Kennedy & Kolbinson
Calgary, 1997
(to S. Kennedy)
from Kindersley, Sask.
Dec 5th, 1960
Dear Stuart:
This is a follow up on our telephone chat of Oct. 29th last. Since that was my brother's wedding day we were rather busy for the rest of the time, and then we had to leave the next day so I am sorry that we were not able to meet. However, there will no doubt be other opportunities.
Since then we have been able to close in the music room temporarily, so that we were able to start installation of the organ. We have been able to set up the framework, the 16' Open Wood on its chest at the back, the bellows, then the six manual chests and the swell boxes. It was a lot of work because all that stuff was heavy, whew! It didn't seem so heavy when I took it out 5 years ago, so I guess I am just getting older.
There is, of course, a great deal of work to be done, I have to electrify the Solo chest and all the stop action boxes, except the Choir, which I had set up and playing in my workshop. Then there is all the trunking to do, wind control boxes to make, cleaning up the chests and repairing the pouch boards, and then, day of days, start setting in the pipes…which will need a good cleaning, especially the reeds.
I have to get a console somewhere, too, I have a three manual Casavant electric which works, but it will not be nearly large enough for this organ when and if it is complete. It shouldn't take too long, once we have enough good weather to enable us to work. The music room is 26 feet from the house, and will have to be joined to it, but have not had time to do this work this summer. I have had to do a lot of this work myself, as a building this size is expensive, and I am not rich, being a farmer.
Besides this, my father bought a nice little one manual and pedal job, oak casework, from the Masonic Temple in Saskatoon, the Masons having sold their old building. I shall have to set this up in readiness for sale, as father has a nice 8 rank 2 manual in his home in Saskatoon. So if you hear of any likely prospects, let me know. It has three ranks, Stopped Diapason, Open Diapason T.C. and Aeoline, plus Pedal Bourdon 16' . Not perhaps ideal, but I can remember the day when I would have been glad to have it, and wouldn't mind it yet, for a practice organ. I think he wants $1400 for it, installed.
You asked for the stop list of my organ, so will give it to you. Of course, our ideas have changed since then and this will be by no means the final outcome.
Casavant # 301, additions #696
Original installation in Grace Church in 1907, fire destroyed the Great and a new one was supplied, with chests and frame, in 1917. The rest of the organ protected by the Swell boxes.
Great Organ
1. Double Open 16' 65 pipes
2. Open Diapason 8' "
3. Geigen Principal 8' "
4. Doppel Flute 8' "
5. Gemshorn 8' "
6. Wald Flute 4' "
7. Principal 4' "
8. Fifteenth 2' "
9. Mixture 3 ranks …… 195 pipes
10. Trumpet 8' 65 pipes
Swell Organ Solo Organ
11. Bourdon 16' 61 pipes 32. Stentorphone 8' 61 pipes
12. Open Diapason 8' " 33. Quintadena 8' "
13. Stopd Diapason 8` " 34. Rohrflute 8' "
14. Claribel Fl. 8' " 35. Harmonic Flute 4' "
15. Viola da Gamba 8' " 36. Orchestral Oboe 8' "
16. Voix Celestes 8' 49 " 37. Cor Anglais 8' "
17. Aeoline 8' " 38. Tuba 8' "
18. Traverse Flute 4' " Tremulant
19. Violina 4' "
20. Fifteenth 2' " Pedal Organ
21. Cornet 3 ranks 183 " 39. Open Diapason Wood 16' 30
22. Oboe 8' 61 " 40. Open Metal (Gr) 16'
23. Contra Fagotto 16' " 41. Bourdon 16' 30
24. Trumpet 8' " 42. Octave (ex 39) 8' 12
25. Vox Humana 8' " 43. Flute (ex 41) 8' 12
Tremulant 44. Gedackt (Swell) 16'
45. Cello 8' 30
Choir Organ 46. Fifteenth (ex 45) 4' 12
26. Violin Diapason 8' 61 47. Trombone 16' 30
27. Melodia 8' " 48. Trumpet (ex 47) 8' 12
28. Dulciana 8' "
29. Harmonic Flute 4' "
30. Flageolet 2' " Positiv Organ (to be added)
31. Clarinet 8' " 49. Gedeckt 8'
Tremulant 50. Principal 4'
51. Rohrflote 4'
Wind pressures 52. Nazard 2 and 2/3
Solo 7 ins. 53. Tierce 1 and 1/3
Positiv 2 and ½ 54. Scharf 3 rks
Remainder 3 and ½ ins. 55. Krumhorn 8'
I have the pipes for the Positiv, but no chest as yet, as it has to be specially made for the low pressure.
Nos. 1 to 48 are the present stops. They will be changed somewhat, I imagine. But I want to get the old girl going, first.
I may be able to get Fairhead next fall, to do some revoicing for me. Most likely I will be broke by then, for sure.
Lets hear from you, sometime we will have a get-together, perhaps next summer?
Regards,
Stuart
* * *
(to S. Kolbinson)
from Calgary
July 8 & 9, 1961
Dear Stuart;---
No, I actually owed you an epistle. Now I owe for two. Sorry for the delay, but finishing off the school year, etc., has had me running, along with everything else. We hope to add to our house this summer, and getting ready for that has kept us busy also. Have just re-read the complete Kolbinson file, in preparation for this letter, and am doing this with carbon, so will know what I've discussed with you in future!! Was very glad to have you kind letters, and all the details regarding your instrument, and also the pictures.
First, a few "feetnotes."--- no, sorry, though Scotch, I am unable to play the pipes! Used to thrill when a kid, though, as my uncle on his birthday, would have them out and go marching through the house playing them, and occasionally to wake up my church choir, I play a fifth on the pedal, and do a "lament" on a reedy sound on the manuals! So, Laddie, I appreciate the instrument which was grandfeyther to the orrrrgan!
Sorry about the grasshoppers, and dry conditions. They're bad this year in Alberta too. Very dry. Still, with several good years past, I suppose it's reasonable to expect a few dry ones. Discouraging though.
As for getting together this summer, how far is it from Kindersley to Calgary? I looked at the map today, and one would go by way of Drumheller, I presume,-- I gather it would be about 45 miles further than Medicine Hat from here, but of course in a different direction. Not much planned in the way of holidays this year, --- broke,--- however, will keep it in mind, and more on that later.
Also, as far as borrowing books is concerned, I'd like to see some of the early issues of Diap, TAO, and the Organ; but first I'd like to know what gaps you have in the Organ, and I'd loan you what I might have that you don't. I'll check the Volume numbers I have later, and list them for you. I have TAO from middle of 1947, and Diap from about 1951. More on that later too.
Now, before going into the Kolbinson organ, one other detail. I wrote an article recently for "The Tracker," published by the "Organ Historical Society" of Boston. Anyway, now it has been suggested that I do a bit of research on the subject of the work of Warren,-- and so I am collecting all the data, historical, specifications, etc., I can unearth on the work of Karn, Karn-Warren, Warren, Warren & sons, and the Woodstock P.O. Builders. I'd appreciate any tidbits you might be able to tell me regarding any of their jobs you've heard or seen. In this connection I wonder if you might be able to give me the specification of that 2m Warren of Elm Street Church in Toronto, of which you have the pipes. You date it 1880,--- I gather it was tracker? Oldest I've seen is an 1891 2m in New Westminster, and a honey,-- now silent beside a Hammond. The 1913 Karn-Warren from Edmonton Church was probably MacDougall United redone about 1958 by HN&B. (later note - actually St. Johns Lutheran)
Now, the Kolbinson orgel. You invite my comment on your specification. I seem to recall suggesting a few wild ideas in my first letter to you, re transplanting things around an octave or so, and trying this and that. More wild ideas come to mind on seeing your latest specification, and it all adds up to this: I'd be tempted to put the whole thing together as per original Casavant spec, insofar as possible,--- play it awhile, then gradually make changes as you see fit, and as they come. For instance, judging from your notes, and the date of the original, this appears to me to be an excellent specification for its time,-- for example, no leathered diapason except solo. If the 1917 Great followed the tonal trend of other 1917 jobs, it could be quite muddy, but on the other hand they may have tried to preserve the original earlier type of tone. If so, good, and I'd be inclined to preserve, much of it, because as you know, much of that early stuff is being rebuilt, revoiced, and even chucked out of all recognition nowadays, in the new "Phelpsavants"!
Now my first thoughts on the old Casavant, would be to keep all that was distinctive, unique, and characteristic of the old period, because, for one thing, it won't be built that way again, and then it would present the least work for you. For instance, I have a lot of questions which come to mind as I read your stoplist, and before forming a judgement, I'd have to know what you have in mind. I wonder why you name the Doppel Flote a Gedeckt, and the Wald and Traverse Flutes, simply Flutes. Now no doubt you have perfectly good reasons for doing this,--- I'm merely going to give my reasoning on the matters for what they're worth. Feel free to use them or chuck them as you see fit.
The Great: You probably know that Doppel Flotes are no longer built. It's a good voice, a bit bulbous for the modern shiny sound, but it's beautiful and it makes MUSIC, an important factor in deciding a voice's usefulness. It could be softened slightly, and still retain its identity. I mention the other two 4' flutes,-- Wen I play, I like to know what kind of sound to expect,--as, Wald, or Traverse;-----Flute alone, could be Hammond. (Sorry, that's a naughty word, isn't it!) Otherwise I'm in perfect accord with your Great, which, in absence of leather looks fine, and I'll bet sounds fine. From about 1915 to 1940 or so, Casavant greats declined. The earlier ones sounded better. The more recent ones changed their nationality!
The Swell: Fairhead would first of all switch Stopped Diapason and Melodia, also Flageolet and Flautino, and call the one on swell Fifteenth. That's what you had in mind? OK. That is IF there ain't gonna be no Positiv. (Positif if Casavant!) Also, he'd move 12th and 17th of Cornet to the Choir, and place new III rank Quint Mix on Swell. Good. I presume you plan using one of your Warren Mixtures on Swell? Good IF it's the right composition. We'll look into that in aminute. Now, if I read right, you plan a lot of revoicing on the swell: to wit: So Bourdon 16' becomes Quintaton. Mark Fairhead can do it, --- Good. I'd have chucked the Clarabella and left the Stopped. Two 8' flutes on one manual are redundant, especially if there's a Clarion missing. At Knox, Calgary, I knocked poor old Clara sharp and used her for a Floodt Celeste, -- quite purty she was too. On the rebuild she was chucked for a new Quintadena 8'. I presume your swell is all one chest and all one pressure? At Knox both Great and Swell were on two chests each and two pressures, ---also Central Swell here. The higher one was 6" I believe. NOW I'd compare carefully the Clarabella and the Melodia. The usual Casavant Melodia is poor, hooty dull. As I recall Clara was same only bigger. It may be that Clara has more character than Mel. If so, keep her, and move Stopped to Choir, chuck Melodia, and we'll come to Choir in aminute. Swell Octave, Violina revoiced? Could do. Cathedral (Anglic.) here did, ---- quite good. Swell reed a Trumpet or Cornopean? Your two lists show both. making a Trompette mit French action from either, will take some doing, ----especially if it's Cornop! Unimpossible! (Even more so than imposs.!!) Clarion new?
Choir: Sorry, old boy, but here I really disagree with you, ---- a Choir mitout a Floodt 8'. I've seen this error done on two orgels, --- one Calgary, one Lethbridge, and I'd advise against it. Now I see two possibilities: 1) Leave swell and Choir as are, and put all mutations on Positiv. or 2) Move Stopped Diap to Choir, Put Clarion on its rank, or move another around to get it; more on that later; --switch the 2' stops a la Fairhead, then make up Choir like this: Stopped Diap 8' Dulciana 8' Harmonic Flute 4' Twelfth 2-2/3 Flautino 2' Tierce 1-3/5. There's your classic Cornet. The 12th and Tierce come from the Swell Cornet. Now this displaces Clarinet and Viol Dap. I wish we could get you another Dulciana on the Choir, tuned flat with the original, to give Unda Maris. It's lovely. IF above mutational Choir scheme were used, then Positif could go: Nason 8' Rohr or Koppel 4' Octav 2' (left over from Swell Cornet!) Quint 1-1/3 Scharf III (excellent!!!) and Krumhorn 8'. Now where in tarnation did you get the Positiv pipes whereof you speak? Imported??
I'm not happy about reeds yet -- I'd like to keep Vox in if at all possible,-- Franck calls for him, and I disagree with modern Voxless organs on that ground alone. Again I want to preserve. Also we must keep Clarinet. Viol Diap I'd use at 4' to make a Principal somewhere out of it, either Swell or Choir. So all this is an argument for setting up organ as is, then trying changes gradually! G'night!
G'Morning! To continue: Regarding reeds: A Clarinet makes an excellent reed at 16' pitch, and with different pitches, you get a diversified reed chorus, without losing the value of the reed as a solo voice. This is an argument in favour of a "Unison Off" coupler, which, along with the appropriate Sub or Super, will transpose said reed to 8' pitch for solo work if you like. This idea came forth in the course of discussion on the plan for Knox, here. See enclosed "manifesto", I may have sent you a copy already,-- if so, keep them both, it shows some ideas in restoration of a 4-m Casavant. It turned out that mechanically some of these ideas were mechanically not practicable,--but the tonal ideas might have been applied. A few of them were. Note reeds on solo for chorus. I've tried the double Clarinet idea on Hillhurst, and my friend E.M. Nye has it on his rebuilt Austin-Keefer in Seattle. Again, I hope you will try to retain the Vox, at least for Franck. Is that the Regal you had in mind for the Choir? Oh yes, if Choir and Positiv share same manual, how about either a Pos Unison Off and Ch Unison Off; or separate couplers Ch-Gt, and Pos-Gt, so those two divisions could be played separately against each other on different manuals? This would be most valuable if the Mutational choir design were adopted. The two could "dialogue" nicely.
Finally, Mixtures: I presume the Warren ones (three of them?) might be of value here. Now some Warren mixtures are good, and one I know is bad,---I've found it on three swells, Hillhurst was one. It begins 17-19-22, then at middle G-sharp breaks back a whole octave to 8-12-15. This tremendous jump right in the middle range is bad, also the 17th is a Chorus Mixture. By hours of pipe transplanting and some new pipes I made it a proper three break Quint Mixture which is good now, brighter than the average Casavant, and good. I'll tell you the story of that one some day. This seemed to be their favorite for the swell, I know of several other identical ones to it. Now the other mixtures would do fine for the swell. We must look into their composition. If you have the Elm Street specifications, we can see what else might go in place of Clara, Mel, etc.
Well Stuart I've given you enough to keep you awake a night or two I'm afraid, but those ideas have been buzzing around and I wanted to get them on paper. Some time within the next few years, you might get time to answer some of the questions! I'd start with Casavant as is, then gradually modify as spirit moves! I've left the solo, Stentor to 4', Rohr or Quint to 4', reeds Orch Ob 8' Cor Angl 4' maybe, (tried it at Knox, lovely colour, or maybe chuck Stentor and put Clarinet on at 16'. Lotsa possibilities!
Now, later this summer, we may run to Edmonton, over into Sask, and possibly stop by Kindersley on way home,--- depending on finances, etc., but if so I'll give you fair storm warning first so you can leave town! Don't count on it, but it just might happen later on. I presume there are motels in around Kindersley where the Kennedys could camp overnight! By the way we have three small kids, 6, 3, and 16 mos. But chances are on such a jaunt we'd leave No 2 and No 3 at home! At any rate Stuart, thanks for the invitation, and while not too likely,---it's just possible that we may steal a day or two out that way. This could be awkward in your busy season, though, couldn't it.
As for borrowing literature, maybe some early Diapasons and TAOs might be interesting for a start, Stuart, if you can spare them,---and the minute you let me know what issues of "The Organ" you lack, I'll ship out a volume or two to you. OK? I'll maybe exchange books with you later on, if ok?
By the way, what's to be seen on a circle tour, say, Edmonton, Lloydminster, North Battleford, (historic site?) Saskatoon, then Kindersley? If not this year, at least it's something to keep in mind for future reference. Right? Look over the above ideas, tell me I'm crazy if you like but have fun. Meanwhile, thanks for the details, and pictures. You'll have a masterpiece one of these days. Keep up the good work. Sorry to be so long in writing. All the best to you and yours,
Sincerely,
Stuart
* * *
(to S. Kennedy)
from Kindersley Sask.
August 3rd, 1961
Dear Stuart:
This is going to be a very inadequate reply, I am afraid, to your last letter, which certainly contained much food for though. I am inclined to agree with you, on thinking it over, that too many changes whould not be made until it is set up as is.
Since writing you last, we poured the basement and installed the new furnace for the additions, got the walls up and roof on, but that is about all.
No rain here at all, and with the heat all the crops are ripening (or burning) so fast that I believe we shall start the harvest next week, which is the earliest on record. We thought last year was early...... It can't seem to rain here at all, and the barometer has stuck in the same spot for weeks on end, and is still there. It is rather discouraging, all the water holes have dried up, pastures are bare, and the country is beginning to look a desert. It was never so dry even in the worst of the "Thirties", as it has been the last three years.This all has an effect on the organ, of course, and I don't mean just on the woodwork, but getting the whole thing together, which costs money.
Last July 20th a fourth daughter arrived, so now we have them 9, 6, 2 and 1/2, and ten days.... I was babysitter, cook in chief and also trying to help with the roofing job. At the same time all hell broke loose in the school system, we have 105 teachers, and sometimes there are battles.... however, the dust has settled there and perhaps things will be quieter, since most are on vacation.
As for distance from Calgary, last fall we left about three, and arrived home about 9 or 9:30, with a stopover in Drumheller for supper, so it is not too terrible a trip. The roads are good in Alberta. We are only 15 miles further to Edmonton than Calgary by the shortest route, but it is slightly longer via Battleford, and Saskatoon being East, makes it further still. You are welcome any time, although if it is Harvest Time I will be busy. On the other hand, if it rains (!!!) that is different. I haven't done anything to the organ since spring, the building takes so much of my energy.
You ask re the Warrens. I remember Franklin Legge telling me the complicated history of the firm, which I have forgotten. I remember writing S.R.Warren, namesake of the founder, who was at that time one of the oficials of Austin, asking for family details, but received no answer.
I never heard my Elm Street organ. It had a 14-stop Great including Twelfth, Fifteenth, and a 2 rank and a 3 rank mixture, topped by Trumpet and Clarion. The pipes are thin and the press. would be about 2 and 1/2 ins., so the tone would lack the body of Casavants.
Am in a hurry to mail this, so will complete things at a later date, again thanks, and looking forward to a meeting
Stuart
(to S.Kennedy)
from Kindersley,Sask.
May 29th, 1962
Dear Stuart:
I owe you a letter - since before Xmas I think. However, I thought it best to wait until I had something to report. What a busy - and cold - winter it was! Washing pipes was a big job. Re-leathering all the stopped pipes another big job, plus repairing those damaged by water and mice. I think I told you we were moving part of the organ to safer storage when the great blizzard of '55 struck, followed by a terrible winter, some wood pipes received water damage. However, all is well again. The chests were stored in a shop. Somebody left a door open last summer and a mouse got in. She decided to make a home in the Swell chest primary and had chewed a couple of holes in the purses before a trap put an end to her housekeeping activities. As the primary had been checked and electrified not long before, I never thought of evil until the primary was on the chest (no small operation) and 2 bass notes didn't work. Talk about trouble to repair these - a place almost impossible to get at; reminded me of a prostate gland operation!
Mein Gott im Himmel! No wonder organs cost money! I never before realized the work to the damn things because somebody else did other parts of the work. But all by one's lonesome - what a job it has been and so much more to do (console mostly). Now I know why they cost so much!
My friends were very polite and never expressed their thoughts ("It will never work!!"). But it did, and does. Great, Swell and Choir are connected up. Solo not yet - it is not important. 16' Open and Octave, 16' Bourdon and Octave and Gt to Pedal coupler are working so there is some Pedal. The hardwood floor has not been installed yet because of all the activitiy at the organ, but even so I am very happy about the acoustics of the room - there is as much and more reverberation as in many churches far larger. No reeds are installed yet. The tuning is a bit rough - have trouble getting the girls to hold keys - they get "so tired!"
No shutters installed as yet either, so we have a completely expressionless organ. The Swell, I think, is quite good. But the Great! No, it is not dull and thick, quite the reverse. Diapason Chorus based on 16 Principal, 8' Geigen, 4' Octave, 2' Fifteenth and 3R Mixture is on the stringy side. But the upperwork is so ladylike! The mixture compared to the full bodied Swell mixture is out of the running altogether, and the Octave 4' is much less in evidence than the 4' flute. The Fifteenth was also "I hope I don't intrude" variety. It had been damaged by the clumsy Blanchards who tuned the organ for years, as it was next the walkboard. Just for fun I opened it up, and rescaled it one pipe larger. Now it adds top-maybe too much, but you know when it is added which is something you can't say about the mixture (15 - 19 - 22). There is no Twelfth in the chorus at all. So now I am thinking about opening up Octave and Mixture to see what happens, no harm can come of it and maybe some good. I don't like these super refined organs, I like 'em gutsy in the choruses at least with lots of Pedal --- though there must be Pedal upperwork - I never could see why the Victorians didn't realize the value of a good 4' on the Pedal for clearing it up. But it is my opinion they liked their organs like their ladies - rather fat; and their furniture, heavy with odd curliques and excrescenses. An example - the casework was of oak, natural finish with gilded show pipes. What did they do, back in 1910? Put black varnish over the oak, and painted the pipes with bands of hideous greens and ghastly red. Ugh. Since the 16' Principal 24 pipes and 12 pipes of Open #1 were in the "prospect" they are not speaking yet. I think all they did was muddy up the Great, anyhow. They will have to have "beards" to quicken speech and brighten them up.
So here is progress to date:
1. Swell flues in
2. Choir " "
3. Great " " except 36 Bass pipes noted above
4. Some Pedal in "Big & Little Boom" no soft work as yet
5. Great to Pedal coupler - others will come soon.
No -
1. Swell shades
2. No crescendo pedal
3. No combination action
4. No reeds
That's the progress to date. So if you think it worthwhile for a visit, come along - you're more than welcome! Don't expect Knox yet, but as the Katzenjammers say "chust vait." I'll show 'em a thing or two yet. At least its not stored away in chambers.
Went to a recital in Knox United, Saskatoon by Virgil Fox May 3rd. The organ is on two sides of the chancel and has been recently rebuilt by Casavant. Frankly, I was disappointed. No doubt it is terrific in the chambers, but never gets out to the church. It is quite a large 3-manual. Virgil took great jumps at the keys but der noise didn't come out. Acoustics were partly to blame, the crowd damped the organ quite a bit. I had always heard the organ in an empty church, from the console in the chancel, in direct line with the music.
I'm looking forward to meeting you very much, so try and come out to see us! Now I've warned you not to expect too much, but she's still a fair old girl even so.
Be seeing you,
Stuart
(to S. Kennedy)
from Kindersley, Sask.
Sept 19th, 1963
Dear Stuart:
I am a real piker for not having answered your last letter. Had planned to go to Calgary this summer but that fell through; then too, I thought maybe you might have taken advantage of your standing invitation to visit us. This summer seems to have been exceptionally busy, and the organ was very seldom touched. But these are, I know, only excuses, and ones you would not accept from a student !!!
I think the real reason was, I was kind of ashamed that I didn't get more work done last winter. We worked on the house until Christmas, and after that I worked on the organ. I did a lot of work but didn't get much finished:
(1) I electrified and made off-note soundboards for the bottom 12 notes of the Great Open 8', and the bottom 24 notes of the 16' Principal on the Great, which formerly stood on the casework. But didn't get them installed.
(2) Made and wired the 24-note relay necessary for the above, but didn't get it installed.
(3) Big job: made and wired the switchboard for the combination actions, hundreds and hundreds of joints soldered, and wires run in a small space. But didn't get it installed before spring came (it came early).
(4) Got out the Great Trumpet 8', washed the pipes, cleaned the shallots and tongues, replaced damaged parts etc. I did get this installed, and although it was not playing when the organ was taken down, is playing now and has never given the slightest trouble. (I neever heard of a light pressure trumpet on a Blanchard cared-for organ that was not shut off years ago.) In fact, I never heard one, period.
(5) Finished most of the console case; sent the old rusty swell pedals to Calgary and got 'em replated, but not installed.
(6) Cleaned a bunch of reeds, washed boots, shallots and tongues, using brass polish on the latter 2 items, polishing away the decades of grime, a slow tedious job, painstaking, too, because one slip, and a tongue ruined would be bad business. Plus a few other odd jobs. Managed to get the kids to hold keys long enough to get the Great tuned. For some time after I wondered how come the 4' flute would get way out of tune, the pipe metal tuning lids would be flattened down. I couldn't understand who would be risking his neck climbing up on the chest to do this, the girs claimed innocence. Then one day I found the cat up there, she climbed on to the trumpet rack support, and then used the flute pipe tops as a stairway to get down. Hazards of a haus orgel!
When in the midst of the harvest rush - 15 hrs a day 7 days a week, and hot and dusty, received word that an amateur organbuilder friend from Victoria (whom I had not seen since I visited him in 1943) was coming for a vist. Consternation! Because nothing - no, nothing, interferes with harvest. Went to Alsask to meet the Calgary bus on Monday night at 11:30 (90 mile round trip). Then it rained, and no harvesting since! So we had a very pleasant visit. As an old reed organ fixer-upper, he thoroughly enjoyed the article on the lowly 'armonium - as did I. he wanted badly to see the Knox Church Organ, but mixed up his connections in Calgary so that he only had an hour there on his return trip.
We had a visit from an English organist (Frank Godley) formerly of Moose Jaw (whose 4-man Casavant was rebuilt into a small 5-manual HN&B) now living in Ontario. I had to laugh at what he had to say about the new Casavants: "don't like 'em at all, the bally things spit and scream at one so!" I'd like to hear one, to see if what he says is tru.
Certainly this has been a busy summer, but I never got done half of what I had planned. However, we did get a permanent water supply in the house (formerly supplied by cistern which used to go dry at the most inopportune times, such as on New Year's Eve, or when someone was visiting.) But its sure nice to have all the water one needs, and not to have to be stingy with it. So next year we should have a good garden (not that we didn't have more than we could eat - and weed, this year.)
Anyway, when you do come, I hope to have more organ. I am looking forward to a visit from you with keenest expectation, one does get lonesome for a fellow organ buff! So remember, any time convenient to you is the same for us.
With best regards, and keep up the articles!
Yours sincerely,
Stuart
(to S. Kolbinson)
from Calgary, Alberta
Saturday, March 14, 1964
Dear Stuart and All,
If I don't start this epistle, how will I ever finish it? So, here beginneth. First of all, as intimated in my previous hasty note, we've been busy,--- no less than three (III) (3) old tracker organs have arrived in Alberta the past few weeks, one for Mount Royal College, one on speculation,------not me!---no $$$$$!), and one for a church in Edmonton. Up to now there are eight, this will make eleven.
Tomorrow I'm playing services at First Baptist, 3-28 Cas. 1912 op. 484, electric, but getting tired. Have been consulting on designs for rebuild or replacement soon, but every month the price goes up a couple of thousand. Anyway, I had Choir rehearsal Thursday, --- Cyril Mossop, regular there, is in Saskatoon, I think, for a festival or something.
Then, as I intimated, I was working on this lay school of church music, and had to demonstrate the Mount Calvary unit for them. That was another job, and it has been like that ever since last October. Good thing I got that letter off to you right away, or I'd have forgotten everything. As it is, I've spent the last week at odd moments re-reading it and your reply thereto, prior to launching this epistle.
Sorry about our CCO meetings being on Saturdays, I imagine that cramps your style a bit, or at least the Reverend's,-- did Chris send the notices to you? I phoned her about that, she said she would. Maybe next season that might be changed, as it is often spoken of but nothing done about putting it on another day.
I greatly enjoyed your tape,-- and when I get the machine home again, I may do like the "Scotch Christmas Card" idea, and put some of my reed job alongside yours, just to let you hear it. Let's build up a "Residenz-orgel" tape, thataway, shall we Stuart? It could be amusing! What was the selection with which you opened? It is delightful.
Last week, I set up my copying bench again, after having it broken last summer when we finished the downstairs "studio,"--- and copied the data from the material you sent me on the Kolbinson-orgel. Also typed out the original contracts, so herewith are same enclosed with thanks. Most interesting. I also made a copy of the two pictures in the booklet. Sorry that when I said I'd return them "promptly"---that meant about six months!
Would it be asking too much for the stoplist from the knobs on your console out in das shop? I mean the Op. 224, "Douglas Methodist" Montreal, from which your manuals came? Also the couplers? For the Kennedy archives, that's all.
So now, to begin: I'll recap your comments and replies, in case you didn't carbon that letter. First, the Positiv: As for multiple coupling, it would be nice if it could couple separately to two manuals and pedal, that is all, -- that would make it available against almost anything anywhere. In this respect you mention the costliness of the relay, --- 4 of them. Then you mention reversibles, (foot? I'd prefer thumb!), which could cut out either choir or positiv, which would be desirable,-- sort of ventil arrangement. This, because of spare contacts on Choir keyboard. Then later in a p.s. you mention the 4-octave harp bar, 49 notes, making relay needed only on top 12 notes, or you say use top 12 to do both ch and pos distrib. Mags, carrying double load, or a 12 note relay,---or if it is only 58 note pos., then 9 notes, Right?? So be it.
Next, Violin, Diap vs Violina at 4' on Sw or Ch, etc.,--- Actually I like to have two contrasting 4' stops on any manual, and especially a Geigen Octave on Swell, but if you're still attached to your "Violin Diapason" on Choir, or "Geigen Principal" at 8'---- it's your organ!!! Those basses could be used elsewhere, -- still it's just a personal preference! OK OK!
Layout, for Drawknobs, Casavant and the rest,---- it's a compromise between standard practice, flues 16-8-4-2-Mix-Reeds 16-8-4 top to bottom, AND convenience of grouping according to usage. Percussions at bottom, trems and cplrs at top except special cpls as Pos to Ch or Pos to Gt, at bottom. Now. My layout was planned this way, and could give a sort of flexible guide for other changes or rearrangements. Let's leave pistons and such luxuries till later!!!
Great: OK. Practical difficulties make Ged-Diap 16' switch impractical, so leave it as is. Yup the Warren Mixtures should provide remedial material for revising that Mixture upward. Boy, the fun I had with Hillhurst Mixture, standard Warren swell: CC 17-19-22 mid G#: 8-12-15. That break in the middle made two stops out of it. When I first found it, it was disconnected, all pipes in a box.. I took them home, laid them out on the bed and sorted and got them back again. Planted and tuned, then revised, giving something more orthodox, about 3 breaks, none so extreme, made 17 into a 15 etc. Yup, as is, that Mixture you have has 16 composition in parts. That will take a lot of research. Any idea of the composition of the Elm Street Great? Yup, a relay for Great, could add possibilities as you say,--- and an alternative 2' on Great,--- a big round Floodt would be very Schnitgeresque indeed, and I'm all for it!
Swell: Ok, skip Unison Off, it's merely a fancy extra for special effect. They're going out of style anyway, as are Subs and Supers even. Yup, a Stopped Flute on Choir is highly preferable, and I'm glad you're pleased with the result. Aeoline? Let's just store it for now,--- it may do for CBC background mystery music some day, although cpled to Gt at 16 8 and 4, or even 16 & 4, and played an octave up, is very nice,--- try it!
Choir as already mentioned. Solo as before, get rid of Stentors at 8' and make it a 4', giving more room, or drop it altogether, you have enough substantial Diapasons! I've worked another layout which I'll sketch in to account for 2' Harm. Pice, (former 4') I forgot about last time.
Thanks for the exposition re couplers, I had not thought out the wiring in such detail, and appreciate your lucid explanation. It appears we may have a slide or two left over in swell for stops, --- say, Nazat, keep the Nux Vom. And even room for a 16' Clarinet also too. Whynot???
Finally das positiv positive positif etc., oh yes, positief. So even if you did give away some Warren materials, there must be enough left to make it up. Let's cut it down one stop by leaving out the reed (Musette, I suggested) (What was it like anyway?) (There's a weird one in the Echo of Knox,--- rattling around in the holes as an afterthought. Poor old Stoot used to say he was psychologically disturbed by it!) So, I'm suggesting of five instead of six voices, leaving out the reed,--- it will make console layout a bit easier too on the right outside jamb, as that uses up our quota with a maximum of seven knobs per vertical row. Either a new Chimney Flute, or the fine Warren Harmonic Flute would make a good 4' there. The Warren St. Diap. Will be very very good for there. Shall we call it a "Kron-Positiv," and crown die orgel mit it?
Now as to das Pedalvaerk. (Danish, note:) As to das Pedalmixtur: One can get the sound of it by coupling to full Great, then on swell, draw Diapason then play in parallel 5ths and octaves to get the effect of the composition. It gives a fine rich sound,-- even if only three ranks, C/G/C. In a Ped Mixt there are no breaks, and it does give a pedal division identity, without necessarily tying it up with couplers. You bet there should be an independent 4' Diap on pedals,--- maybe 8 and 4 from a diap rank even,-- there should be clear metal tone at the upper pitches at least. One Bapt here has Diap 16' 8' Bdn 16' 8' Ged 16 Sw, and Trb 16',--- standard for 1912 and later. Now my derivations for that Mixture are the unisons from a Principal 8 4 2 1, and Quints, milder, from the Cello 5-1/3, 2-2//3, 1-1/3. Despite strength of Choral Bass, I feel this would come out about right, especially if say the 8' line came from a Violin Diapason! A Stentorphone on high pressure might be too big, but an ordinary manual Diap should carry about right and could be adjusted within limits by regulation, couldn't it.
Gotta go to Church now, to play so I'll finish, edit, censor and dispatch later!
Layout for extreme right section would be now:
Right jamb:
COUPLERS GREAT CHOIR POSITIV SOLO
as before as before Choir Super Cymbal II Tremulant Choir Sub
Tremulant Quint 1-1/3 Trompet 8' Seventeenth Nineteenth Principal 2' Cor Anglais 8'
1-3/5 1-1/3
Twelfth Fifteenth 2' Flute 4' Orchestral
2-2/3 Harmonic Oboe 8' Dulciana 8' Flute 4' Gedeckt 8' Harmonic Violin Stopped Piccolo 2' Diap 8' Diap 8' Positiv to Rohr Flute 4' Swell to Solo to Choir Quintadena 8' Choir Choir Principal 4'
--I didn't space this quite right as far as ye typewriter goes, Stuart, but you get the idea. Had to steal one
Positiv space for the Solo 2' I forgotted before so put the 4' Montre or Principal in.
That seems it for now Stuart. I enclose the CCO notice for Satiddy, in case you be interested. The May meeting is to be a dinner meeting, and after I'm showing films: Colour on Coventry Cathedral, the Danish Compenius Orgel of 1610 Meantone tuning, and one from the CBC of the late Leonard Wilson of Vancouver, teaching on Keefer's studio organ built for him.
Next week I'll try to get the tape recorder home and talk and play back to you on das harmonium. Thanks again for the vital statistics, and for your hospitality on last trip out. When next one will be I don't know, but I'll let you know! We really had a ball. Ralph has asked me to go up to demonstrate the little Hinners tracker 1-7 for the CCO there. Don't know how as it's a Monday, unless like once before, they fly me up,-- I gave my famous or rather notorious historische lecture mit picturen once a few years ago. I flewed up by plane in ¾ hour, arrived 6:30, without missing a minute of school, and was back at work bright-eyed and bushy tailed next morning! Say, Edmonton's about same distance as Calgary, -- Gibsons would be glad to see you, and talk orgel all night,-- why not take a run up there some weekend? See what he has in his basement.
All the best for Now, Stuart. Let me know when you're coming out this way.
Sincerely,
Stuart
(to S. Kolbinson)
from Calgary, Alberta
Christmas, 1966
Dear Kolbinsons; ---
Man the time travels, --- ran into your cousin, Mrs. MacIlmoyle today, (bet I mis-spelled the name!), and read of the Saskatoon CCO do at the Kolbinson Kathedral, and thought I should pen an epistle. So what is the status of your instrument now?
I have your `Clutton & Dixon" set out here with a brochure on First Baptist rebuild, to send, but shall wait till after Christmas mail rush has cleared. I'm sorry, I've kept the C&D too long, and I'll get it back to you shortly. A while back I did some research on Cavaille-Coll and was comparing Notre Dame and Saint Sulpice stoplists from several sources to see how C-C had left it, before subsequent additions and modifications, and your C&D was most helpful in this regard. Many thanks for the prolonged use of it.
We did hook up trailer and saw a bit of country this summer; --- Betty was at University Summer school most of the time so after that we did 10 days driving around. Did some work on an old tracker at Pincher Creek, --- Casavant Op. 143, 1901, Alberta's first, apparently, with quite a story (newspaper article enclosed!). Then over to Lethbridge, Medicine Hat, (no signif. organs so far.) Moose Jaw saw HNB at Zion, not in best of shape, then a day or two in Regina. Hooper was busy installing 1875 Stevens in Grace Lutheran. Saw the Hinners tracker at Trinity. Then to Saskatoon, liked the big Knox. Looked at but didn't play HNB at St. John's, saw one or two others though, missed 3rd Ave. Saw Dr. Hart's effort at Wesley. No comment. From there up to Battleford, Lloydminster and home.
Was up in October to Stettler Lutheran, tuning, and playing for Dedication of new Church bldg. In it went their 1-8 1890 Farrand & Votey tracker, its fourth building. That just about sums up my activities so far. Have done the odd service here and there. First Baptist came off very well, as did Scarboro, --the latter very very salty and bright, then in the LDS Chapel here, Bob Blanchard installed a small 2-8 Casavant: Ped: Soubasse 16' Gt-Ped Pos-Ped; Gt: Rohr 8 Oct 4 Mixt IVr (1') Pos: Ged 8 Koppel 4 Gemshorn 2 Zimbel II r. No trem, combons, sw-box, no nuttin. How will the good Mormons emote with that, but it's a gem of an organ. ($16,000.00) At that price it should be! Then Bob built a fine little 1-manual in St. Gabriels's here: Ped: Bdn 16' Choral Bass 4' Man-Ped 8' 4'; Manual: St Diap 8' Gemshorn 4' Principal 2' Mixture II ranks. The latter is new Casavant pijpenvaerk to composition of yours truly. John Searchfield did a humdinger of a recital on it.
Any further developments on your research into construction of a slider chest? How did you get along in Edmonton? These smaller jobs offer quite a challenge to get the most out of them. I find them fascinating. At Stettler I did a morning 1-1/2 hr service, then another in the afternoon, then at 4 pm a recital. So after I gave the `Commercial' and trotted up to the console, there were 20 or 30 kids standing around the console! After initial shock, I sez to me `What would Marcel Dupre do?' And quick-like comes the yanswer: `E'd concentrate, -- that's wot!!' So I did and it wasn't too bad! If you can translate the variegated spelling, I'll send along a booklet from there too.
Meanwhile, all the best to all the Kolbinsons, from all the Kennedys.
Sincerely,
Stuart Kennedy
(to S. Kolbinson)
from Calgary, Alberta
November 18, 1979
To the Squire of Despard, and Family; ----- GREETINGS!
Dear Orgelbauer Stuart; ---
Sorry again, slow again, correspondence-wise, busy again. We took a Thanksgiving trip up the Peace River country; --- Fall Colours at their peak; --- magnificent part of the world, a spaciousness and grandeur that defies description, --- inspiring vistas on Slave Lake, --- and anyway I had three organs to check out! Took the Kolbinson file along with and duly digested it, resolving to reply to yours of Sept 28 fourth-with, or at the very least fifth-with, -- so here it is seventh-with and I'm only getting to it now. Sorry about all that.
Busier than proverbial cat mit twelve kittens and only ten spigots, -- with tuning and maintaining all ober die platz. Installed a II-rank Sesquialtera in the Antiphonal of Grace Presbyt here,-- old pipes new chest; -- then made adjustments and corrected modifications at First Baptist with tuning for a recital; --- then up to Stettler to tune the 1890 Farrand & Votey tracker; --- right now cleaning and tuning Mount Calvary Lutheran 4-rank Casavant, -- gotta tune Christ Church Kney tracker as soon as weather cools enough for stable temperatures, -- same at Once Baptist again. Then to top it all, two orgelbauers and one recitalist land in city all at same time.
Alex Bernhardt, Cas. rep. stationed in Van but expanding here, was over Wed. night, then I had to go to Brooks to diagnose a 1943 Hammond; -- quoted Bert Keates: "There's absolutely nothing that can't be remedied by replacement." Darn Hammond - nothing wrong, -- just blown tube in the Leslie speaker. So couldn't sell a Casavant there, --- yet!! Then St. John's (East Calgary), opus 492 1912, tubular-pneumatic, is being electrified and otherwise RESTORED by Jean Girouard, so he was over till 2 am this morning; -- then I had to play my first Anglican service in 15 years at St. John's this morning. Also in April I'm to do two recitals on the 1901 tracker Cas. Op 143 in Pincher Creek. Alex Bernhardt restored it this summer, and it is absolutely superb; --- only a 2-9, but touch was most supple. So Monday I spent three hours on it making up a programme.
The three orgels in the north country, were: a new Casavant 2-9 `series' model, (now $38,000.00), in the Lutheran Church there. Absolutely superb; --- fine acoustic and an excellent organ. Then on to Peace River, the Anglican Pro-Cathedral, where reposes a 41-year old Woodstock, horseshoe console three 8' stops to swell, and three 8' stops to great, plus chimes! A delightful vintage machine in good condition, which despite its unimaginative design, did emit the proper "Holy Anglican sounds" to fit the service perfectly. Finally at Barrhead, I looked in on a miniscule 3-rank unit Hallman, with electronic 16' octave in Pedal. You guessed it: -- pipework fine, dead in tune, but electronic unit not functioning properly. So now I've been asked to chase that one down. You wouldn't know John Darbyshire's address in Vancouver would you? I may have to send it care of Fred Carter, St. John's Shaughnessy, where the big Hallman is, which John services.
Your kindness in sending Whitworth along is most appreciated, and I'm working my way through it. Very interesting. Have you been through Kindersley to check Magnum Opus yet? I'm anxious to hear how it is and how it goes. In fact I've been looking for you any time through these days. Be sure to give me a call at least. Speaking of old-timers: Jean Girouard seems to be a very conscientious builder - represented the Freres in the Van BC area for years then left to freelance. In the latter he seems to be doing well. His contract to redo St. John's was most meticulous, and this will be a most interesting job when finished in February. He's taking console back with him to rebuild, then will do the rest when he gets back. He has a reverence for the old Casavants up to the 60's. From the Org Hist Soc I received a listing to say their (Casavants) Opus 9, a 1-6 tracker, 1885, is available. I'd dearly love to bring that here and set it up somewhere.
Now your Sept 28 letter. Glad your chapel is shaping up, --- mit windows yet and bellcote. That will be something unique. I do hope you found the organ in good condition. Vandals seem to be getting everywhere now. I can't practise at Once Baptist at night, they have an electronic watchdog, which, if anything in the church moves, summons two police cruisers! Are you sure mechanical swell pedals are ruled out? The freres use a mechanical cable and pulley arrangement now, -- something I suggested years ago, -- as their standard. I prefer direct mech, and argued with Girouard about it here. You knew the Willis story, for Birmingham town hall. Willis wanted engines but Cunningham, Orgst, insisted on direct linkage. Willis then stated that there was no way he could make all swell pedals "feel" the same weight. Cunningham's reply: "Exactly, my dear chap; --- that's how I know which one I'm on!"
Thank you for the Elm Street material list; I return it herewith third-with. I'll get cracking on a design, but I gather you won't need it for a day or two yet. Right? Yup with those 8 ranks of Mixtures we could doubtless make ourselves up a Cymbale as well as a Fourniture! Girouard told me an easy way to tune a Cymbale last night, I've done quite a few Mixtures lately, --- they're slow, but boy are they satisfying when finished. We'll have to derive the present compositions first though, before "composing" new ones. I must get hold of the Schoenstein book, --- it appears to be a good one. Yes indeed Jamie Bertran is busting with enthusiasm. Reminds me of one Kennedy some years ago now!! You bet the "retired" (even if only nominal) title makes a difference. Still busy, but at least now I decide when and how. Betty plans to quit the teaching this semester; and now it's a plant & gift shop in Sylvan Lake. They've opened up already!
Now Stuart, don't get hopes up;--- but there is a very vague possibility that we just might be going through your way in the early New Year. Betty Nye (now remarried), wants me to check out Gene's library, prior to turning it over to the Organ Historical Society archives. The best time for us would be right after Christmas, -- our kids are going to conventions, skiing, what have you, and my Betty's sister lives in Seattle. We just may take my Betty's folks, out, (weather and roads not being too difficult)(she and David did it once before at New Year's when Dave was at UBC), -- for a visit. If so, having crossed the Great Divide, Betty has relatives in Victoria; -- I have a few things to check out there, -- notably the Kolbinson establishment, and the Cathedral historische-orgeln; plus and ancient "Pelobout" in North Vanc; -- so mit all deisen exkusen, we chust may appear. So I'm ge-warning you in case it happens, -- hiden das silberware!
Keep up the good werk, drop a line iffen you get time. I took Patricia Snyder, who gave a recital at the Cathedral Friday, to see Highwood's Odell Saturday, on way to Airport. She was delighted. So we're spreading the Gospel, --- some Gospel that is!
Alle besten,
Stuart
PS You had an old Casavant 3M staircase console in your warehouse, n'est-ce pas? Where from?
Opus No.? Jean Girouard would be happy to buy it from you for parts, interested? DSK
(encl!)
THE WARREN DYNASTY
Richard Warren, arr 1620 on Mayflower
Samuel Warren, Carpenter // Russell Warren, Architect, Rhode Island
I SAMUEL RUSSELL WARREN (1809 - 1882) Apprenticed to Thomas Appleton, Boston
// Thomas Durfee Warren (+1863) O B appr to Appleton;
Appleton & Warren (1847 - 50)
S R Warren & Co, 1836 Montreal (SRW built 3 organs before 1836)
Mead & Warren, 1837 (SRW & Co had built 350 organs by 1869)
II CHARLES SUMNER WARREN (1842 - 1933)
// Samuel Prowse Warren (1841 - 1915) Organist
// (cousin SRW) William Henry W, Organist
S R Warren & Co, 1866
S R Warren & Son, 1876 (moved to Toronto, 1878)
Miller & Karn, 1867 (Pianos and Organs)
D W Karn Ltd, 1873, Woodstock
(1896 DWK bought SRW & Son, relocate Woodstock)
Karn-Morris Organ & Piano Co (1909 - 1920)
Karn-Warren Church Organ co, 1896, Woodstock
Clough & Warren, 1893 - 1898, Detroit
(John T. Austin, employee of C&W, invented "Universal" windchest.
Joined K-W 1898)
Warren Church Organ Co, operated by Hay & Co Ltd (T L Hay), 1913-1915
Karn-Warren, Woodstock (failed 1922)
Woodstock Pipe Organ Builders, 1922 - 1948 Woodstock
III FRANK RUSSELL HELE WARREN (1867-1953)
married Emma Torrington, daughter of
Dr. Frederick Herbert Torrington, Organist
IV SAMUEL RUSSELL WARREN (1891-1965)
// Mansfield Torrington Warren (1898-1956)
Warren Church Organ Co, 1907 (FRHW & SRWII)
Warren Pipe Organ Co, 1915-1925 (SRWII)
Warren & Son Ltd, Woodstock (SRWII), failed 1922
V ROBERT F WARREN
S R Warren & Son, 1948 (last organ) / 135-year dynasty, 1830-1965
S R Warren II: 1925, Marr & Colton Organ Co, Warsaw, NY
1926, Geneva Organ Co, Geneva, Ill
1926, Estey Organ Co, Brattleboro Vt
1937, Hall Org Co, West Haven Conn
1940, Austin Organ Co, West Hartford Conn
DSK 11/79
* * *
(to S. Kennedy)
from Victoria BC
Nov 28, 1979
Dear Orgelexpert Stuart:
The good news is: Die Orgel is a week in Victoria already!!! She arrived safe and sound in our back yard a week ago; I had a gang of nine men and we had it unloaded after five strenuous hours…believe me, there were parts all ober der platz, one should have a building the size of old Grace Church to lay it out. The lack of space has made it difficult for us, since some parts were moved umpteen times while setting up the framework, to say nothing of stacking parts of which there are thousands, to enable us hopefully to get at them as they are needed. Of course, with every move a few little bits and pieces fall off or are hastily stuck in some box, never to be found until too late!
It was not pleasant removing the old dear. For one thing, vandals had broken down the front door and the new owner had just stuck a piece of thin plywood over it, letting in the chill breezes. No heat or light in the building, cold and clammy. What a change from the old days! The new owner let rain come in the roof of the house by the chimney, which leaked onto the old Casavant console stored in the attic and ruined it, similar fate overtook the combination action and stop knobs stored in the old shop. I was so cold the last day that I couldn't stop shivering for hours after I got in the warmth, even a hot shower didn't cure me entirely. I was never so glad to get out of a place in my life, and shall never set foot on the old farm again!
I managed to get the music room painted before the invasion which was a good thing, since we had to use a scaffold, also for installing the lights. I have been busy!
Instead of driving my own pickup to Kindersley, I flew out to Saskatoon and then drove out by bus and rented a truck while I was there. I'm glad I didn't drive all that way, though it would probably have been a lot cheaper. So, once again I missed a visit to Calgary, but it would have been a hurried one in any case. I was worried about the vandalism which wasn't really too bad, some pipes missing and some bent, but repairable, I hope.
There was a letter in The Organ from the then organist of the Peace River Anglican Pro-Cathedral describing his "new" Woodstock Octopod with solo chimes. You must have it somewhere. I brought my old files of TAO and Diapason, plus II Quarterly's which were left in the attic, one box was water damaged, but have been having a good time reading thru the old issues.
Mice had made a nest in my console before eating the poison set out for their delectation, and so there is a mess to clean up there; I hate mice more than anything, they are the dirtiest creatures God ever put guts in. And destructive, too. This will delay the first squeek somewhat. Plus the fact that I am putting a Casavant style pedal contact action instead of the former where the pedal board was connected with an umbilical cord to the rest of the machine. I didn't have time to unsolder all the contacts, so just cut the cables due to lack of time, since the new owner gave me some hassle.
In fact I had to send for the sale agreement by courier and get the services of a lawyer in order to get the organ out safely. He wanted to keep it, and failing that, demanded ransom! But the agreement fortunately spelled it all out and he could do nothing except delay me four days. (The courier lost the agreement, fortunately my daughter had made two copies so that saved the day.) There are some sons-of-bitches still walking around this earth! He pulled his stunt when we had it half loaded.
I also cut the cables to the setter board system, which was too cumbersome and un-Casavant, and am thinking of getting a solid state action from California as soon as possible. Moving the console was no lark, it is damn heavy! And had to be taken apart to get it out the door, and the same here, even thought the door had been made extra large.
I had forgotten what a huge instrument this is, and how many HEAVY parts. It was some job getting those big 16 footers mounted in the back, which had to be done before we could start setting up the frame. And that was a Chinese puzzle at times, the directions having been worn off, and doubtless in every move some little pieces have been lost.
Finished the framework today and tomorrow will try and get a gang in to help set on the chests, and hopefully, get a good start on the swell boxes which are likewise heavy and awkward. Once that job is done, then the more pleasant task of racking the pipes can begin, Lord knows I need to get the rooms cleared out again, since the connecting rooms have yet to be dry walled, and the plumber and heating man has to do his expensive thing. It will be nice to live in a civilized manner once more!
I don't know Derbyshire's address, since I don't think much of him as person or organ man.
Was talking to Laplante - by long distance yesterday - of Casavant Freres, he said prices are getting completely out of hand. He had to figure out a replacement cost of a 40,000 job they had installed in Virginia in 1970. Would you believe 140,000??? I was pleading for some old pipes of comparable vintage to replace, for instance, the Clarinet which has been hopelessly wrecked. Not that I like a clarinet, particularly. If you hear of anything in the pipe line available for that or our Positif, let me know, since all I've got right now is the 8' Stopped Diapason from Elm Street and the mixtures. I brought another box of pipes, don't know what they are, but simply don't yet have the room.
Yes, isn't retirement wonderful? I hope you can make it out this way this winter - why freeze to death out there on the plains? Now, must get to bed and try and get some sleep - big day tomorrow!
Found out to my dismay that the Casavant drawings gave a 30' width, but should have been 31, so my Bombard is, on the low notes at least, going to be squeezed for room, and that means I'll have to make some off note chests which isn't any big deal but will take some time. That extra foot would have meant a lot of additional cost because of the span and cement forms etc etc, making a chest will be far cheaper.
Well, old friend, that's about it for now. You've just GOT to get out here, you hear?
Mit alle besten Gluek und Gesund,
Ihr Orgelfreund,
Stuart
