship’s electric supply came from four 400 kW steam generators, each providing 100 volts DC. Expert opinion informs us that the voltage difference from running two generators in parallel—sensible electrical engineering with two in parallel and two in series—to provide 200 volts is not critical to the operation of this motor. The organ’s wind supply is designed as a regulated system and virtually never needs the full amount of wind (over-) supplied by the blower. Two experts also independently estimated that the motor itself is “probably early 20th century.” Thus, it is just possible that this motor and/or blower could have come down from the original Britannic installation.
From about 1885, a growing preference for power reticulation using alternating current was beginning to overtake that of direct current. By 1913–1914, AC might normally have been the prime choice for such a motor, but the fact that the ship’s supply was DC must have determined a DC motor. This further supports the possibility that the surviving blowing installation at Seewen could have been that of Britannic.?

Appendix

Seewen and similar known surviving Welte-Philharmonie
player organs
Full 150-note functioning Welte player mechanisms appear to survive in no more than ten organs worldwide. Details are scarce, so only tentative information can be offered as set out below. In the September 2006 issue of Mechanical Music, Durward R. Center published an article entitled “Welte Orchestrions / The Age of Opulence.” In it he reports that only two “fully pneumatic” organs (of an equivalent type to Seewen) still exist. Some of Welte’s organs originally had hybrid pneumatic-electric actions, so the field might be extended slightly in this direction without conflict to the general notion of a “Welte-Philharmonie.” (The term “pneumatic organ” is sometimes used to indicate that a player mechanism was attached; cf. “pneumatic” when used to differentiate action types, e.g., electric, electro-pneumatic, mechanical.) Welte’s Grundmodell V–VI had a basic specification of about 23/II+P (23 stops, two keyboards and pedals). The Freiburg recording organ after 1912–13 was about 28/II+P. A degree of discreet borrowing and extension was normal practice in all of these instruments (and less “discreet” in smaller organs and orchestrions). As far as we are aware, however, of Welte’s full-sized (with 150-note tracker bars) roll-playing organs left in the world today, only about eight seem to be of original Freiburg manufacture.

Seewen
The Seewen basic specification after 1937 is 37/II+P. (With retention of both Harmonieflöte and Wienerflöte, the 2007 specification became 38/II+P). This includes extended and borrowed ranks normal to Welte practice. Stop nomenclature is German; the stop-tabs are uniform and fit comfortably across the top of the keys, although some of the new stops added have been placed out of sequence to the right of the earlier stop-tabs. This suggests that the basic console dates from earlier and was only modified in 1937. A collection of about 1,300 rolls is associated with this organ. Organists include Harry Goss-Custard (150 rolls), Edwin Lemare (87), J. J. Nater (84), Paul Mania (76), Kurt Grosse (58), Alfred Hollins (47), Joseph Bonnet (44), William Wolstenholme (39), Walter Fischer (37), Eugène Gigout (35), Thaddäus Hofmiller (31), Herbert Walton (30), William Faulkes (29), Samuel A. Baldwin (26), Clarence Eddy (20), Karl Matthaei (17), Franz Joseph Breitenbach (16), Alfred Sittard (15), Paul Hindermann (13), Marco Enrico Bossi (12), Max Reger (11), Marie-Joseph Erb (11), Günter Ramin (8), Karl Straube (7), and Marcel Dupré (7), among others.

Tunbridge Wells
Residence of David Salomons, Salomons Centre, Tunbridge Wells, England. This organ also dates from c1913–14 and is virtually a twin to that at Seewen. The basic specification is 27/II+P, pneumatic player, pneumatic action. It has, however, a third manual, an Echo division of five stops (remotely placed with electric action), bringing it to 32/III+P. Extended and borrowed ranks normal to Welte practice also exist here. A most valuable survivor, its basic specification includes the full Philharmonie Grundmodell V–VI stops, with resources that sometimes differ slightly from Seewen’s. Apart from the Echo-division, the percussion accessories in particular show some variance, e.g.,“tubular bells” in place of Seewen’s “Harfe” and “Glocke” registers. The console was required, as per the contract, to be modeled on English systems—pistons rather than fixed combinations, manual compasses reaching to 61 notes instead of 58, stop-knobs rather than rocker-tabs, and the stop nomenclature is entirely English. There is no crescendo pedal. Even so, the general size and layout is remarkably similar to Seewen’s. It plays rolls of two sizes, accepting also the Welte #10 orchestrion rolls, the largest orchestrion rolls Welte ever made, and is apparently the only player for them still functioning. A collection of about 150 full-sized Philharmonie rolls is associated with this organ. See website: <http://www.maesto.com/US/welteinstruments.html&gt;.

Other instruments
• a 25/II+P Welte-Philharmonie, from a collection that belonged to Jens Carlson, is now in the Mechanical Musical Instrument Museum at Elm, Germany (Stiftung Museum mechanischer Musikinstrumente Königslutter am Elm).
• formerly at Linz am Rhein, Germany. Also a smaller Philharmonie organ than Seewen, 21/II+P, recently moved to the USA. This organ was used for an EMI CD recording set issued as 7243 5 74866 2 0. It was built in 1925 for the Villa of Lady Burton of England in Cap de Antibes, southern France. Horst King und Sohn restored it for the Linz Museum in 1984/85. Laukhuff of Weikersheim delivered a purely decorative case for it.
• Siegfrieds Mechanisches Musikkabinett, Rüdesheim, Deutschland. The console has the Freiburg firm’s nameplate attached. Two of Wendel’s publications give “around 1922” as its date of construction. 21/II+P with “Harfe und Glocken.” Currently “partially restored.”
• Deutsches Musikautomatenmuseum at Bruchsal (in the “Welte-Saal.”) As well as the so-called Titanic organ, there is a 20/II+P Welte-Philharmonie dating from 1924 in this collection. See their website: <http://www.landesmuseum.de/website/&gt;.
• The Schloss Meggenhorn instrument near Luzern in Switzerland. 19/II+P (with borrowing and extension) probably built 1915–20. An associated roll collection of 104 items features Max Reger, Karl Matthaei, Eugène Gigout, Marcel Dupré and others. The instrument was restored by Orgelbau Kuhn.
<http://www.orgelbau.ch/site/index.cfm?fuseaction=orgelbau.orgelportrait…;
• Tuxedo Park, New York (also made in the USA), at the Spedden residence. Members of the Spedden family were survivors of the Titanic. The organ is still in its original location. It was recently restored by the Kegg Organ Company. 15/II+P of Freiburg manufacture. Year of manufacture is not known at this stage.

Other, related installations (excluding cinema organs):
• An interesting player organ exists at the former Krupp Residence in Essen, Germany at Villa Hügel (now a museum and concert venue). It began as an American Aeolian organ with 9/II+P. In 1914 an Aeolian player mechanism was added. 1921 and 1928 saw the instrument enlarged to 14 stops by Welte, with one of their player mechanisms substituted for that of Aeolian. It was restored in 2003 by Orgelbau Klais of Bonn. Associated with it is a collection of about 110 usable rolls recorded by Ramin, Straube, Sittard, Mania, Lemare and Reger—a repertoire surveying Bach, Beethoven, Brahms, Chopin, Gluck, Händel, Haydn, Liszt, Mozart, Mendelssohn, Reger, Schubert and Wagner. Five rolls are of popular music. These appear to duplicate many rolls in the Seewen collection, as would be expected, bearing in mind the Welte catalogue marketing system. The Orgelbau Klais website has details: <http://www.orgelbau-klais.com/m.php?tx=52&gt;.
• A Welte player mechanism—also a 150-note tracker bar—was added in 1931 to the Willis organ at Blenheim, England. There appears to be an associated collection of some 80 remaining rolls, said to be by English organists.
• Technik Museum, Speyer, Germany. 36/III+P manufactured in the USA. Dating from 1916, it must have been one of the last instruments, and the largest, built there before Welte’s New York branch in Poughkeepsie was closed down. Renovated in 2001. A collection of over 600 rolls is associated with it. See <http://www.museumspeyer.de/&gt;.
• An organ under restoration (2006) for the Swiss dealer Hanspeter Kyburz by organ-builder Remi Steis of Germany. It is also of U.S. manufacture. It additionally bears a “W. W. Kimball” company reference underneath Welte’s on its nameplate. It is a II+P organ with much extension and borrowing somewhat reminiscent of cinema organ practice.
• A Welte-Philharmonic of nine ranks built pre-1926 in the studio of Barker Bros.’ department store in Los Angeles, then variously in the possession of Anita Baldwin, South Pasadena Masonic Lodge (1930) and Kyle B. Irwin (1999). Apparently of U.S. manufacture with much extension and borrowing. Barker Bros. eventually owned a total of four Weltes.

Acknowledgements
The authors express their gratitude for the many personal telephone, verbal and e-mail communications received. Special mention is made of
Günter Bäbler, Titanic-Verein Schweiz (http://www.titanicverein.ch)
Andrew Baghurst, Adelaide, Australia
Nelson Barden, Boston, USA (http://www.nbarden.com/)
Durward R. Center, Baltimore, USA
Mark Chirnside, Warwickshire, England (www.markchirnside.co.uk)
Gerhard Dangel, Augustiner-Museum Freiburg, Deutschland
Malte Fiebing, Titanic-Verein Deutschland (http://www.titanicverein.de)
Brooke Green, Tasmania
Bernhard Häberle, Gesellschaft für Selbstspielende Musikinstrumente, Germany
Georg Hofmeier and Gesellschaft des Museums für Musikautomaten, Seewen (GMS)
Philipp Klais, Orgelbau Klais, Bonn, Germany
Brett Leighton, Linz, Austria
Ken Marschall (http://www.kenmarschall.com)
Michail Michailakis, Greece
Simon Mills (Britannic Foundation) England (http://www.thebritannicfoundation.org.uk/)
Bernhard Prisi, Seewen, Switzerland
Wolfgang Rehn and Ueli Schärer, Orgelbau Kuhn, Männedorf, Switzerland
Rico A. Reinle, Münchenstein, Switzerland
Elizabeth Rumsey, Basel, Switzerland
Heinrich Weiss and Susanne Weiss, Seewen and Basel, Switzerland
Matthias Wunderlich, Essen, Germany

New York City, September 28-October 1, 2004

Sebastian M. Glück is president and tonal director of Glück New York, Pipe Organ Restorers and Builders, and is editor of the Journal of American Organbuilding, the quarterly publication of the American Institute of Organbuilders.

Tuesday, September 28

Wall sconces taking the form of artillery shells line the nave of the Protestant Cadet Chapel of the United States Military Academy at West Point, home of what began as M.P. Möller’s Opus 1201 of 1911. Now IV/380, it incorporates pipework provided by a list of builders from George Edgar Gress to Aristide Cavaillé-Coll. The sheer size of this instrument may very well be its most American characteristic. Since pipework and divisions are added to this organ, not replaced, the organ is a growing compendium of trends. As an agglutinated scheme built up over the past century, an organ of this size must struggle to put forth a distinctive and identifiable character.

Army Chaplain Scott McChrystal (Colonel) spoke about the organ’s history and role at the academy before introducing organist Craig Williams, organ curator Gary Ferguson, and associate organ curator William Chapman.

Mr. Williams’ opening selection was “The Turning on of the Blowers,” a work for eight switches, featuring over 100 horsepower of turbines. The remainder of his program ran the gamut from a Dvorák symphonic transcription to Georgian miniatures. Following the demonstration-recital, a buffet dinner, complete with carvery, was served at the Officers’ Club overlooking the Hudson River.

Wednesday, September 29

AIO President Charles Kegg presided over the opening of the convention, marked by the first session of the Institute’s annual business meeting. The routine nature of the early morning meeting was offset by a sumptuous breakfast buffet, the first of many lavish and healthy meals planned by this year’s convention committee (Timothy Fink, Sebastian M. Glück, Allen Miller, chairman Edward Odell, Holly Odell, and F. Anthony Thurman).

Historian, musician, and Organ Historical Society Archivist Stephen Pinel’s history of New York organbuilders, “The Orchard in the Apple,” was a polished, well-researched presentation. It was reminiscent of a Burns documentary, the text so focused and the materials so pertinent that one forgot that the images were still, not moving. Pinel’s access to archival material combined with uncompromising production values set a benchmark for future historical lectures, yet it would be difficult to find something more titillating than the nude image of Ernest Martin Skinner that revealed the legend in a most human light.

Mr. Pinel closed with a requiem for our historical organs, imploring us to help preserve what remains. Few heritage instruments survive unaltered in New York City, despite its nearly unrivaled reign as a center of organbuilding during the Industrial Revolution.

Mike Foley, a champion of the service sector of the organbuilding field, captivated attendees with a dynamic presentation that was at once a business lecture, an ethics seminar, and a motivational gathering. “Minding Your Own Business” mixed life lessons with business advice: fix your mistakes before others find them; voice pipes, not opinions; love every pipe organ you see and hear, and your telephone shall ring. Get to know your clients; make sure that they know you, not just your bid. Above all else, eschew cynicism--or find another calling.

Be as precise in the writing of your contracts as in the keeping of your books, no matter how daunting the prospect. Audit your firm, insure your assets, motivate your staff, and enjoy yourself, and surely thy business shall thrive. More organs are serviced and tuned in a year than are built.

As do so many Europeans, AIO member Didier Grassin has such a subtly poetic grasp of the English language that it leaves this writer envious. His engineering degrees retreat to the background as organists and organbuilders alike marvel at the exquisite beauty of the organs he has designed. “The Canon Rules of Good Organ Case Design” explained the emotional/artistic response as essential to the success of the organ case. Neither frivolous nor luxurious, but necessary, the well-dressed pipe organ must embody architecture beyond utility as a critical component of the complete æsthetic experience of seeing, hearing, and touching The King of Instruments.

The shape of the case, its position within the space, and the breaking of planes in the massing are as important as the desired elements of vertical thrust and a strong focal point. Texture and color, from the grain and hue of the timber, to the play of light on carvings and façade pipes, must invite the observer to touch such a creation. Movement, tension, relief, and proportion--the elements of fine painting, sculpture, and architecture--make a great organ case.

Organist and organbuilder Sebastian M. Glück, editor of the Institute’s Journal of American Organbuilding, ended the lecture cycle with “What Goes Where and Why,” an analytical prescription for organ design based upon the demands of the literature we play. Many organs, even very large ones, are ill-equipped or incapable of accurately performing entire segments of the organ literature because consultants, organists, and organbuilders ignore historical treatises, the musical score, and the instruments for which the music was written.

American organ design continues to be plagued by stops at the wrong pitches in the wrong locations, and in some sectors has yet to recover from the misinterpretations of the “Organ Reform Movement” of the last century. The American “Bach organ” of the mid-1960s is strikingly dissimilar to the organ that Bach might have played in the 1730s, and sadly, the average American organ cannot handle French music of any era with real accuracy. The lecture exposed the pitfalls of grab-bag eclecticism, and outlined the elements of scholarship that are contributing to the success of today’s polyglot masterpieces.

Thursday, September 30

The Bedford Presbyterian Church, a carpenter Gothic 1872 building on The Village Green, is home to Martin Pasi’s 2001 II/29 Opus 13, a freestanding, encased organ with mechanical key action. The demonstration-recital was performed by John Lettieri, AAGO. The two manual divisions are of equal size, the Swell essentially an Oberwerk with the addition of an undulant and shutters. With a warm and generous ensemble, punctuated by two differently pungent tierces, the instrument convincingly handles large portions of the literature. The opportunity for AIO members to tour the instrument revealed meticulous craftsmanship and fine materials throughout.

Back in the mid-1960s, when no American organbuilder was good enough for the nation’s most famous concert hall, a very wealthy woman donated a Flentrop organ to New York’s Carnegie Music Hall. Ultimately rejected by a board of experts, the organ languished in storage for a decade before its adoption by The State University of New York at Purchase. There it languishes today, in an immense storage shed at stage left, its “Moderne Neo-Aztec” casework surrounded by acoustically annihilating drapes. Built on an air caster platform, a crew of ten can, in several hours, move it to the main stage for its annual appearance at a Christmas event. 

Robert Fertitta played small fragments of various organ works, and we were informed that the organ had been tonally altered by pressure changes, substitution of some stops, and revoicing after taking up residence at Purchase. The instrument’s curator, Peter Batchelder, served as historian, narrator, and supplemental combination action, and it is his quiet diligence and dedication that has kept that instrument working, in tune, and available to students.

Virgil Fox, Frederick Swann, William Sloane Coffin, Robert Hebble, John D. Rockefeller, Jr., Richard Weagly, Anthony A. Bufano--the list of associations is long when it comes to The Riverside Church. Timothy Smith, DMA, now presides over the V/204 instrument, front and back, that still retains much of the flavor of Aeolian-Skinner Opus 1118 of 1947, the famous instrument from which it evolved. The interior surfaces of the large room, in a squatter-than-accurate version of French gothic, have been sealed to provide a fiery acoustic, adding reverberation and a telling upper end to the original sound. Dr. Smith knows this impeccably maintained organ well, and his technical and musical abilities provided a fine demonstration of its capabilities.

A drive down sumptuous Fifth Avenue along Central Park brought us to Temple Emanu-El, the world’s largest Reform synagogue. Our first stop in the large complex was the 270-seat Beth-El Chapel. Sebastian Glück’s 1997 III/34 Opus 5 in the west gallery was demonstrated by one of the temple’s staff organists, Pedro d’Aquino, as a prelude to the panel discussion, “Metropolitan Marvels: Conservation and Curatorial Practices for the Large Urban Pipe Organ.” Panelists were Joseph Dzeda of Yale University and the Thompson-Allen Company, Gary Ferguson of West Point, and Curt Mangel of the Wanamaker (Lord & Taylor) Store in Philadelphia. Mr. Glück, whose firm maintains some of New York City’s large instruments, served as panel moderator.

Our move into the breathtaking sanctuary provided many attendees’ first visit to a synagogue. This vast, mystical space, a blend of Art Deco and Byzantine æsthetics filled with carving, polychrome, mosaic, and stained glass, can be overwhelming. A rare visual treat was the congregation’s famous Succah, erected on the bimah for the festival of Succot. Sebastian Glück’s demonstration-recital included repertoire of all cultures and eras, including two short works he had written specifically for the instrument. The 2003 IV/135 is Glück’s Opus 7, featured in the November 2004 issue of The Diapason, which retains 66 ranks from the temple’s 1928 Casavant Opus 1322. The largest of three pipe organs in the complex, the symphonic instrument’s style can best be described as Anglo-French Romantic Neoclassicism, using special scales and mixture compositions to overcome the acoustical stone that lines the 2,500-seat room.

With nearly 20,000 restaurants in New York City, conventioneers were set free for dinner on the fashionable Upper East Side before returning to the buses.

Friday, October 1

The second half of the Institute’s annual business meeting always includes a presentation on the state of the pipe organ industry by Dr. Robert Ebert of Baldwin-Wallace College. Based upon surveys filled out each year by the AIO membership, trends are tracked in areas ranging from the number of rebuilds, to number of electronic organs replaced by real pipe organs, to the number of new ranks built, to which denominations are investing in pipe organs.

This year’s Open Forum touched upon the AGO’s new Task Force on Digital Inclusiveness. One issue discussed was the pipe organ builder’s responsibility for making the pipes as beautiful as possible, and not leaving the pipe complement of these hybrid instruments to untrained sales agents with no voicing or tonal finishing experience. Many questions arose, especially about whether craftsmen in the Institute should combine their art with short-lived, disposable imitations.

“First Do No Harm,” a panel moderated by Laurence Libin of The Metropolitan Museum of Art, stressed both procedure and ethics. Pipe organ conservators Scot Huntington (OHS Vice President), Joseph Dzeda, and Richard Hamar discussed documentation, techniques, and the increasingly focused ethical mindset of the worldwide restoration community. An instrument’s age is no longer the sole criterion for historical significance. Restorations and alterations must be evident and reversible, and we must learn to stop “fixing” problems that do not exist. Preservation does not equate to paralysis, but we must end the process of ruination in the name of fashion by removing our personal judgments from the project.

Respected consultant and engineer Richard Houghten served as moderator for “Command and Control,” a highly technical panel discussion of advances in the technology and application of solid state pipe organ control systems. Engineers Scott Peterson, Duncan Crundwell, Arthur Young, Allen Miller, and Henry Wemekamp delivered individual presentations before a moderated discussion and questions from the floor.

The convention formally ended with Craig Whitney of The New York Times speaking of “A New Age for the Concert Hall Organ.” Following a summary of some of the material in his recent book, All the Stops, he spoke hopefully of the new concert hall organs being built in America, notably the visually and tonally stunning pipe organ in Walt Disney Concert Hall. With the contemporary church losing interest in the organ, will we have to create a new type of organist geared toward secular audiences? Or will each of these new concert hall organs stand as a mute reredos to the orchestra?

Saturday, October 2

Each AIO convention is followed by a one- or two-day post-convention tour. This year’s offerings began with a demonstration-recital at the Church of St. Ignatius Loyola (1993 Mander IV/91), followed by a recital at the Church of St. Thomas More (1998 II/26 Lively-Fulcher). A demonstration-recital followed at St. Michael’s Episcopal Church (1967 III/55 von Beckerath), which included an “open console” for participants, as well as the opportunity to climb carefully through the instrument to examine it. The Church of St. Mary the Virgin (1932 and following IV/91 Aeolian-Skinner and others) ended the day, and although the organ has been changed so much as to bear little resemblance to the original, bits of G. Donald Harrison’s soul floated down the acoustically stunning nave when some of the least-altered, original voices were used.

The annual banquet included a presentation on “The Cinematic Organ” by historian Jonathan Ambrosino, with wonderful archival material assembled by California producer Vic Ferrer. After this fun, informative, and sometimes irreverent glimpse of the organ’s portrayal by Hollywood, Mr. Ambrosino spoke of the life and work of Donald B. Austin who died on September 17. Although his passing marked the end of an era, his achievements and driven work ethic serve to inspire the next generation of organbuilders.

Sunday, October 3

St. Thomas Church (IV/138 conglomerate and 1996 II/25 Taylor and Boody) was the choice for worship services on Sunday morning. Following the distinguished tenure of Gerre Hancock, the parish has chosen John Scott, formerly of St. Paul’s Cathedral in London, to assume the mantle. A recital followed at Grace Church, Brooklyn Heights (2001 III/69 Austin), and the day ended at the Church of St. Charles Borromeo (1880 III/35 Odell), also in downtown Brooklyn. AIO members attended the service of installation for the incoming officers of the Brooklyn AGO chapter, and were welcomed at a reception following the program.

The conventions of the American Institute of Organbuilders are not restricted to organbuilders or AIO members, and attendance by musicians and other interested parties is encouraged. Convention information is always advertised in this and other journals well in advance, so make future conventions part of your autumn plans. For information: www.pipeorgan.org.

James B. Hartman is Associate Professor, Continuing Education Division, The University of Manitoba, Winnipeg, Canada, where he is Senior Academic Editor for publications of the Distance Education Program. He is a frequent contributor of book reviews and articles to The Diapason.

Organ enthusiasts who wish to learn about organs far outside their immediate vicinity have at their disposal a number of search engines to survey the Internet, such as Alta Vista, Google, InfoSeek, Lycos, WebCrawler, and Yahoo; however, these are neither easy nor efficient for this purpose. A particularly effective source is offered by the Dutch magazine, het ORGEL (the ORGAN), a publication of Koninklijke Nederlandse Organistenvereniging (KNOV, i.e., Royal Dutch Organists Association); this is Europe’s oldest magazine on organ art: <www.hetorgel.nl&gt;.

The organ links of het ORGEL are in three categories: Countries, Related Instruments (Carillons, Barrel Organs, Harmoniums, Theater Organs, Harpsichords), and General Information (General, Composers, Liturgies, Music Software, Organists Societies, Organ Music).

There are links to organ sites in 65 countries throughout the world: Algeria, Argentina, Australia, Austria, Azerbaijan, Barbados, Belgium, Bolivia, Bosnia, Brazil, Bulgaria, Canada, Chile, China, Colombia, Croatia, Czech Republic, Denmark, Ecuador, England, Estonia, Finland, France, Germany, Greece, Guatemala, Hungary, Iceland, Indonesia, Ireland, Isle of Man, Israel, Italy, Jamaica, Japan, Korea, Latvia, Liechtenstein, Lithuania, Luxembourg, Malaysia, Malta, Mexico, Moldavia, Netherlands, New Zealand, Norway, Philippines, Poland, Portugal, Romania, Russia, Scotland, Singapore, Slovakia, Slovenia, South Africa, Spain, Sweden, Switzerland, Tanzania, Ukraine, Uruguay, U.S.A., and Zambia.

The relevant information in each country is classified under six headings: General, Organ Builders, Persons, Churches and Concert Rooms, Conservatories/Music Schools/Universities, and CDs/Books. The form of the entries in the different countries remains largely the same throughout but with local content appropriate to the particular country. Many sites include photographs of organ pipe façades and consoles.

An overview of the Web sites of several selected countries follows (some locations have more than one Web site).

U.S.A. The General category, with 147 entries, includes the Web sites of the chapters of the American Guild of Organists, along with a listing of other miscellaneous organizations, societies, topics, and publishers (including The Diapason). It also contains a Web site devoted to the largest pipe organs in the world, but this matter is not easily resolved due to some debatable technical distinctions.1

In the Organ Builders category there are 175 Web sites, including those of such well-known manufacturers as Aeolian-Skinner, Fisk, Holtkamp, Keates-Geisler, Möller, Reuter, Schlicker, and Wicks.

Under Persons the 187 Web sites include familiar names of many organists and concert artists: E. Power Biggs (1906-1977)2, Virgil Fox (1912-1980)3, Edwin H. Lemare (1865-1934)4, Rosalyn Tureck (1914-2003)5, and others. A typical site in this category includes a biography, a résumé, church appointments, compositions, repertoire, concerts, tours, recordings, a discography, testimonials, reviews, writings, links to related sources, and sometimes audio clips.

The Churches and Concert Rooms category consists of an alphabetical list of 614 locations throughout the country. New York City has 23 sites, including Alice Tully Hall in Lincoln Center, as well as Riverside, St. John the Divine, and St. Thomas churches, among many others.

There are 94 Universities and Music Schools, including Indiana University School of Music, New England Conservatory of Music, Oberlin Conservatory of Music, Peabody Conservatory, and schools at many state universities.

In the CDs and Notes category there are 98 Web sites of music publishers, bookstores, catalogs, record companies, and music societies.

A small category, Music Programs, consists of nine sites, including a software distributor and other sources.

Canada. The General category, with 33 entries, consists of the Web sites of 13 local chapters of the Royal Canadian College of Organists, two branches of the Royal School of Church Music, and the sites of other organizations, societies, publishers, festivals, and miscellaneous topics. A particularly ambitious Web site, Organs of the United States and Canada Database, is intended to provide a single, consistent, accessible, historical source of the organs constructed or installed in the United States and Canada since the arrival of the first imported instrument in the colonies; this listing of about 90,000 instruments and 1,800 builders is accessible only by inquiry to the site originator in Seattle, Washington.

In the Organ Builders category there are 26 sites, including Canada’s leading builder, Casavant (three sites), along with other prominent firms like Guilbault-Thérien, Keates-Geissler, Létourneau, Wilhelm, and Wolff.

Under Persons 29 organists have Web sites; there is a historic entry for the Lynnwood Farnam (1885-1930) Society. A separate listing of Organists in Québec is also provided.

The Churches and Music Rooms category includes information on 70 locations in major cities across the country. A relatively new organ is the Davis Concert Organ, four manuals, 96 stops, in the Francis Winspear Music Centre in Edmonton, Alberta, installed in 2002 by Orgues Létourneau, Saint-Hyacinthe, Québec.

In the category of Universities/Music Schools six are identified, all in eastern provinces.

Under CDs and Books there are seven publishers or distributors.

England. The General category, with 58 entries, includes the Web sites of organizations such as the Guild of Church Musicians, Royal College of Organists, Royal Society of British Organists, along with associations and societies in various cities, and other specialized organizations. Several magazines or other publications devoted to the organ or organists are also listed here.

In the Organ Builders category there are 39 names, including the Incorporated Society of Organ Builders, Harrison & Harrison, N. P. Mander, and Henry Willis & Sons.

Under Persons 68 organists are listed, including such notable players as David Briggs, Sir Peter Maxwell Davies, Christopher Herrick, John Stainer (1840-1901), Gillian Weir, Carol Williams, and Arthur Wills.

The Churches and Concert Rooms category consists of 290 locations in major centers throughout the country, some in universities such as Cambridge, and others in cathedrals such as Coventry, Durham, Exeter, Gloucester, Leicester, and Liverpool. Royal Festival Hall, St. George’s Chapel in Windsor Castle, and Westminster Abbey are also found here.

In the category of Music Schools there are 12 sites, including the Royal Academy of Music, Royal College of Music, Royal School of Church Music, and similar academies connected with educational institutions.

Under CDs and Books there are 43 Web sites of music publishers, bookstores, catalogs, record companies, and music societies.

France. The General category, with 79 entries, includes the Web sites of associations and societies--”Les Amis de l’Orgue”--in various cities, reports of organ festivals and seminars, and miscellaneous topics, such as French Organ Music and pages devoted to organ magazines.

In the Organ Builders category there are 49 sites, a few with historical significance: Jean-André [Johann-Andreas] Silbermann (1678-1734), Aristide Cavaillé-Coll (1811-99), and Dom Bédos de Celles, L’Art du Facteur d’Orgues, in addition to present-day firms and the comprehensive Groupement Professionnel des Facteurs d’Orgues.

Under Persons 48 names are listed, including such familiar figures as Pierre Cochereau (1924-1984), Jean Guillou, Naji Hakim, Jean Langlais (1907-1991), André Marchal, Daniel Roth, and René Saorgin; there is a separate site for Parisian Organists that lists the organists who served at churches in Paris from the 13th to the 21st centuries.

The Churches category covers 414 establishments in the major cities. Paris includes Notre Dame, Sacré-Coeur, St. Eustache, St. Sulpice, St. Clotilde, St. Gervais, and Madeleine, all familiar on account of their associations with famous organists of the past; there is a separate site for organs of Paris. In the category of Schools, there are only three, led by the Conservatoire de Paris.

Under CDs, Books, and Sheet Music, there are 25 Web sites of music publishers, suppliers of music publications, and record companies.

Germany. In the Organ Builders category there are 234 names, some of which may be familiar to North Americans: von Beckerath, Gabler (1700-1771), Glatter-Götz, Klais, Laukhuff, Schnitger, Silbermann, and Walcker. Here, as in some other countries, there is a comprehensive Web site devoted to organ building; a number of entries are related to historic builders of the 18th and 19th centuries.

Entries in other categories--General, Persons, Churches, Conservatories, CDs and Books--are appropriate to Germany.

Australia. The General category has 10 Web sites that include several societies, including a branch of the Royal School of Church Music, England.

There are only two Organ Builders in the country; both are small firms that construct small organs and provide restoration and maintenance services.

In the Churches/Concert Halls category there are 51 Web sites. These reveal that several town halls have organs: Adelaide, Melbourne, Perth, and Sydney. The activity of external makers is evident in the case of Melbourne, where the five-manual Hill, Norman & Beard instrument, acquired in 1929, was rebuilt by Schantz, U.S.A., commencing in 1999. A special Web site, Second Wind, reports that elegant furniture was made from timbers taken from the Melbourne Town Hall organ when it was renovated in 2001. A monastery library in Arcadia also has an English organ by T. Atterton: two manuals, 11 stops, 1893, later restored in Melbourne.

In the Schools category there are six sites, one for the Sydney Conservatorium of Music, the others connected with the music faculties of the major universities.

South Africa. The General category has five Web sites, including one of the Johannesburg Organ Society, which promotes all aspects of the organ, including recitals, workshops, concerts, and visits to significant instruments.

There are only two firms listed in the Organ Builders category, specializing chiefly in the restoration, rebuilding, and maintenance of existing instruments.

In the Churches category there are eight entries. One of these, St. George’s Cathedral in Cape Town, has an organ that originally was in St. Margaret’s Church in London, England (next to Westminster Abbey). In 1909 a later four-manual, 61-stop organ was donated to St. George’s by a London businessman who had connections in South Africa. The largest organ in the country is in Feather Market Hall, Port Elizabeth, with 5,508 pipes.

The two Universities/Music Schools are University of South Africa, and University of Cape Town where the Baxter Concert Hall has a three-manual, 49-stop von Beckerath instrument, inaugurated in September 1977 (von Beckerath died on 20 November 1976 before the installation was completed).

This survey will conclude with a few miscellaneous items concerning organs in several selected countries.

In Denmark the Frobenius firm has completed slightly more than 1,000 organs since it was founded in 1909; of these, five are in England, two in U.S.A., and five in Japan.

Hong Kong, a special administrative region of China, has one organ in the Hong Kong Cultural Center.

In Ireland the Pipe Organ Site, in addition to providing information on organists, organ specifications, organ builders, and recordings, contains a section on organ jokes.6  

The Isle of Man Organists Association held an Organ Festival in 2002 that included recitals by Gillian Weir and others, workshops, and a gala dinner (£12 including wine!).

The independent state of Malta, consisting of three islands south of Sicily in the Mediterranean Sea, has seven organ builders and restorers; a recent project was the restoration of the ‘Platania’ organ, originally built in Sicily in 1726.

In The Netherlands two famous organ builders are found among the 42 firms listed: Schnitger (1648-1719) and Flentrop (since 1903). Stinkens, organ pipe makers (since 1914), is also active there.

The Philippines has two old organs, two organ builders, and two churches; it recently held its 29th International Bamboo Organ Festival.

In Zambia, an independent country (formerly called Northern Rhodesia) in east central Africa, the Cathedral of the Holy Cross in Lusaka has a two-manual, 25-stop organ (builder not identified). In addition to containing information on the organ, the church’s Web page contains sermons, anniversaries, church news, prayer requests, and other information of interest to the parishioners.

The immense amount of organ information contained in the worldwide Web sites defies even a summary description. Given the diversity of languages among the different countries, not all of this information is easily available to English-only readers for that reason, although some sites provide an English version in addition to the language of the country of origin. On the other hand, it is possible to recognize the stop names of organs in most cases on account of their widespread similarity throughout the world. The curious reader can only speculate on the vast number of organs in these countries that do not have Web sites! Visiting the various Web sites, with their colorful and attractive home pages, also provides aesthetic experiences of diverse organ designs. The reader will discover that some Web sites are unavailable or have moved; many are church pages, where the organ is included but is secondary in importance.

KNOV’s assembly of Web sites provides a valuable cultural resource that will be useful for a variety of purposes: recreational exploration of the world of the organ on the Internet, comparative research on organ specifications and the historical backgrounds of the instruments, and perhaps for planning future journeys to the countries where existing organs can be found, inspected, and perhaps played.              

Organbuilding in the United States and Canada is a thriving art practiced in hundreds of shops throughout the continent. Emerging from decades of stylistic extremes, organbuilders are combining a wealth of knowledge from the past with new technologies to meet contemporary design challenges. North American builders, compelled by a unique spirit of cooperation and openness, are successfully raising the artistic standards of this time-honored craft. (American Institute of Organbuilders, descriptive statement.)

The organ has occupied a prominent place in the musical culture of Canada since the days of the first European settlement, chiefly because of its close connection with church music and the ambitions of many congregations. The first organs, brought from France, were installed in Québec City around 1660. An anecdotal report mentions the acquisition by a Halifax church of a Spanish instrument that had been seized on board a ship in 1765.1 Following a period in which organs continued to be imported from England and France, organbuilding began as early as 1723 and flourished mainly in Québec and Ontario from the mid-19th century onward.2 By the second half of the 19th century, organ building had become a relatively important industry in Eastern Canada, where companies had acquired sufficient expertise to compete in the international market, including the United States.3

The development of organbuilding in Canada proceeded through several phases, beginning with early builders.4  The first known organbuilder was Richard Coates, who arrived in Canada from England in 1817; he supplied mainly barrel organs to several small churches in Ontario. Joseph Casavant, the first Canadian-born builder, installed his first instrument in the Montréal region in 1840; he transmitted his skills to his sons, who later established the company that achieved world-wide recognition. The arrival from the United States of Samuel Russell Warren in 1836 marked the introduction of professional-calibre organbuilding into the country. His family firm had produced about 350 pipe organs by 1869; it was sold in 1896 to D. W. Karn (see below). Other prominent organ builders included Napoléon Déry (active 1874-1889), Eusèbe Brodeur (a successor to Joseph Casavant in 1866), and Louis Mitchell (active 1861-1893) in Québec, and Edward Lye (active 1864-1919) in Ontario.

The years 1880-1950 were marked by unprecedented growth in organbuilding, beginning with the establishment of Casavant Frères in 1879 in Saint-Hyacinthe, Québec. The Canadian Pipe Organ Company/Compagnie d'orgues canadiennes was established in 1910 by some former Casavant staff, also in Saint-Hyacinthe (when the firm closed in 1931 its equipment was acquired by Casavant). Prominent Ontario builders included the firms of Richard S. Williams (founded 1854 in Toronto), Denis W. Karn (commenced 1897 in Woodstock), C. Franklin Legge (founded 1915 in Toronto, joined by William F. Legge 1919, who later established his own company in Woodstock around 1948), and the Woodstock Pipe Organ Builders (an organization of skilled craftsmen in that Ontario town, 1922-1948). Several smaller, independent builders were active for a time in Ontario, the Maritime provinces, and Manitoba (late 1880s). British Columbia, on the other hand, seems to have had no indigenous organbuilders, for instruments were imported from the United States or from England on ships that sailed around Cape Horn; one of the earliest arrived in Victoria from England by this route in 1861.

In the early 1950s some organbuilders, encouraged by younger organists who had played European instruments, as well as the increasing availability of sound recordings of these organs, turned to classical principles of organbuilding to counter what they perceived as the colorless sound palettes of Canadian organs of the 1930s. The return to earlier tonal aesthetics, inspired by the so-called 17th-century "Baroque organ," found expression in the construction of bright-toned, tracker-action instruments. The "new orthodoxy" was enthusiastically assimilated by Casavant Frères and by a number of independent builders in the same region, some of whom had received their training in Europe. Karl Wilhelm, Hellmuth Wolff, André Guilbault and Guy Thérien, Fernand Létourneau, Gabriel Kney, and Gerhard Brunzema were prominent in this movement, and many of them are still in business. Their accomplishments, along with the activities of other known organbuilders of the 1990s, will be described in chronological order, according to their founding dates, in the remainder of this article.5

Casavant Frères, Saint-Hyacinthe, Québec (1879)

Casavant is the oldest continuing name in organbuilding in North America. Joseph Casavant (1807-1874), the father of the founders of the company, began his organbuilding career while still a Latin student at a Québec religious college, where he completed an unfinished organ from France with the help of a classic treatise on organbuilding. By the time he retired in 1866, after 26 years in business in Saint-Hyacinthe, Québec, he had installed organs in 17 churches in Québec and Ontario, but none of them survive. His sons, Joseph-Claver Casavant (1855-1933) and Samuel-Marie Casavant (1850-1929), worked for Eusèbe Brodeur, their father's successor, for a few years. They opened their own factory in Saint-Hyacinthe, Québec, in 1879, following an extended tour of western Europe inspecting organs and visiting workshops; Claver had apprenticed briefly with a Versailles builder before the tour. In the early years the Casavant brothers were conservative in their tonal design, emulating the ensemble sound of the kind they had heard in old-world instruments that they had examined during their European tour. But from the outset the brothers were innovators, beginning with improvements in the electric operation of their organs in the 1890s. As their reputation spread beyond the cities and towns of their province, production increased steadily.

The company experienced difficult times in the 1930s due to economic conditions, much standardization, and repetitive tonal design. Production was curtailed during the years of World War II due to a shortage of materials, and the company manufactured many unit organs during this period. Later, new initiatives were undertaken by several imaginative artistic directors who served with the firm between 1958 and 1965: Lawrence Phelps from Aeolian-Skinner in the U.S.A.; and European-trained Gerhard Brunzema, Karl Wilhelm, and Hellmuth Wolff.

Most present-day Casavant organs exhibit a conventional design that retains both symphonic and modern elements in subtle synthesis. Casavant organs are recognized for their special tonal qualities and the way the individual stops are blended together into a chorus at all dynamic levels. Time-tested actions include tracker, electrically operated slider windchests, and electro-pneumatic (since 1892; tubular-pneumatic was last used in the mid-1940s). The company workshop has eight departments: metalworking, woodworking, mechanism, consoles, painting, racking, voicing, and assembly. Virtually all components are made in the workshop, including all flue and reed pipes (to 32-foot-length), reed shallots, windchests, consoles, keyboards and pedalboards, and casework, although specialized wood carving and gilding are done by outside artisans. A few electrical components, such as blowers, power-supply units, electromagnets, solid-state combination and coupling systems, and hardware, are purchased from world-wide suppliers. All visual designs are coordinated with their intended surroundings; there are no stock designs. Organs are completely assembled for rigorous testing and playing in preparation for on-time delivery.

The company resumed the construction of tracker-action instruments in 1961 after a lapse of about 55 years, producing 216 such organs since that date. By the end of 1998 the total output amounted to 3,775 organs of all sizes, and many of these have received enthusiastic testimonials from renowned recitalists over the years. Although sales were limited mainly to North America until World War II, Casavant organs now have been installed in churches, concert halls, and teaching institutions on five continents. The firm's largest instrument is a five-manual, 129-stop organ with two consoles installed in Broadway Baptist Church, Fort Worth, Texas, in 1996. The great majority of the very large instruments have been installed in locations in the United States; the exception is the four-manual, 75-stop organ in Jack Singer Concert Hall, Calgary Centre for the Performing Arts, in 1987. The company also engages in renovation projects and additions to existing organs.

The key personnel include Pierre Dionne, President and Chief Operating Officer (from 1978), formerly Dean of Administration at the Business School of the University of Montréal; Stanley Scheer, Vice-President (1984), formerly Professor of Music and Head of the Department of Fine Arts at Pfeiffer University, Misenheimer, North Carolina, holds a Master of Music degree in organ performance from Westminster Choir College, Princeton, New Jersey; Jean-Louis Coignet, Tonal Director (1981), a professionally trained physiologist with a doctorate from the Sorbonne, contributor to music journals, the most knowledgeable authority on the work of Cavaillé-Coll today, was formerly organ expert for the City of Paris; Jacquelin Rochette, Associate Tonal Director (1984), formerly Music Director of Chalmers-Wesley United Church, Québec City, holds a Master's degree in organ performance from Laval University, performs regularly on CBC radio, and has recorded works by several French composers for organ; Denis Blain, Technical Director (1986), with many years of practical experience in virtually all aspects of organbuilding, is in charge of research and development; Pierre Drouin, Chief Engineer, holds a Bachelor of Architecture degree from Laval University, introduced computer-assisted drafting, and supervises the design and layout of each organ. In 1998 the company had 85 full-time employees, many with more than 30 years of service with the company. All levels of management and production personnel function as a team.

Keates-Geissler Pipe Organs, Guelph, Ontario (1945)

The company was established in 1945 in London, Ontario, by Bert Keates (he came from England in his infancy) and relocated to Lucan, Ontario, in 1950. When it was incorporated in 1951 the assets of the Woodstock Pipe Organ Builders (formerly Karn-Warren) were purchased. The company moved to Acton, Ontario, in 1961, a more central location in the province. In 1969 the growing firm took over the business of the J. C. Hallman Company, a manufacturer of electronic instruments and pipe organs, when it discontinued making pipe organs (but not parts for them). For several years some organs were manufactured under the name of Keates-Hallman Pipe Organs.6 The company moved to Guelph, Ontario, in 1994.

Dieter Geissler was born in Dittelsdorf, Saxony, Germany, where he began his trade as a cabinetmaker. At the age of 14 he commenced his apprenticeship with Schuster & Sohn, Zitau, where he remained from 1946 to 1950. In 1951 he moved to Lübeck, West Germany, where he worked as a voicer with E. Kemper & Sohn for five years. In 1956 he moved to Canada to join Keates's staff. When Keates retired at the end of 1971 Dieter Geissler became president of the firm, which he purchased in 1972, and adopted the present company name in 1982. His son, Jens Geissler, joined the company in 1978.

Keates-Geissler organs are offered in all types of action and are custom built to any required size. Altogether, 147 new organs7 have been installed at locations in Canada, the United States (about 15), and Barbados, West Indies. The output includes a number of four- and five-manual instruments; the largest is a five-manual, 231-stop organ, installed in the First Baptist Church, Jackson, Mississippi, in 1992 (a compilation of its original 1939 E. M. Skinner instrument, a 1929 five-manual Casavant organ removed by Keates-Geissler in 1986 from the Royal York Hotel, Toronto, and some additional structures by the company). The firm has undertaken a substantial number of renovation, rebuilding, and reinstallation projects over the years, about 1,500 altogether, about 75 of these in the United States.

All wooden pipes are made in the factory, but metal pipes are made by Giesecke or Laukhuff in Germany to the company's scaling specifications; preliminary voicing is done in the factory before final voicing on-site. The windchests of electro-pneumatic instruments feature Pitman-chest action that includes some unique features to overcome the effects of extremes in temperature and humidity; the company is the only such manufacturer in Ontario and one of a few in Canada. Expandable electronic switching systems are designed and made in the factory from readily available components to facilitate replacement. Solid-state switching and multiple-memory combination actions are also manufactured. Console shells are handcrafted from solid wood in the factory; tracker touch is an available option. Keyboards are custom made to the company's specifications by Laukhuff, Germany, and blowers are acquired mainly from the same company. The company had four full-time employees in 1998; other part-time workers are hired as needed.  

Guilbault-Thérien, Saint-Hyacinthe, Québec (1946)

This company originated with the Providence Organ Company, established in Saint-Hyacinthe in 1946. The partners, André Guilbault, whose father Maurice Guilbault had worked for Casavant, and Guy Thérien, a voicer from Casavant, joined forces in 1968 when the elder Guilbault retired. The present company name was adopted in 1979. When André Guilbault retired in 1992, Alain Guilbault (no relation) acquired an interest in the company.

At the outset the company manufactured electro-pneumatic instruments, but built its first mechanical-action instrument (Opus #1 in a new series), a two-manual, 7-stop organ, in 1970, immediately followed by several small one- and two-manual instruments. From 1974 onward the typical instruments were medium-size, two-manual organs. Larger instruments of three or four manuals began to appear with greater frequency after 1983, the largest being a four-manual, 45-stop organ installed in Grace Church, White Plains, New York, in 1989, the only installation in the United States to that time. While the tonal layout of the organs is mainly inspired by European sources, mainly French, the swell divisions of the larger instruments are sufficiently versatile to handle symphonic literature.

The output of new organs was about 55 to 1998, mainly in Québec and Ontario. The company's work has also involved the restoration and reconstruction of a similar number of Québec organs, mainly by Casavant, but including some of historical significance that are over a hundred years old by such early builders as Napoléon Déry and Louis Mitchell. 

Several compact discs featuring performances by Québec organists on instruments manufactured by the company, or on reconstructed historical Casavant instruments, have been released in the past decade.8

Principal Pipe Organ Company, Woodstock, Ontario (1961)

The company was established by Chris Houthuyzen in Woodstock, Ontario, a town with a continuing tradition of organbuilding. The founder served his apprenticeship and received further training in The Netherlands before coming to Canada. Small to medium-sized instruments, employing electro-pneumatic action, are the company's specialty, with a contemporary emphasis on the guiding principles of Dutch organbuilding. A total of 119 installations have been completed over the years; the largest was a four-manual, 58-rank instrument. Wooden pipes are made in the shop, but most metal pipes come from suppliers in the United States; their scaling is dictated by the acoustics and intended use of the organ. Chests, reservoirs, ducting, consoles, and casework are manufactured on the premises. Much of the company's work involves rebuilding and maintaining organs, as well as the installation and servicing of church bells, including cast and electronic carillons on behalf of the Verdin Company, Cincinnati, Ohio. The company had three employees in 1998.

Gabriel Kney, London, Ontario (1962-1996)

Gabriel Kney was born in Speyer, Germany; his father was a master cabinetmaker and amateur bassoonist, and his mother was a singer. He served his apprenticeship in organbuilding with Paul Sattel in Speyer (1945-1951), where he assisted in the restoration of historic, sometimes war-damaged, instruments, along with new organ construction. Since the era was a time of transition from the "Romantic" style of organbuilding to the concepts of Orgelbewegung, this trend provided him with the opportunity to learn about and participate in the building of organs of both concepts. Concurrently he was a student of organ literature, liturgical music, harmony, and improvisation at The Institute of Church Music in the same city.

He emigrated to Canada in 1951 and joined the Keates Organ Company in Lucan, Ontario, as an organbuilder and voicer. In 1955 he was co-founder, with John Bright, of the Kney and Bright Organ Company in London, Ontario, with the intention of specializing in tracker instruments. The timing was premature, for only a few musicians and teaching institutions found such instruments of interest; with the exception of two teaching organs of tracker design supplied to a college in the United States, most of the early organs were requested to have electric key action. In 1962 Gabriel Kney established his own company in London, Ontario, where, with enlarged facilities and a staff of six to eight, he specialized in mechanical-action instruments. Organs from the period between 1962 and 1966 were designed in the historic manner of Werkprinzip, with organ pipes enclosed in a free-standing casework and separated into tonal sections. The tonal design of smaller instruments followed 18th-century North European practices, with some tuned in unequal temperaments of the period.

Altogether, his shops produced 128 organs since 1955; the largest in Canada being the four-manual, 71-stop, tracker-action instrument with two consoles in Roy Thomson Hall, Toronto. Since the early 1970s almost three-quarters of the installations were in locations in the United States, several of these in large universities. Occasionally maintenance and historic instrument restoration projects were undertaken.

Wooden pipes were made in the shop, with the exception of very large pipes made to specifications by suppliers in the United States, England, or Germany. Metal pipes also were made to order by independent pipemakers in Germany or Holland. Some console components, such as keyboards, were obtained from suppliers in the United States, England, or Germany. Electric switching devices came from the United States in earlier years, later from England. Blowers were imported from Laukhuff in Germany, Meidinger in Switzerland, or White in the United States. All casework and chest construction was done in the shop.

In 1996 Gabriel Kney retired from active organbuilding and closed his company. Since then he has acted as a consultant to churches seeking advice on organ purchase, restoration, and tonal redesign, and sometimes to other organbuilders.

Karl Wilhelm, Mont Saint-Hilaire, Québec (1966)

Karl Wilhelm was born in Lichtenthal, Rumania, and grew up in Weikersheim, Germany. At the age of 16 he entered apprenticeship with A. Laukhuff, Weikersheim (1952-1956), followed by working experience with W. E. Renkewitz, Nehren/Tübingen (1956-1957), and Metzler & Söhne, Dietikon, Switzerland (1957-1960). After moving to Canada, in 1960 he joined Casavant Frères, where he established the department and trained several employees for the production of modern mechanical organs; while there he was responsible for the design and manufacture of 26 organs. In 1966 he established his own firm, first in Saint-Hyacinthe, then moved to new facilities in Mont Saint-Hilaire, near Montréal, Québec, in 1974. For a while he was assisted by Hellmuth Wolff, now an independent builder (see below).

Karl Wilhelm specializes in building mechanical organs of all sizes, 147 to date, of which 69 are located in the United States and two in Seoul, Korea. Of the total output, 43 are one-manual instruments, 93 are two-manual instruments of medium size, and 11 are three-manual instruments--the largest is a 50-stop instrument in St. Andrew's Presbyterian Church, Toronto, installed in 1983. Two have detached consoles, and four have combination actions with electric stop-action; all instruments have mechanical key action. The design and layout of instruments adhere to the principles of the classical tradition of German and French organbuilding. Three-manual instruments feature a large swell division, suitable for the performance of Anglican Church music and the Romantic repertoire.

All wooden pipes are made on the premises, along with almost one-half of the metal pipes that are handmade of a tin-lead alloy; other metal pipes are imported from Germany. Scaling and voicing are done in the classical open-toe manner for natural speech and mellow blend. Windchests and bellows, consoles and action, and cases are manufactured in a 9,000 sq. ft. workshop. Organs may have cases of contemporary design, or perhaps are more ornate with moldings and hand-carved pipe shades that are compatible with the architecture of the location. Blowers are acquired from Laukhuff, Germany; miscellaneous parts come from other suppliers. The firm does not engage in rebuilding or renovation but services and tunes its own instruments throughout North America. In 1998 the firm had five employees, all trained by Karl Wilhelm.

Wolff & Associés, Laval, Québec (1968)

Hellmuth Wolff was born in Zurich, Switzerland. While a teenager he apprenticed with Metzler & Söhne, Dietikon, Switzerland (1953-1957); in his spare time he built his first organ, a four-stop positiv instrument. He received additional training with G. A. C. de Graff, Amsterdam (1958-1960) and with Rieger Orgelbau, Schwarzach, Austria (1960-1962). In the United States (1962-1963) he worked with Otto Hofmann, in Austin, Texas, and Charles Fisk, in Gloucester, Massachusetts. After moving to Canada he worked with Casavant Frères (1963-1965) in its newly established tracker-action department, and then with Karl Wilhelm (1966-1968), with whom he had worked at Casavant. In the interval 1965-1966 he returned briefly to Europe to work as a designer and voicer with Manufacture d'orgues Genève, in Geneva. Besides playing the piano and singing in choirs wherever he went, he completed his musical training by taking organ lessons with Win Dalm in Amsterdam and later with Bernard Lagacé in Montréal.

In 1968 he opened his own business in Laval, Québec, with one employee; his present associate, James Louder, started his apprenticeship with Hellmuth Wolff in 1974, after training in classical guitar and English. The first large project undertaken in that year was the construction of a three-manual, 26-stop instrument at the Church of St. John the Evangelist, New York City; this was one of the city's first modern tracker-action organs and it incorporated features not yet seen in North America. In 1977 the company moved to a new shop; the firm became incorporated in 1981, and James Louder became a partner in 1988.

Hellmuth Wolff has been part of the Organ Reform in North America since the movement came to this continent in the early 1960s. He specializes in mechanical-action instruments, large and small, whose design is inspired by French or German classical traditions, although other styles are represented that are designed to accommodate a wide range of organ literature. A total of 42 organs have been manufactured; about one-half of these were installed in locations in the United States. While a few small residence or practice instruments have been built, the majority are two-manual organs, in addition to eight three-manual organs, and one four-manual, 50-stop/70-rank instrument installed in Christ Church Cathedral, Indianapolis, Indiana, in 1989.9 Other related activities include rebuilding, restoration, and maintenance work, chiefly in the Montréal area.

Wooden pipes are made on the premises, while metal pipes are acquired from several pipemakers in Canada, U.S.A., and Europe; some reeds are made there, also. Windchests, consoles, and cases are also manufactured on site. Blowers are acquired from Meidinger and Laukhuff in Germany. Several installations feature both mechanical stop-action and capture systems; the first was built in 1977 for the Eighth Church of Christ, Scientist, in New York City; it was probably the first such system in North America. Both sequencers and traditional multilevel capture systems are used. There were eight employees in 1998.

Hellmuth Wolff, along with his associate, James Louder, have contributed to symposiums and written publications on organs and organbuilding.10 Fourteen compact discs, featuring performances by Canadian and American artists on Wolff instruments, have been released, and three others are in preparation.11

Brunzema Organs, Fergus, Ontario (1979-1992)

Gerhard Brunzema was born in Emden, Germany, and grew up in Menden on the Ruhr river, a northern part of the country where there was an abundance of historic organs. After World War II he apprenticed with Paul Ott in Göttingen and worked with him as a journeyman organbuilder (1948-1952). He received extensive technical training, including acoustics, at the Brunswick State Institute for Physics and Technology (1953-1954), and received a Master's degree in organbuilding in 1955. In 1953 he joined the prominent European organbuilder Jürgen Ahrend in the construction and restoration of organs, some in Holland and Germany of great historical significance; this association continued for 18 years. After emigrating to Canada he joined Casavant Frères in 1972 and served as artistic director until 1979; during that time he was responsible for the design of several notable organs in Canada, the United States, Japan, and Australia, along with the restoration of a number of historic Casavant instruments in Ontario and Québec. His experience at Casavant gave him the opportunity to work with very large organs, an experience that was lacking in Germany.

In 1979 he established his own business in Fergus, Ontario. Throughout his career he specialized mainly in small, one-manual, four-stop, continuo organs (25 in all); most of his nine two-manual instruments--the largest was 25 stops--were made between 1985 and 1987. In 1990 he was joined by his son, Friedrich, who had completed his apprenticeship in Europe. Until the time of his death in 1992, Gerhard Brunzema's total output amounted to 41 instruments; of these, 20 were installed in Canadian locations (mainly in eastern provinces), 17 in the United States, one in the Philippines, one in South Korea, and two in European countries. The tonal design of his instruments was strongly influenced by Schnitger organs that he had studied and restored while in Europe. He believed that basic organ design cannot be learned through restoration work, because such instruments were conceived by others; nevertheless, in restorations the intentions of the original builders should be respected. As for new instruments, his philosophy was that "An organbuilder should choose a style and stay with it, so that he not only continues to develop his own skills, but also continues to help improve the skills of the people working for him. . . . Become a master of one thing, get over the initial difficulties very quickly, and then polish your knowledge, the details of which will finally add up to a very good result."12

Koppejan Pipe Organs, Chilliwack, British Columbia (1979)

Adrian Koppejan was born in Veenendaal, Holland, and apprenticed with his father, who was an organbuilder there. He worked with Friedrich Weigle in Echterdingen by Stuttgart, Germany (1963-1966), with Pels & Van Leeuwen in Alkmaar, Holland (1968-1972) as shop foreman of the mechanical organ department, and with his father's company, Koppejan Pipe Organs, in Ederveen, Holland (1968-1972). He moved to Canada in 1974 and established his own company five years later.

Adrian Koppejan strives for a clear, warm, but not loud sound in his instruments, a preference inspired by classical organs of North Germany. This sound palette is reflected in the instruments in which he specializes: small and medium-size tracker instruments; he has built five electromechanical organs, as well. His output to date consists of 19 organs; these have been installed in churches and private residences in British Columbia, Alberta, and Washington state. His largest organ is a three-manual, 31-stop, electromechanical instrument, with a MIDI system, installed in the Good Shepherd Church, White Rock, B.C., in 1995. An instrument of similar size was constructed in 1998. Rebuilding, restoration, maintenance, and tuning are also part of regular activities.

Wooden pipes are mostly acquired from Laukhuff, Germany; metal pipes come from Stinkens in Holland and Laukhuff in Germany. Keyboards are made in Germany by Laukhuff or Heuss. Winding mechanisms, consoles, solid oak cabinets, and casework are manufactured in the shop. Blowers are supplied by Laukhuff, and electrical control systems come from Peterson in the U.S.A. There were two part-time employees in 1998 as Adrian Koppejan reduced the scope of his operations in anticipation of retirement.

Orgues Létourneau,  Saint-Hyacinthe, Québec (1979)

Fernand Létourneau was born in Saint-Hyacinthe, Québec, where he worked for while as a carpenter before entering employment with Casavant Frères in 1965; there he apprenticed with his uncle, Jean-Paul Létourneau, who was head reed voicer. He remained with the company for 14 years, where he was head voicer from 1975 to 1978, when he decided to set up his own independent company. First, with the help of a Canada Council grant, he embarked on an organ tour of Europe to study the voicing of old masters. Upon his return to Canada in 1978 he began building organs in Sainte-Rosalie, Québec, and became incorporated in 1979. His first organ, a two-manual, 6-stop instrument, was started in the basement of the family house and then displayed in the shop of a cabinetmaker; it was later acquired by the Conservatoire de Musique du Québec, Hull, where dozens of students have learned to play the organ on this small instrument. In 1984 he moved back to Saint-Hyacinthe, where three other organbuilders were already established. The factory's first building was formerly a municipal water-filter plant; the partially underground space provided a room 35 feet in height, ideal for erecting organs. A second industrial building was acquired recently to supplement the original premises.

A total of 55 organs of various sizes have been built to 1998; 13 others are in progress. The great majority have mechanical action, utilizing classical principles used in European instruments, and with the flexibility provided by ranks inspired by Dom Bédos, Schnitger, and Cavaillé-Coll. The largest will be a four-manual, 101-stop, mechanical-action instrument intended for the Francis Winspear Centre, Edmonton, Alberta. International distribution has been common from the outset, beginning with three early instruments that were installed in Australian locations in the early 1980s (the builder had become known on account of his activities as a voicer of Casavant instruments in that country). Others have been placed in New Zealand, Austria, England (Pembroke College, Oxford, 1995; an instrument is under construction for the Tower of London for completion in late 1999), the United States (over one-third of the total production), and Canada (chiefly eastern provinces, a few in the west). The company now has permanent representatives in the United States, England, and New Zealand. Fernand Létourneau prefers to build instruments of eclectic tonal design that are suitable for the performance of a wide range of organ literature. Historic restorations have also been undertaken.

All organ components, with the exception of electronics, are made in the factory, including wooden and metal pipes to 32-foot length, keyboards, consoles, and casework. Blowers are acquired from Laukhuff, Germany. Middle-size organs are equipped with electronic sequencers, card readers, and similar devices. The company is constantly engaged in rebuilding and restoring instruments of different vintages to original condition, about 50 to date, several of which have been designated as historical or heritage instruments. In 1998 there were 45 full-time staff in the Létourneau "family," of which a number are related to one another as father-son/daughter, uncle, brother, cousin, and husband-wife.  

What do organists really know about organbuilders?

David Lowry, DMA, HonRSCM, is Professor Emeritus of Music at Winthrop University, Rock Hill, South Carolina, and the Parish Musician of the Church of the Good Shepherd, Columbia, South Carolina. 

The American Institute of Organbuilders held its 40th annual convention October 6–9, 2013, in Winston-Salem, North Carolina. The AIO is an educational organization dedicated to advancing the art of organ building “by discussion, inquiry, research, experiment, and other means.” AIO members are professional organbuilders, service technicians, and suppliers who subscribe to the institute’s objectives and its Code of Ethics. There are over 400 members. 

Begun in 1973, the AIO continues as a vital organization with a fine board of directors, a quarterly journal, and a consistent pattern of annual conventions. The AIO awards certificates for Service, for Colleague, and for Fellow, based on tests of knowledge and understanding of organ building, similar to the AGO certifications for organ playing. 

At this 40th convention, there were some 180 registrants, including 110 members. About 80 elected to stay for a post-convention trip to Durham and Raleigh. There were 21 exhibitors, five of whom were from outside the United States.

Many organists in church and/or education positions inevitably know a few pipe organ service people, some of whom are actually builders of pipe organs. Many become friends and are often of great value to organists, who must defend their instruments by educating their congregations and colleagues on why an organ has to be “fixed” and why it “costs so much.” 

A few organists actually become adept at making a quick and safe fix to a problem without calling the organbuilder or maintenance people. Some higher-education institutions actually offer a course in how to take care of that one trumpet pipe that is out of tune before an important liturgy, or how to pull a pipe safely if it is ciphering, among a host of other little maladies. At the same time, plenty of service people can tell you horror stories of organists mutilating pipes with duct tape or bending them hopelessly out of shape. 

When organists gather in conventions, the focus is almost always on performances of music, plus workshops on everything from fingering to phrasing, or the intrepid pursuit of performance practice, or the history and analysis of music. 

How many organists know what organbuilders regard as important in their conventions? The difference in the two types of conventions—organists vs. organbuilders—is remarkable and encouraging. Despite feeling somewhat like a spy, this writer received a formal invitation to observe the 40th anniversary activities and report them to the organ-playing world. (I once enjoyed being an employee of an organ-building firm when I was a senior in high school. I learned to solder cable wires to junction boards, tune pipes, releather pouches, deal with Pilcher chests, and meet the famous consultant William Harrison Barnes! That did not make me an organ builder, but at least I understood some basics. All that was long before the computer chip.) The AIO may well be responsible for making “organbuilder” a single word. 

The 40th annual convention took advantage of some remarkable historic venues in central North Carolina, in addition to superb hotel accommodations with fine facilities for meetings, exhibits, and food. What is immediately obvious is that an AIO convention is not about organ playing. Little music is heard. When visiting organs, members listen to brief sounds of individual stops. They also sing a hymn during each organ inspection.

There were some pre-convention activities in Winston-Salem. On Saturday, some members visited the 1918 Æolian Company Opus 1404 in the Reynolda House; the organ’s restoration, by Norman Ryan and Richard Houghten, is in progress. On Sunday there was a visit to the organ shop of John Farmer, followed by choral Evensong at St. Paul’s Episcopal Church with its four-manual, 50-stop Skinner organ, Opus 712, 1928, restored by A. Thompson-Allen Company. In the chapel at St. Paul’s is the two-manual, 17-stop, 2004 C. B. Fisk Opus 131, built in collaboration with Schreiner Pipe Organs, Ltd., Opus 8. That visit included looking at Fisk’s borrow actions. The pedal department of this organ has just one pedal stop and five borrowed voices from the Great manual. 

On Monday and Wednesday there were a total of eight lectures in the hotel lecture room.

Scott R. Riedel & Associates

“Working with a Consultant”

Scott Riedel discussed issues in dealing with church committees—from the tensions of committees saying “too much money for music,” “fear of fundraising,” “most people go to the contemporary service and never hear the organ [not true, they go to weddings and funerals]”—to the matters of contacting builders and reviewing how to achieve the best builder for the situation. 

Schreiner Pipe Organs, Ltd. 

“Pedal Borrows on Mechanical Actions”

For those committed to mechanical action, John Schreiner supplied video details on how to design borrowing manual stops to be played in the pedals: “Either/Or” is one way; “And” is the other way. Those deeply engaged in mechanical-action organs found
Schreiner’s acumen most valuable.

Joseph Rotella

“Saving Green by Going Green”

Joe Rotella of Spencer Organ Company, Inc., has great interest in keeping green, thereby saving “green” money. He explored energy conservation including government subsidies, electricity, vehicles, energy audits, waste and toxicity reduction, as well as personal health, gardening, and thinking “local first.” His logo signifying “Reduce, Reuse, Recycle” is a powerful consideration for all builders. 

Charles Kegg of Kegg Pipe Organ Builders, and C. Joseph Nichols of Nichols & Simpson, Inc.

“When the Client Asks . . .” 

In response to the question “How many here have employed electronic sounds in your organs?” numerous hands were in the air. (As the English language changes, the use of “digital” and “electronic” is still in flux.) One of the two panelists of the discussion agreed to use electronic sounds for the bottom 12 notes of a 32′ stop; the other agreed to be judicious about electronic stops, but “the organ needs to still be an organ when you pull the plug.” The discussion was unquestionably a sensitive one across the room, and it remained frank, polite, and quite ethical. 

A curious question sparked more commentary: for electronic sounds that are sampled, is there a warranty question about who owns the sound? The electronic-sound issue remains a very serious and sensitive question among organbuilders, for which there will be no immediate answer.

David Pillsbury

“Hearing Protection”

The guest lecturer was David Pillsbury, retired director of audiology and speech pathology, Wake Forest Baptist Hospital. Organ technicians must be able to hear critical things in the way an individual pipe sounds, and how they relate to each other within a rank—whether tuning or voicing. The discussion included video examples on how the ear is constructed, plus important cautions on protection, and information on the various products that provide protection. 

Bryan Timm and Randy Wagner, Organ Supply Industries

“Scales and Why We Use What We Do”

Timm and Wagner provided a scholarly paper on “Scales and Why We Use Them, or, Starting with Grandma’s Meatloaf,” a fine academic analysis of how the modern organ industry has come to use the measurements of pipes, or just as importantly, how we alter those measurements. They promised to continue in the future to present the obvious next chapter: how pipe mouth dimensions are measured and employed. 

John Dixon

“Portable Technology for Business”

John Dixon is a representative from ComputerTree, Inc. of Winston-Salem and Atlanta, a technology professional services corporation. He reviewed a surprising amount of information about the advantages of digital communication that lightens the load of toolboxes and contributes to meeting needs while on the job and/or maintaining the business aspects of organ technology. 

Greg Williams

“Wood Finishing Techniques” 

Greg Williams, a private consultant to the wood finishing and refinishing industry, presented a two-hour lecture on waterborne (not water-based) wood finishing products and detailed procedures in wood products, for organs that include pipes, cases, façades, and consoles. The discussion included the production of new wood parts as well as the frequent need for touch-up techniques when rebuilding or restoring organs. 

A visit to Old Salem

On Tuesday, a short bus trip to Old Salem began in the Old Salem Visitors’ Center, a pleasant 2003 building in which an auditorium houses the 1800 David Tannenberg organ, restored by Taylor & Boody in 2003. John Boody, making use of excellent videos, talked about the restoration. Boody was most articulate and engaging in this fascinating project. 

He was followed by Lou Carol Fix, who read from her publication, “The Organ in Moravian Church Music,” outlining the significant influence the Moravians had in helping establish the use of the organ in Moravian worship. Following was a Singstunde (a Moravian Song Service), for which Fix played the 1800 Tannenberg as AIO registrants sang several hymns. 

Free time walking around Old Salem allowed the AIO into the Single Brothers’ House, where Scott Carpenter demonstrated the David Tannenberg 1789 one-manual and pedal, five-stop organ, restored by Taylor & Boody in 2007. Then in the Single Sisters’ House, Susan Bates demonstrated the Henry Erben 1830 one-manual, five-stop organ, restored by Taylor & Boody in 2008. 

Finally, we visited Home Moravian Church, where the 1800 Tannenberg was once housed, to hear the 3-manual, 43-stop, 1959 Aeolian-Skinner Opus 1340, with commentary by John Farmer. 

Some readers of this report who know Old Salem are aware there is a fine 1965 Flentrop organ in Salem College. The convention could not book the space because the Flentrop firm was contracted to be revoicing the instrument. As it happened, the work had been completed just before the convention, but the schedules could not be changed for the AIO to hear it. 

St. Timothy’s Episcopal Church

Our fascinating visit to this fine modern building with a remarkably warm, resonant acoustic found the restored 1898 Hook & Hastings Opus 1801 (three manuals, 34 stops) being installed in the west gallery by John Farmer of J. Allen Farmer, Inc. The late director of the Organ Clearing House, Alan Laufman, brought this organ to the attention of Farmer, a member of St. Timothy’s Episcopal Church. Farmer removed it from a church in Massachusetts where it had been dormant for decades and was about to be destroyed along with the building. Farmer stored the organ in his home. Progress was slow—another decade—before the church embraced the concept of restoring the organ in St. Timothy’s. Despite not hearing an organ, the AIO sang a hymn anyway to enjoy the wonderful acoustic. This promises to be a remarkable installation, with completion perhaps by Easter 2014.

University of North Carolina School of the Arts

An optional jaunt over to the School of the Arts drew only a few registrants to hear the 1977 C. B. Fisk Opus 75 in a concert by four students and their professor, Timothy Olsen. The students came back early from their fall break to play on this notably aggressive Fisk. It was striking to think of the positive future of the organ world with such well-prepared talent. Performers were: high school junior Raymond Hawkins, undergraduates Pat Crowe and Christopher Engel, and graduate student Daniel Johnson. 

Post-convention trip to Durham and Raleigh

On Thursday, the first stop, an hour-and-a-half away, was on Chapel Drive at Duke University in Durham, North Carolina, where the Duke Chapel remains one of our nation’s most thrilling architectural sights. There were four organs to inspect—count them—four. 

First was the recent organ by Richards, Fowkes & Co. Bruce Fowkes talked about the instrument and the space it is in, the Goodson Chapel of the Duke Divinity School, a remarkably fine room with a superb acoustic. Also on hand for the demonstration of the four organs were no less than Andrew Pester and Dongho Lee (they are husband and wife), who provided excellent contributions from the four consoles. 

Next was the two-manual, 21-stop, 1997 John Brombaugh Opus 34 in the small chapel, entered from the north transept of the chapel. The bottom manual is of Renaissance Italian design, and the second manual is Germanic, all in meantone temperament. 

The third demonstration was on the famous four-manual, 66-stop, 1976 organ by Flentrop Orgelbouw standing proudly in the gallery at the west end of the chapel. The chapel itself was built with the infamous Guastavino sound-absorbing tile that, at Flentrop’s suggestion, was sealed with a silicone sealant. Thanks to that, the chapel indeed sounds the way it looks: idyllic. 

The fourth event was the long-awaited hearing of the 1932 Æolian Company organ, Opus 1785, restored in 2008 by Foley-Baker, Inc. (See “Cover feature,” The Diapason, April 2012, pp. 25–27.) The organ has a new four-manual console to control the 6,600 pipes in five divisions, all in the chapel’s east end chancel. Once the demonstration of the stops was complete, Dongho Lee put the Dupré Prelude in B Major on the rack and thrilled the heck out of everyone. 

David Arcus, who for some 30 years was Chapel Organist and Associate University Organist, left Duke University at the end of 2013. Dr. Arcus was not present for the AIO visit as he was playing a recital elsewhere.

The final part of the post-convention activity was a visit to three recent organs in nearby Raleigh. 

The first stop was the Church of the Nativity, where the 2007 Andover Organ Company, Opus 115, two manuals, twenty stops (eight prepared), was demonstrated in the small worship space. 

Our second stop was at St. Michael’s Episcopal Church, where Kevin Kerstetter proudly demonstrated the three-manual, 47-stop 2012 Nichols & Simpson, Inc. organ. 

The last visit was to the Hayes Barton United Methodist Church, where the 2010 three-manual, 43-stop Buzard Pipe Organ Builders Opus 39 is installed. The demonstration and singing of a hymn was led by no less than the builder’s son, Stephen Buzard, assistant organist of St. Thomas Church Fifth Avenue in New York City. Following that, Stephen Buzard rendered a stunning performance of Edward Elgar’s Sonata in G Major, op. 28, featuring the organ’s symphonic character. 

That the AIO is 40 years old and clearly a valuable asset to the organ building industry calls for celebrating this milestone. Matthew Bellocchio of the Andover Organ Company and AIO President steered the banquet festivities with great sensitivity. His faith in convention chairman Stephen Spake, of the Lincoln Pipe Organ Company, was a mark of genius. Spake carefully and lovingly steered all the matters of keeping the convention on schedule, counting heads on buses, handling Q & A sessions with a portable microphone, and constantly remaining calm, contributing to a successfully run convention. He also played an important role in the planning committee. 

One might wish that the AIO would approach matters of the performance of organ literature more seriously, but then when one thinks what organists really want to know about pipe metals, leather, how pipes are measured, etc., the argument becomes nebulous. The two professions are individual art forms with totally different schools of knowledge required. The goal is for the two to meet in agreement of making sounds that convert souls and enhance the artistic excellence that humans are capable of creating. ν

Photo credit: Harry Martenas