Hi,
I would urge you to buy and have a read of many of the letters contained
in this book: "The American Classic Organ, A History in Letters", by
Charles Callahan. This book was published in 1990 by OHS, I bought
it that same year. The writting was subsidized by subscritions paid by
many prominent American names of the pipe organ world. It is just
plain fascinating!!
It begins with a letter written 26 March 1924 from Henry Willis III to Ernest
Skinner. This letter begins a 34 year correspondence between these
two men about all sorts of pipe organ topics: from tonal matters,
construction details, the politics of the organ manufacturing industry,
etc., etc. The final letter of the volume carries two dates, the letter
having been started one day, then completed on another; the dates,
Feb. 18 and Feb. 28 1958. This letter is from Ernest Skinner to Henry
Willis III. It is rather a summary of Skinner's work in the pipe organ
world, and he winds up applying for a flue voicing job for which
Willis has been advertising!! Skinner laments that he was "frozen"
out of his company by another (see many other letters for the details),
explains he is essentially out of funds, but has written a book, his
"The Composition of the Organ" which upon publication he plans will
keep him well funded for the rest of his life. In this letter, Skinner
ourlines for Willis the list of some 34 new organ voices Skinner
developed over his career, of one in particular he is most proud,
his French Horn (note this stop in in the Choir division of the comming
Milan Audio Sample set for Hauptwerk). Skinner had also specifically
mentioned this stop years earlier, in fact in an "open" letter to
"The American Organist" in which he explains why he did not
bid on Senator Richards specification for the huge Atlantic City
Auditorium organ (not sufficient available funds, only about $240
per pipe rank, with which he says he could not possibly build such
a huge machine nor make any profit), see his letter in the book,
dated May 6, 1929. In the letter he specifically criticzes Sen. Richards
for calling for a French Horn, of the Skinner sort, but without giving
any "credit" as Skinner calls it, for doing so --- just some insight
into the "politics" of organ building during its' peak period in the
USA, at least during Wurlitzer's peak factory output time.
If you are thinking of buying Brett Milan's Skinner organ CD, as I
do, you owe yourself the pleasure of reading this compilation of
letters! You will certainly completley understand Skinner's philosophy
of organ tone and building, as well as gain appreciation for all that
has impacted the development of the organ called "American Classic".
As a postscript to this, I must quote from one of Skinner's letters in
which he gives his opinion of the neo-baroque organs being sold to
the public in those days. Letter is dated Jan. 6, 1944, sent to
William King Covell:
" Dear Mr. Covell: Why meet Richards, I mean
myself -- I am not interested in meeting one who is as old as Richards
and learned so little. His opinions are fixed and founded on nothing
we have in common. My prime intersest is music. All my opinions are
based upon music, .........the Baroque organ (some particular one
not identified is the subject here)......I have heard it. It is shrill
and cold as ice as are all Harrison organ. But you like them,
with which fact I have no quarrel. But there is much to be loved
in music which you are missing......The shrill high-pitched stuff
you care for means nothing to me but distress. My only kick
in the matter is the disappointed public who are led to spend
money for the Baroque stuff and then get nothing out of
it. I wish I could get a chance to build a Baroque organ. I'll bet I could
build one we both like and the public as well. But those who build them
have a posidtive genius for building unmusical tone. They don't know
how to make pipes to start with!..........I built an organ for.....and
the stop most commented upon was a 3 rank mixture which can be used
in combination with Flute Celeste and which also is in correct proportion
to full Swell. It is a beauiful sound.
Did you ever hear the Wahington Cathedral organ [by Skinner], and if
so, what was the matter with the 43 ranks of mixture work in this
organ which seveeral have spoken of as the greatest in the world?
Very truly, E.M.Skinner "
This letter appears to have been
written when Skinner was 90 years old (born 1866, died 1960).
Unfortunately, it appears Skinner's book on "The Composition of
the Organ" was never published, at least I can find no record
about it, neither did he ever return to England and the Willis
factory once again where he had visited times before.
Now, haveing read that letter, have another look at the Skinner
specification of the instrument coming from Milan Digital Audio:
http://www.milandigitalaudio.com/skinner.htm
Note the number of 8' ranks and their names, even the 8' French
Horn of the Chorit.
I certainly am on pins and needles awaiting Brett's new release!