ii
 
 THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA 
 
 LOS ANGELES 
 
 MEREDITH WILLSON LIBRARY 
 STANLEY RING COLLECTION
 
 f6*-- 
 
 /?(?3
 
 "Bhe Organ and 
 Its Mocsters 
 
 A Short Account of the Most Celebrated 
 Organists of Former Days^ as Well as 
 Some of the More Prominent Organ Virtuosi 
 of the Present Time^ Together with a Brief 
 Sketch of the Development of Organ Con- 
 struction^ Organ Music y and Organ Playing 
 
 » 
 ^ 
 ^ 
 » 
 * 
 ^ 
 ^ 
 
 ^ 
 
 
 
 By 
 HENRY C. LAHEE 
 
 Author of "Famous Singers," "Famous Pianists," 
 ** Famous Violinists," ** Grand Opera in America," etc. 
 
 Illustrated 
 
 » 
 
 ^ 
 
 BOSTON ^ 
 L. C. PAGE & 
 
 q^^ ^y^ 4^^ 9^^ 
 
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 COMPANY 
 MDCCCCIJI 
 
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 Copyright, igo2 
 
 By L. C. Page & Company 
 (incorporatbd) 
 
 All rights reserved 
 
 Published, September, 1902 
 
 ffolonfal IPtres 
 
 Eloctrotyped and Printed by C. H. SImonds & Co. 
 
 Boston, Mass., U. S. A.
 
 Music 
 LibraiX 
 
 ML 
 
 laOO 
 
 l\-bcr 
 PREFACE ,c^oZ 
 
 This book is intended to fill, or partly fill, a 
 vacancy in musical literature, by gathering under one 
 cover a tolerably consecutive account of the noted 
 organists from the earliest times down to the pres- 
 ent day, and at the same time to keep in touch with 
 the development of organ-building and of organ- 
 playing. 
 
 As we come down to modern times, and especially 
 in the chapter on American organists, the task of 
 selection becomes more and more difficult. It is 
 obviously impossible within the limits of this volume 
 to mention more than a very small portion of those 
 who are excellent musicians, and it has been found 
 practicable to mention only a limited number of 
 those who have been most prominent as concert 
 organists. 
 
 The greater part of the biographical work has 
 been compiled from the most reliable books of refer- 
 ence, and much concerning the older organists has 
 been extracted from such authorities as Spitta, in 
 his life of Bach. The writer is also indebted for 
 much valuable assistance to Mr, Everett E. Truette 
 and to Mr, J. Wallace Goodrich, for matters pertain- 
 ing to more recent years. 
 
 1496770
 
 CONTENTS 
 
 CHAPTER 
 
 PAGE 
 
 I. A Preliminary Account of Early Organs i 
 
 II. Early Continental Okganists ... 7 
 
 III. Early English Organists .... 28 
 
 IV. PuRCELL TO Handel 49 
 
 V. Johann Sebastian Bach .... 74 
 
 VI. The Contemporaries and Pupils of Bach 100 
 
 VII. English Organists of the Eighteenth 
 
 Century 121 
 
 VIII. Modern Continental Organists . .138 
 
 IX. English Organists 186 
 
 X. American Organists 239 
 
 XI. Organ - Building 300
 
 LIST OF ILLUSTRATIONS 
 
 PAGE 
 
 JoHANN Sebastian Bach .... Frontispiece 
 
 GiROLAMO FrESCOBALDI 26 
 
 Henry Purcell 52 
 
 Georg Friedrich Handel 92 
 
 Johann Christian Heinrich Rinck . .112 
 
 Gustav Merkel » .152 
 
 Joseph Gabriel Rheinberger 156 
 
 Alexandre Guilmant . . . . • • i74 
 The Organ of St. Sulpice, Paris, France . .178 
 
 William Thomas Best 200 
 
 Console of the Organ in the Town Hall, 
 
 Sydney, N. S. W 208 
 
 The Brattle Organ 240 
 
 The Organ of the Music Hall, Cincinnati, O. . 243 
 The Organ of the Old Music Hall, Boston, 
 
 Mass 255
 
 THE ORGAN AND ITS MASTERS 
 
 CHAPTER I. 
 
 A PRELIMINARY ACCOUNT OF EARLY ORGANS 
 
 It is hardly necessary to the purpose of this book, 
 to enter at length into the early history of the organ, 
 and to trace its evolution from the pan-pipe, bagpipe, 
 and instruments of such nature, most of which are 
 familiar objects at the present day. 
 
 The history of the organ properly begins at a 
 time when mechanical means for supplying the wind 
 were first used, and this date is far back in ancient 
 history. 
 
 Ctesibius, a native of Alexandria, is said to have 
 built a hydraulic organ (the wind being supplied by 
 water pressure), about the year 200 b. c, and instru- 
 ments of this description were in use for more than 
 one thousand years. 
 
 The pneumatic organ was also in use at a very 
 early period, and numerous references are to be found
 
 2 THE ORGAN AND ITS MASTERS 
 
 in literature of various times from a. d. 363. By- 
 pneumatic organ is meant an organ to which the 
 wind is supplied by bellows, and it must not be con- 
 founded with the modern pneumatic action, which is, 
 of course, a very different matter. 
 
 The next point of general historical interest is the 
 time at which the organ was first used in public 
 religious services, and this is said to have been in 
 the time of Pope Vitalian I., about a. d. 666, though 
 there are indications that it was used in this manner 
 some two hundred years earlier, in the churches of 
 Spain. 
 
 The early records of the art of organ building 
 show that it was known in England at the commence- 
 ment of the eighth century, and commenced in 
 France about the middle of the same century. 
 
 Pepin, King of the Franks, the father of Charle- 
 magne, is said to have sent a deputation to the 
 Emperor Constantine, requesting him to send an 
 organ to France, and in a. d. 757 the request was 
 complied with, and the organ placed in the church of 
 St. Corneille, at Compiegne. 
 
 Organs are said to have been introduced into Ger- 
 many about A. D. 811, when Charlemagne had one 
 made at Aix-la-Chapelle, similar to that which was 
 at Compiegne, but what disposition was made of it 
 is not recorded. 
 
 Charlemagne's love for the organ seems to have
 
 THE ORGAN AND ITS MASTERS 3 
 
 been noised abroad, for about a. d. 822 the Caliph 
 Haroun Alraschid presented to him an organ built 
 by an Arab named Giafur. There is also some 
 indication that Venice became noted for its organ 
 builders about this period. 
 
 During the succeeding century both the French 
 and Germans are supposed to have made rapid strides 
 in organ building, and to have surpassed the Italians. 
 
 Returning to England, — there are somewhat 
 detailed accounts of a great organ which was erected 
 in the old church at Winchester, and it is said that 
 the noise (or music) of this organ could be heard 
 throughout the town. This instrument was described 
 at length in a Latin poem by a monk named Wul- 
 stan, and it may here be remarked that for many 
 years the duty of operating the organ (it could hardly 
 yet be called playing) was an ecclesiastical function, 
 and was performed by the monks. This organ of 
 Winchester was worked by "two brethren of con- 
 cordant spirit," and the tone "reverberated and 
 echoed in every direction, so that no one was able to 
 draw near and hear the sound, but had to stop with 
 his hands his gaping ears," etc. The organ was not 
 yet a solo instrument, except in the sense that noth- 
 ing else could be heard while it was in operation. 
 The name "Bumbulum^" in use among the Anglo- 
 Saxons of this period (the tenth century), seems very 
 appropriate, for the tones of the organ could only
 
 4 THE ORGAN AND ITS MASTERS 
 
 have been sustained, owing to the very crude method 
 of producing them, and the harmonies were such as 
 would strike eternal terror into the soul of the 
 modern churchgoer. 
 
 Up to this period the organ seems to have been 
 worked chiefly by means of shdes, which opened and 
 closed the wind passages to the pipes, but now the 
 keyboard appeared ; first in the form of levers, so 
 that the delicacy of touch and rapidity of action 
 might be compared to that of a switchman in a rail- 
 way signal box of modern times. The lever grad- 
 ually developed into the keyboard, of which the first 
 specimens contained from nine to eleven keys, each 
 from five to nine inches wide. These were struck 
 with the fists or elbows. An organ in the cathedral 
 at Magdeburg had sixteen keys. During the four- 
 teenth century keyboards grew, until the number of 
 keys reached about three octaves. More gentle 
 methods of playing were now possible, and fingers 
 were used instead of fists. An organ in the ca- 
 thedral at Halberstadt, built in 1359 0^ 1361, by 
 Nicholas Faber, had fourteen diatonic and eight 
 chromatic keys, and four claviers, of which one was 
 of pedals. 
 
 This organ had twenty bellows, requiring ten men 
 to supply the wind. Bellows have also undergone 
 some improvement since this period, when it was 
 customary for the blowers to operate directly upon
 
 THE ORGAN AND ITS MASTERS 5 
 
 the bellows, which were fitted with a kind of shoe on 
 the upper edge. A long bar, breast high, gave sup- 
 port to the operators, who, holding on to it, placed 
 each foot in a shoe and " walked " the wind into the 
 organ. 
 
 Pedals are supposed to have been invented by one 
 Albert Van Os, about 11 20 a. d., but the invention 
 is also attributed to Ludwig Van Valbeke, of Brabant, 
 and again to a German named Bernhard, who probably 
 improved, but did not invent, the pedal. 
 
 This Albert Van Os built the organ of the St. 
 Nicholas Church, at Utrecht, and is the earliest organ- 
 builder of whom any authentic account exists. Fol- 
 lowing him there comes a long list of skilful builders, 
 each in his turn contributing something toward the 
 improvement and development of that which has be- 
 come the grandest of all instruments. 
 
 England, France, Italy, and the Netherlands all 
 had their organ - builders. Organ - building became 
 a regular profession or trade, and improvements fol- 
 lowed one another in rapid succession. According 
 to Doctor Burney, great organs and great organists 
 seem, for more than two centuries, to have been the 
 natural growth of Germany, 
 
 It is impossible, within the limits of this sketch, 
 to follow out all the mechanical improvements in 
 organs. Better organs made possible the skilful 
 organist, and he, in turn, developed new possibilities
 
 6 THE ORGAN AND ITS MASTERS 
 
 in the organ. The ecclesiastical drudge was finally 
 emancipated from the operation of the organ, and 
 organ-playing became an art. 
 
 Crude as such an instrument as that played by 
 Bach appears to the organist of to-day, it was an im- 
 mense improvement over the old instrument, already 
 mentioned, at Winchester, of which the compass did 
 not exceed ten notes, and these were operated with 
 levers. 
 
 We shall not attempt to follow out these develop- 
 ments, which affect every portion of the instrument 
 as well as the organist, but begin at the time when 
 the organist had become a musician, and had an in- 
 strument in some degree worthy of his art.
 
 CHAPTER II. 
 
 EARLY CONTINENTAL ORGANISTS 
 
 Perhaps the best point in history at which to be- 
 gin the account of early organists is at Jean Okeghem, 
 who, while not himself an organist, was the founder 
 of what is known as the second Flemish school of 
 composition. Okeghem was born about 1430, and 
 belonged to the college of singers in Antwerp Cathe- 
 dral, in 1443, a place which he gave up in the follow- 
 ing year to enter the service of the King of France. 
 He died about 15 13. His foremost pupils were 
 Josquin Depres and De La Rue, who carried his 
 art into other countries. Depres was, in turn, the 
 teacher of Benoit, Ducis, who became organist of 
 Notre Dame, at Antwerp, and a composer of much 
 merit. 
 
 Benedictus Ducis (or Hertoghs) was born at 
 Bruges about 1480. Concerning his history there is 
 little known, for he left Antwerp in 15 15, and from 
 that date there is no authentic account of him. It is 
 said that he went to England, and he is also said to 
 have gone to Germany ; he may have done both. His 
 
 7
 
 8 THE ORGAN AND ITS MASTERS 
 
 connection with Antwerp was discovered in compar- 
 atively recent years, and proves that he was not a 
 German, as has been stated by some historians. His 
 value to us is that he is one of the very first organists 
 on record. 
 
 A long period elapsed between Ducis and Swee- 
 linck, who is recorded as the greatest of all Dutch 
 organists, and drew pupils from all parts of Europe. 
 
 Jan Pieterszoon Sweelinck was born at Deventer, 
 in 1562, or, according to some biographers, he was 
 born at Amsterdam, where his father was oro;anist of 
 the Old Church. Some few years after his father's 
 death Sweelinck was appointed to fill his place, and 
 remained organist of the Old Church until his own 
 death, in 162 1. 
 
 It has been related that Sweelinck went to Italy 
 and was, for a time, a pupil of the celebrated 
 Gabrieli ; but this is probably incorrect, as he is 
 known to have remained at Amsterdam from the age 
 of fifteen, and is hardly likely to have journeyed to 
 Italy previous to that age. 
 
 Sweelinck's organ-playing was for many years the 
 glory of Amsterdam, and when he died he was called 
 by the poet Vondel, "The Phoenix of Music." His 
 organ compositions are of great historical importance 
 inasmuch as they exhibit the first known example 
 of the independent use of the pedal, in a real fugal 
 part, and because Sweelinck originated the organ-
 
 THE ORGAN AND ITS MASTERS 9 
 
 fugue, a form which was afterward brought to per- 
 fection by the great J. S. Bach. 
 
 While Sweehnck had a great many pupils of note, 
 the two who became most celebrated were Samuel 
 Scheldt and Heinrich Schiedemann. 
 
 The former was a native of Halle-on-Saale (1587- 
 1654), and became organist of the Moritz Kirche at 
 Halle. He is noteworthy as having been the first 
 to treat the working out of the choral artistically 
 and in true organ style. 
 
 Schiedemann was a native of Hamburg (1596- 
 1663), and became organist of the Katherinenkirche, 
 in which post he succeeded his father. In 16 16 
 Schiedemann and Prsetorius were sent, at public 
 expense, to Amsterdam, in order to study under 
 Sweelinck, and to be initiated into the higher style of 
 organ-playing. Schiedemann, as a composer, is said 
 to have had an agreeable, easy, and cheerful style 
 with no pretence or desire for mere show. None of 
 his organ compositions have survived. 
 
 When Schiedemann died his place was filled by 
 Johann Adam Reinken, who had been his assistant 
 for five years, and who was also a pupil of Sweelinck. 
 Reinken was a native of Deventer (1623-1722), but 
 died at Hamburg. Reinken was considered one of 
 the foremost organists of his day in North Germany, 
 and it is said that J. S. Bach walked from Luneburg 
 to Hamburg several times for the purpose of hearing
 
 10 THE ORGAN AND ITS MASTERS 
 
 him. In fact J. S. Bach possessed a faculty for 
 walking long distances to hear fine organists which is 
 worthy of emulation in the present day. Reinken 
 was noted for his virtuosity, but his compositions are 
 defective in form and general construction. 
 
 We must now retrace our steps a few years, and 
 we find Christian Erbach, a native of Algesheim in 
 the Palatinate, who became organist to the celebrated 
 family of the Fuggers at Augsburg, about 1600. 
 
 Gregor Aichinger, also organist at Augsburg, was 
 born about 1565, and took holy orders. He was, for 
 two years, a pupil of Gabrieli, whose influence makes 
 itself manifest in Aichinger's compositions, which 
 bear marks of genius, and are among the best German 
 music of his time. He died in 1628. Aichinger's 
 " Cantiones Ecclesiasticae " is noteworthy as one 
 of the earliest works in which the basso continuo 
 appears. 
 
 The name Praetorius is conspicuous among early 
 organists and church composers in Germany. It 
 was a name assumed by several families, whose 
 German name was Schulz. Hieronymus Praetorius 
 — or Jerom Schulz — was born in 1560 at Ham- 
 burg, where he gained a great reputation as an 
 organist, and died in 1629. 
 
 His son Jacob, born at Hamburg in 1600, in- 
 herited the talent and confirmed the reputation of 
 Jerom, and died in 165 1.
 
 THE ORGAN AND ITS MASTERS II 
 
 But the greatest of the Praetorius family was 
 Michael, a native of Creutzberg in Thuringia (1571), 
 and who became chapel-master at Luneburg, and 
 later was engaged as organist, chapel-master, and 
 secretary of the Duke of Brunswick. He died 
 at Wolfenbiittel on his fiftieth birthday. Michael 
 Praetorius is known to posterity chiefly by his 
 " Syntagma Musicum," a work which gives us an 
 insight into the technical history of a period lying 
 midway between the triumphs of the polyphonic 
 school, and the development of modern music. The 
 compositions of Michael Praetorius are voluminous 
 and valuable. 
 
 Other members of the family were Bartholomaeus, 
 and Johann. Of these the last named was no less 
 remarkable for his learning than for his musical 
 talent. He was born at Ouedlinburg in 1634, held 
 appointments at Jena, Gotha, and Halle, where he 
 produced an oratorio called "David" in 168 1, and 
 died in 1705. 
 
 Johann Hermann Schein, bom at Griinhain in 
 1586, was one of the pioneers of the new movement 
 in Germany. In 16 13 he was appointed chapel-master 
 at Weimar, a post which he held for two years, 
 when, on the death of Seth Calvisius, he became 
 cantor of the Thomas-Schule at Leipzig, where he 
 remained until his death in 1630. 
 
 Heinrich Schiitz, a native of Kostritz, Saxony
 
 12 THE ORGAN AND ITS MASTERS 
 
 (1585), is pronounced the most influential German 
 composer of the seventeenth century in developing 
 and promoting good church music, and a worthy- 
 forerunner of Bach. By his serious endeavour to 
 unite the advantages of the polyphonic and the 
 monodic styles he prepared the way for the polyodic 
 style of Sebastian Bach. His " Sieben Worte " has 
 been considered as the germ of all the later Passion 
 music, uniting as it does the musical representa- 
 tion of the sacred narrative with the expression of 
 the reflections and feelings of the ideal Christian 
 community, 
 
 Schiitz was educated for the law, but had received 
 a good musical training as a chorister in the chapel 
 of the Landgraf Maurice of Hesse-Cassel. His 
 talent for music being conspicuous, the landgraf 
 offered to pay the expense of a period of study under 
 Gabrieli at Venice. From 1609 until the death of 
 Gabrieli in 16 12, Schiitz was his pupil. Schiitz 
 then returned to Germany, expecting to resume the 
 study of law, but became instead the organist of the 
 landgraf, his patron. In 161 5 he was appointed 
 chapel-master to the Elector of Saxony at Dresden, 
 and gave up all further thoughts of law study. This 
 office he held until his death in 1672, with the excep- 
 tion of a period of about six years (1635-1641) dur- 
 ing the Thirty Years' War, when he took refuge in 
 Denmark and Brunswick. Though Schiitz is known
 
 THE ORGAN AND ITS MASTERS 1 3 
 
 by his sacred music, he wrote the best German 
 opera of his day, to a German version of Rinuccini's 
 "Daphne," after which (1627) he confined his atten- 
 tion to church music. 
 
 The oldest example of German oratorio that has 
 been preserved to us is " Die Auferstehung Christi " 
 of Schiitz, produced at Dresden in 1623. On his 
 appointment to Dresden Schiitz at once began to 
 reorganise the music on the Italian model, and not 
 only procured good Italian instruments and musi- 
 cians, but sent some of the members of the chapel 
 choir to Italy to study the Italian style of playing and 
 singing. During a second visit of Schiitz to Italy, 
 in 1629, he found great changes in musical taste, 
 a greater prominence being given to solo singing, 
 greater intensity, the freer use of dissonances, and 
 greater richness and variety in accompaniments, all 
 of which bore fruit in his later compositions. 
 
 Notwithstanding the authority wielded by Schiitz, 
 his life as chapel-master was not without its burdens 
 and trials. He made many personal sacrifices in the 
 cause of his art, even to paying or increasing out of 
 his own pocket the stipends of some of his musi- 
 cians, but even this generosity brought upon him so 
 many annoyances that he became disgusted with the 
 idea of further cultivating music in Dresden. This 
 condition began about 1647 and developed to such 
 an extent that between 165 i and 1655 he repeatedly
 
 14 '^HE ORGAN AND ITS MASTERS 
 
 bessred for his dismissal from the service of the 
 elector. He was frequently involved in differences 
 with his Italian colleagues, who were endeavouring to 
 popularise music and take from it the seriousness nec- 
 essary to highest art. The elector refused to accept 
 the resignation of Schijtz. Eventually affairs im- 
 proved, and he continued at his post during the 
 remaining years of his life. When in his later years 
 he suffered from deafness and was unable any longer 
 to go out, he spent his time in reading the Scrip- 
 tures and books of a spiritual nature. His last 
 attempt at composition was the setting to music of 
 portions of the 109th Psalm, and when death over- 
 took him he was engaged upon the verse "Thy 
 statutes have been my songs in the house of my 
 pilgrimage," than which nothing could have been 
 more fittingly chosen as the motto of his life and his 
 art work. The year of the birth of Schiitz was 
 exactly one hundred years before that of Handel and 
 Bach, who brought to perfection the forms which he 
 originated. 
 
 Contemporary with Schiitz lived Johann Jacob 
 Froberger (1605 .''- 1667), a native of Halle accord- 
 inof to the most authentic accounts. Details of the 
 life of Froberger are rather meagre, considering his 
 eminence as an organist and composer. It is said 
 that the Swedish ambassador, passing through Halle, 
 heard Froberger sing, and being impressed with the
 
 THE ORGAN AND ITS MASTERS 1 5 
 
 beauty of his voice, induced the young chorister to 
 accompany him to Vienna, where a place was found 
 for him in the imperial choir. 
 
 In 1637 Froberger was court organist at Vienna, 
 and in that year he received the sum of two hundred 
 florins to enable him to go to Italy and study under 
 Frescobaldi, whose pupil he was for four years. In 
 1 64 1 he returned to his post at Vienna, which he 
 occupied during the next four years. After that 
 there is a hiatus in his biographies, and it is to be 
 assumed that he was either travelling or studying ; 
 but he returned to Vienna and to his old post again 
 in 1653 for another period of four years. 
 
 In 1657 Froberger left the service of the emperor 
 and began to make concert tours, during which he 
 visited both Paris and London. The latter city he 
 reached in 1662 in a woful plight. He had been 
 robbed twice on his journey and was in a destitute 
 condition, so that he gladly accepted employment as 
 an organ-blower at Westminster Abbey, where Gib- 
 bons was organist. His rise to prosperity is almost 
 Hke a fairy tale. On the occasion of the marriage 
 of King Charles II., Christopher Gibbons was playing 
 before the court, when Froberger overblew the 
 organ, for which inattention he was severely repri- 
 manded by the indignant organist. A few minutes 
 later (perhaps while Gibbons was readjusting himself 
 after the exertion of the reprimand) Froberger found
 
 1 6 THE ORGAN AND ITS MASTERS 
 
 an opportunity to seat himself at the organ and 
 improvise in the style of which he was a master. 
 A foreign lady, who was present and who had 
 been a pupil, immediately recognised the touch 
 and style of her former teacher, and presented him 
 to the king, who received him graciously. Prosperity 
 ensued. 
 
 The last years of Froberger's life were spent in 
 the service of the Duchess of Wurtemberg at her 
 chateau near Hericourt, France, and it was there 
 that he died in 1667. 
 
 Among Froberger's compositions were several for 
 the organ, and Sebastian Bach is said to have secured 
 copies of some of them and made a study of them 
 when he was yet very young. Froberger is said to 
 have possessed a marvellous power of describing, or 
 picturing in music, all kinds of incidents and ideas, 
 but nothing exists which gives any support to this 
 statement. 
 
 Johann Kaspar Kerl was a celebrated organist of 
 Munich, born in 1628. Kerl was a native of Gai- 
 mersheim, near Ingolstadt, and became a pupil of Val- 
 entini at Vienna, by whose advice the Emperor 
 Ferdinand III. sent him to Rome to study under 
 Carissimi. It is supposed also that he took lessons 
 of Frescobaldi. Kerl returned to Germany and en- 
 tered the service of the Elector of Bavaria in 1656, 
 and officiated at the coronation of Leopold I. at
 
 THE ORGAN AND ITS MASTERS 1/ 
 
 Frankfort, from which event his reputation as an 
 organist dates. He remained at Munich fifteen 
 years, and then went to Vienna, where he remained 
 for several years, returning, however, to Munich, 
 where he died in 1693. 
 
 Of Kerl's compositions, one, a canzona for organ, 
 is transmitted to us through the medium of Handel, 
 who appropriated it entire for his oratorio " Israel in 
 Egypt," in which it appears, merely transposed from 
 the key of D minor to E minor, as the chorus 
 ** Egypt was glad." 
 
 Kerl shared, with many other German organists, a 
 dislike for Italian singers, and it is related that once 
 upon a time, in order to revenge himself on them, he 
 wrote his " Missa Nigra " entirely on black notes ; 
 also a duet, " O bone Jesu," the only accompaniment 
 of which is a ground bass passing through all the 
 keys. These works were given at the last perform- 
 ance under his direction, and were so difficult that 
 the singers were horribly false all through and cov- 
 ered themselves with ridicule. 
 
 Kerl's style is remarkable for the frequent intro- 
 duction of discords resolved in a new and unexpected 
 manner, in which respect he is considered a worthy 
 predecessor of Sebastian Bach. 
 
 Johann Joseph Fux stands out from amongst the 
 musicians of his time as one of the most important 
 theoreticians in the history of music. Born in 1660
 
 1 8 THE ORGAN AND ITS MASTERS 
 
 at Hirtenfeld, near Gratz, he was the son of a peas- 
 ant, and nothing more than this fact is recorded of 
 his early days. 
 
 At the age of thirty-six he received an appointment 
 as organist at Vienna to an ecclesiastical order, " Zu 
 den Schotten," and in 1705 he became chapel-master 
 at the Cathedral of St. Stephen. In 17 13 he was 
 appointed chapel-master to the Dowager Empress 
 Wilhelmine Amalie, and became vice-chapel-master, 
 and afterward head chapel-master to the court. Fux 
 as a man is said to have had the esteem of all his 
 acquaintances, for he was kind and just in his deal- 
 ings. He received many proofs of court favour. 
 Some four hundred and five of his works are still in 
 existence, though but few of them are printed. His 
 " Musa Canonica," which was dedicated to the em- 
 peror, is unique in its way. It contains every species 
 of canon, and displays his marvellous knowledge of 
 counterpoint, combined with the richest modulation. 
 Marpurg speaks of the double canon in the " Christe 
 eleison " in these words : " The harmony is gorgeous, 
 and at the same time thoroughly in keeping with the 
 sacredness of the occasion." 
 
 Fux had numerous pupils who rose to places of 
 distinction, but his name as an educator will always 
 be most celebrated through his " Gradus ad Par- 
 nassum," a work which must not be confounded 
 with that of Clementi, which is familiar to all piano-
 
 THE ORGAN^ AND ITS MASTERS 1 9 
 
 forte students. Concerning this work Mr. Rockstro 
 writes : " When the Une of polyphonic composers 
 came to an end, the verbal treatises, no longer illus- 
 trated by their living examples, lost so much of their 
 value, that the rules were in danger of serious mis- 
 construction, and would probably have been to a 
 great extent forgotten, had not Fux, in his " Gradus 
 ad Parnassum," pubHshed at Vienna in 1725, set 
 them forth with a systematic clearness, which, ex- 
 hausting the subject, left nothing more to be desired. 
 This invaluable treatise, founded entirely on the 
 practice of the great masters, played so important a 
 part in the education of the three greatest compo- 
 'sers of the school of Vienna, Haydn, Mozart, and 
 Beethoven, that it is impossible to over-estimate its 
 influence upon their method of part-writing. So 
 clear are its examples, and so reasonable its argu- 
 ments, that it has formed the basis of all the best 
 treatises of later date." 
 
 One little anecdote may be allowed about Fux, as 
 illustrating the high opinion in which he held his 
 profession. It is related that Carl VI. once played 
 the accompaniment of an opera by Fux, and accom- 
 plished his task with such skill that the composer 
 exclaimed " Bravo ! Your Majesty might serve any- 
 where as chief chapel-master." " Not so fast, my 
 dear chief chapel-master," the emperor replied ; "we 
 are better off as we are ! "
 
 20 THE ORGAN AA'D ITS MASTERS 
 
 Fux held his office under three successive em- 
 perors, and died at Vienna in 1741. 
 
 Among continental organists previous to J. S. Bach, 
 no name is more prominent than that of Dietrich 
 Buxtehude, a native of Helsingfors, Denmark (1637). 
 Buxtehude's father was organist of the Olai-church, 
 and probably bestowed upon his son the early educa- 
 tion which enabled him to reach such a prominent 
 position. The accounts of his early life are very 
 meagre, and much is therefore left to conjecture. 
 The admirable playing of young Buxtehude, and his 
 great promise, enabled him to secure, in 1668, the 
 post of organist at the Marien-church, Liibeck, which 
 was one of the most desirable in Germany, partly, no 
 doubt, because the new organist was required to 
 marry the daughter of the old one, and was thus 
 saved the time and perplexity of courtship. Here 
 he became the great musical centre of the north of 
 Europe, and young musicians gathered from afar to 
 hear him play and to study under him. Amongst 
 these were young Sebastian Bach, who came fifty 
 miles on foot to spend a month's leave of absence 
 under the influence of the greatest teacher of the 
 day, and who, oblivious of the flight of time, remained 
 three months. 
 
 Buxtehude made himself famous by establishing, in 
 1673, the " Abendmusiken," or evening performances, 
 which took place on the five Sundays preceding
 
 THE ORGAN AND ITS MASTERS 21 
 
 Christmas. These services began between four and 
 five o'clock in the afternoon, and consisted of con- 
 certed pieces of sacred music for orchestra and chorus, 
 and of organ performances. They were well sup- 
 ported by the people of Liibeck, who took much 
 pride in them, and they continued throughout the 
 eighteenth and into the nineteenth century. 
 
 The organ at Liibeck was one of the finest in 
 existence at that time. It had been built about 1 5 1 6, 
 when it contained two manuals, from D to A above 
 the staff, and a separate pedal down to C. The latter 
 had a great "principal" of thirty-two feet, and a 
 second one of sixteen feet. A third manual was 
 afterward added, in 1560 and 1561, and many other 
 alterations and improvements were made before the 
 beginning of the eighteenth century. When Buxte- 
 hude was at the zenith of his career the instrument 
 contained three manuals and pedal keyboard, and 
 fifty-seven stops — altogether a very fine instrument. 
 
 The technique of the organ had already reached 
 such a point of development by the time of Buxte- 
 hude's full power, and largely by his agency, that it 
 cannot be said that Bach had to open entirely new 
 paths. 
 
 Buxtehude's compositions, though seldom used at 
 the present day, are remarkable as the earliest asser- 
 tion of the principle of pure instrumental music, 
 which was further developed by his great pupil,
 
 22 THE ORGAN AND ITS MASTERS 
 
 Sebastian Bach. There are twenty-four organ pieces 
 rich aUke in matter and extent. His strength lay in 
 free organ compositions. 
 
 Biixtehude died at the age of seventy, and while 
 he is said to have been excelled in playing by some 
 and in composition by others, yet the position which 
 he gained and filled with such success gave him the 
 opportunity to display his energy and talent, and thus 
 to become the musical centre of Northern Europe. 
 
 The most important of Buxtehude's pupils was 
 Nikolaus Bruhns, who was also an excellent violinist, 
 born in 1665 at Schwabstadt, m Schleswig. Buxte- 
 hude procured him occupation for many years at 
 Copenhagen till he became organist at Husum, where 
 he died in 1697, in his prime. Others who rose to 
 eminence were David Erich, organist at Gastrow, 
 and George Dietrich Lieding, of Biicken, near Hoya, 
 who, like Bach, made a pilgrimage, in 1684, from 
 Brunswick to Hamburg and Liibeck to derive in- 
 struction from the playing of Reinken and Buxte- 
 hude. 
 
 We must now go back once more to earlier days 
 and see what was being done in Italy and France, 
 for many of the best organists of other countries, as 
 we have already noticed, went to Italy to study. 
 
 In the ninth century the Germans had acquired 
 such skill as organ builders that they were called upon 
 to supply Italy not only with instruments but with
 
 THE ORGAN AND ITS MASTERS 23 
 
 skilled players. Again, in the fourteenth century, an 
 organ, built in Germany, was erected in the church 
 of St. Raphael in Venice. Thus we find that the 
 early Italian organists were Germans. Bernhard, 
 who was organist of St. Mark's at Venice from 
 1445 to 1459, the year of his death, is credited by 
 some historians with the invention of the pedal, but 
 in all probability Bernhard simply introduced the 
 pedal into Italy. 
 
 The first great Italian organist, of whom there is 
 any account, was Andrea Gabrieli, born about 15 10, 
 at Venice, and he became a pupil of Adrian Willaert. 
 
 Willaert was born in Flanders about 1480, proba- 
 bly at Bruges. He was educated for the law, and 
 went to Paris to study, but became more interested 
 in music than in legal matters. Willaert seems to 
 have been a somewhat restless youth, for on return- 
 ing to Flanders from Paris he remained only a short 
 time, and then set forth on a journey to Italy. He 
 visited Venice, Rome, and Ferrara, then proceeded 
 northwards again, and became cantor to King Lewis 
 of Bavaria and Hungary. In December, 1527, he 
 was appointed chapel-master of St. Mark's, Venice, 
 where he remained until his death in 1562. 
 
 Willaert is called the founder of the Venetian 
 school of musicians, and had many pupils who 
 became famous, for he drew about him the most 
 promising talent of the day. He was a prolific com-
 
 24 THE ORGAN AND ITS MASTERS 
 
 poser, and had two organs and two choirs at St. 
 Mark's, which fact led to the invention of double 
 choruses. One of his compositions which was spe- 
 cially admired, was a Magnificat for three choirs. 
 He is also considered to have been the father of the 
 madrigal. 
 
 Thus while Willaert was one of the Flemish 
 school, which was at its best in his day, he became 
 the founder of an Italian school, which also produced 
 some admirable musicians. 
 
 Of these pupils Andrea Gabrieli, already men- 
 tioned, became the most famous. His reputation 
 spread throughout Europe, and brought to him as 
 pupils such men as Leo Hassler. Gabrieli entered 
 the choir of the doge at the age of twenty-six, and 
 twenty years later he became second organist of St. 
 Mark's, when, on the death of Willaert, Claudio 
 Merulo was appointed first organist. An account 
 says that, at the time of his death, he was first 
 organist, but we are also told that, on the resigna- 
 tion of Merulo, in 1585, Giovanni Gabrieli, the 
 nephew of Andrea, was appointed first organist. 
 
 Andrea Gabrieli is said to have composed the first 
 real fugues, but his nephew showed great proficiency 
 in this style of composition, and brought it to a 
 greater state of perfection, 
 
 Giovanni Gabrieli was born in 1557, and became 
 even more celebrated than his uncle. Among his
 
 THE ORGAN AND ITS MASTERS 2$ 
 
 most celebrated pupils were Heinrich Schiitz, Aloys 
 Grani, and Michael Praetorius. Giovanni held the 
 post of first organist at St. Mark's until his death in 
 1612 (his uncle died in 1586, the year following Gio- 
 vanni's appointment), and was succeeded by Gianpolo 
 Savii. 
 
 Claudio Merulo was noted for the wonderful power 
 of his playing at a time when Venice was the Mecca 
 of musicians. Born at Correggio, in 1533, he re- 
 ceived an excellent education, and in 1566 was 
 appointed organist at Brescia. In the following 
 year, he was the successful one of nine candidates 
 for the position of second organist at St. Mark's, 
 Venice, where he was associated with, and became 
 a pupil of Willaert. It seems somewhat curious that 
 both Andrea Gabrieli and Claudio Merulo should 
 have held the same position (second organist) for 
 so many years simultaneously. Probably one of 
 them held some other position of a similar nature. 
 
 In 1585 Merulo resigned his position and went to 
 Mantua, and then, in the following year, to Parma, 
 where he became organist of the duke's chapel, a 
 position which he held until his death in 1604. 
 
 Of his compositions. Sir W. Sterndale Bennett 
 writes : " They compare favourably with other 
 works of the period. As historical examples they 
 are also valuable. In them we have classical instru- 
 mental music quite distinct from vocal ; we have
 
 26 THE ORGAN AND ITS MASTERS 
 
 again chord — as distinct from part — writing, the 
 greatest result the organists had achieved, and the 
 ultimate death-blow to the modal system. Claudio 
 lived close on the borders of the new tonality. In 
 his compositions he does not abandon himself to it, 
 but he no doubt went much farther in his playing 
 than on paper, and had he lived a few years longer, 
 Frescobaldi's bold and apparently sudden adoption 
 of the tonal system would not, perhaps, have come 
 upon him unawares." 
 
 Girolamo Frescobaldi is called the most distin- 
 guished organist of the seventeenth century. His 
 compositions are important, and he was the first 
 (excepting, perhaps, Samuel Scheldt, the German 
 organist) to play tonal fugues on the organ. 
 
 Frescobaldi was born at Ferrara in 1583, and 
 studied music under Luzzasco Luzzaschi, organist of 
 the cathedral. In 1608 he was in Antwerp, but 
 returned quickly to Italy, and was appointed organist 
 of St. Peter's at Rome, which post he held for 
 twenty years. Dissatisfied with his lot in Rome, he 
 went to Florence on the invitation of Ferdinand II., 
 Grand Duke of Tuscany, to whom he was appointed 
 organist. 
 
 Five years later social and political disturbances 
 caused him to return to Rome, where he was rein- 
 stated at St. Peter's, and remained until 1643. He 
 died in the following year.
 
 GIROLAMO FRESCOBALDI
 
 THE ORGAN AND ITS MASTERS 2/ 
 
 It is related that Frescobaldi's first performance 
 at St. Peter's drew together an audience of thirty 
 thousand people, for his reputation both as a singer 
 and an organist was great even in his youth. 
 
 Pietro Francesco Cavalli, whose real name was 
 Caletti-Bruno, was organist of St. Marks, Venice, 
 from 1640 until 1668. He was born at Crema 
 about 1599. Cavalli is remarkable amongst early 
 organists, inasmuch as he grew rich, and enjoyed the 
 esteem and affection of his fellow-citizens. He was 
 noted for his compositions as well as for his playing, 
 but he wrote chiefly for the theatre. Of his church 
 music but little is known.
 
 CHAPTER III. 
 
 EARLY ENGLISH ORGANISTS 
 
 The first record known to exist that gives any 
 particulars as to the cost of building an organ in 
 England, is to be found under the date 1407, in the 
 accounts of the precentor of Ely Cathedral, but not 
 until 1 5 19 is there any specification of an organ 
 recorded. This was of the organ at All Hallows, 
 Barking, near London, which was built by Anthony 
 Duddington. John Redford, organist, almoner, and 
 master of the choristers of St. Paul's Cathedral, is 
 one of the earliest organists of whom there is any 
 account. He lived from 1491 to 1547. 
 
 About the year 1 500 we have John Taverner and 
 Christopher Tye. Taverner was organist of Boston, 
 in Lincolnshire, but about 1500 moved to Oxford, 
 where he became organist of Christ Church, then 
 known as Cardinal College. Taverner lived in dan- 
 gerous times, and was once imprisoned, together 
 with a number of his friends, for concealing some 
 heretical books. The place of their imprisonment 
 was a deep cave under the college, used for the pur- 
 
 28
 
 THE ORGAN AND ITS MASTERS 29 
 
 pose of Storing salt fish. Some of the unfortunate 
 heretics died from the stench of the fish, and those 
 who survived this ordeal were burnt at the stake. 
 Taverner, however, was released, as he was "only 
 a musician," and perhaps because his services in 
 that capacity were needed. He died at Boston 
 (England). 
 
 Christopher Tye was a native of Westminster, be- 
 came a chorister, and afterward a gentleman of the 
 Chapel Royal, took his degree of Bachelor of Music 
 at Cambridge in 1536, and was appointed organist 
 of Ely Cathedral, which post he held until 1562. 
 He took the degree of Doctor of Music at Cam- 
 bridge in 1545, and at Oxford three years later. 
 
 Doctor Tye was music-master to Prince Edward, 
 and did much to restore church music. He is said 
 to have been "a peevish and humoursome man," and 
 to have rebuked Queen Elizabeth when she found 
 fault with his playing. Doctor Tye also translated 
 into metre and set to music the first fourteen chap- 
 ters of the "Acts of the Apostles," and published 
 them under a title which, containing eighty-two words, 
 is too long for repetition in these pages. He died 
 about 1580. 
 
 Mr. William A. Barrett, in his book on English 
 church composers, states that Archbishop Cranmer 
 was the first who arranged the translation of the 
 litany to a chant. It was first sung in English in
 
 30 THE ORGAN AND ITS MASTERS 
 
 St. Paul's Cathedral on September i8, 1547, the 
 priests and clerks all kneeling, and Cranmer's adap- 
 tation being used. This was the first occasion on 
 which any portion of the liturgy was publicly per- 
 formed in the vulgar tongue, and from this day com- 
 mences the history of English church composers. 
 While this statement may seem irrelevant in a book 
 on organists, yet in view of the fact that the 
 greatest composers of English church music have 
 generally been organists, the matter bears an im- 
 portant relation to our subject, and we are led by it 
 into a new period, of which the pioneer was Thomas 
 Tallys. 
 
 Before the Reformation it was customary for the 
 organ to be played by some ecclesiastic, yet Tallys 
 held the position of organist at Waltham Abbey 
 when, in 1540, the last abbot surrendered to Henry 
 VIII., — and Tallys was a layman. 
 
 The date and place of the birth of Tallys are not 
 known, but 1 520 is considered approximate. Tallys 
 was a pupil of Thomas Mulliner, and a chorister of St. 
 Paul's Cathedral in the days of his youth. When his 
 voice broke he was probably appointed organist at Wal- 
 tham Abbey, and on being dismissed from that place 
 he became a gentleman of the Chapel Royal. He is 
 said to have been appointed organist of that chapel 
 in the reign of Queen Elizabeth, but he served there 
 under Henry VHL, Edward VI., Queen Mary, and
 
 THE ORGAN AND ITS MASTERS 3 I 
 
 Elizabeth. He was at Greenwich in attendance upon 
 Queen Elizabeth when he was overtaken by death in 
 1585. 
 
 Tallys is called the father of English church 
 music, and he devoted his talents entirely to that 
 branch of art. The character of his music is solemn, 
 stately, and dignified, and his work for the use of the 
 Church remains unimpaired for utility and solemnity. 
 His memory is best maintained by the harmonies 
 which he added to the plain-song of ancient use in 
 the Church. The world has not seen many more 
 accomplished contrapuntists than Tallys. One of 
 his most remarkable compositions is a motet for 
 forty voices, disposed into eight distinct five-part 
 choirs, which sometimes answer each other antiph- 
 onally, and sometimes sing together in a vast " quad- 
 ragesimal harmony." It is a genuine example of 
 forty-part counterpoint. 
 
 Tallys was a man of much energy, and, not con- 
 tent with composition alone, secured, in 1576, to- 
 gether with William Byrd, his pupil, letters patent 
 giving them the exclusive right of printing ruled 
 music paper for twenty-one years, a monopoly by 
 which Byrd profited more than Tallys, as the latter 
 died a few years after the privilege was secured. 
 
 Tallys was married, but had no children. This 
 fact, together with his many virtues, was set forth in 
 verse in his epitaph, which, being curious, is worth
 
 32 THE ORGAN AND ITS MASTERS 
 
 quotation, but being long, the first and last verses 
 only must suffice : 
 
 " Enterred here doth ly a worthy wight, 
 
 Who for a long tyme in musick bore the bell ; 
 His name to shew was Thomas Tallys hight, 
 In honest, vertuous lyff he dyd excell. 
 
 " As he dyd lyve, so also dyd he dy, 
 
 In myld and quyet sort, O happy man, 
 To God ful oft for mercy dyd he cry, 
 
 Wherefore he lyves, let Deth do what he can." 
 
 Contemporary with Tallys was Richard Farrant, 
 organist of St. George's Chapel, Windsor. He was 
 one of the first musicians whose works, still in use, 
 were written to English words. 
 
 Farrant was succeeded at Windsor by John Mundy, 
 who held the place for fifteen years, and was suc- 
 ceeded by Doctor Nathaniel Gyles in 1595, two 
 musicians of no particular genius. 
 
 William Byrd, a pupil of Tallys, and his partner in 
 the music-printing business, was born about 1538. 
 He was organist of Lincoln Cathedral from 1563 to 
 1569, and was then appointed one of the gentlemen 
 of the Chapel Royal. Byrd is known as a composer 
 rather than as an organist, and most of his works are 
 secular, with which we have nothing to do here. 
 Some of his anthems are still in use, and he is sup- 
 posed to have been the writer of the well-known
 
 THE ORGAN AND ITS MASTERS 33 
 
 canon "Non Nobis Domine," which is preserved in 
 the Vatican in "golden notes." 
 
 Byrd Hved to a good old age, dying in 1623. He 
 was married, had several children, and was highly 
 respected. He did not entirely escape the re- 
 ligious troubles of his day, for at one time he was 
 suspected of Popish inclinations, — a most desperate 
 crime. 
 
 John Morley, who was organist of St. Paul's Ca- 
 thedral, contributed much to the musical literature 
 of his age, but little of his church music remains. 
 His " Plaine and Easie Introduction to Practicall 
 Musicke," dated in 1597, was the first work of the 
 kind published in England. It went through many 
 editions and was translated into German. 
 
 Morley was born about 1564, and was educated 
 under Byrd at St. Paul's. In 1592 he became a 
 gentleman of the Chapel Royal, but died in 
 1604. 
 
 John Bull, born in Somersetshire in 1563, was one 
 of the best organists of his day. He was educated 
 in Queen Elizabeth's chapel, under William Blithe- 
 man, also an excellent organist but one whose bi- 
 ography is unknown. Bull became organist of 
 Hereford Cathedral in 1582, and in the following 
 year was admitted a member of the Chapel Royal, 
 where he became organist upon the death of Blithe- 
 man, in 1 591. He took his degree of Bachelor of
 
 34 THE ORGAN AND ITS MASTERS 
 
 Music at Cambridge in 1586 and as Doctor in 1592, 
 also at Oxford in the same year. 
 
 Doctor Bull was the first professor of music ap- 
 pointed at the newly founded Gresham College, 
 where he was required to deliver a " solemn music 
 lecture twice every week." He was the only pro- 
 fessor in the college who was allowed to lecture in 
 English, and this concession was wisely made be- 
 cause he was unable to lecture in Latin after the 
 custom of the times in institutions of advanced 
 learning. 
 
 In 1 60 1 Doctor Bull went abroad for the benefit 
 of his health, and travelled incognito upon the Conti- 
 nent. That his reputation must have been great is 
 demonstrated by the following anecdote — if true. 
 Doctor Bull visited St. Omer's, where lived a cele- 
 brated musician, who showed him a song of his own 
 composition, of forty parts, and challenged any one to 
 add another part to it. Doctor Bull being, at his own 
 request, left alone with the score, added forty more 
 parts. The great musician, on examining the work, 
 burst into an ecstasy and declared that his visitor 
 must be either Doctor Bull or the devil. 
 
 Bull returned to England at the command of 
 Queen Elizabeth, and at her death retained his posi- 
 tion as organist of the Chapel Royal. 
 
 It is related that when King James I. and Prince 
 Henry dined at the Merchant Taylor's Hall, " Bull,
 
 THE ORGAN AND ITS MASTERS 35 
 
 being in a citizen's gowne, cappe, and hood, played 
 most excellent melodic uppon a small payre of organs, 
 placed there for that purpose onley." 
 
 In 1607 Bull married Elizabeth Walter, of the 
 Strand, and resigned his professorship at Gresham 
 College, which was tenable only as long as he was a 
 bachelor. He went abroad again in 161 3, apparently 
 because he was dissatisfied with the condition of 
 music in England. He became organist of Notre 
 Dame Cathedral in Antwerp in 16 17, died in that 
 city in 1628, and was buried in the cathedral. 
 
 Notwithstanding Bull's eminence as an organist 
 and composer, very few of his works are printed. Of 
 these, two anthems, "Deliver Me, O God," and "O 
 Lord My God," are printed in Boyce's collection of 
 cathedral music, and some few other anthems, etc., 
 are in existence. The Sacred Harmonic Society 
 possesses a manuscript collection of organ music 
 which contains several pieces by Doctor Bull, and 
 these are almost the first compositions for the organ 
 only of which we have any account. Most of his 
 other compositions were secular. His influence over 
 his contemporaries and successors was large. His 
 vocal pieces are full of the dignity and solemnity 
 proper to their purpose, and his instrumental pieces 
 for organ, virginals, or viol, his canons and fancies, 
 exhibit great freedom and ideality. Bull was the 
 first who attempted to employ modulations, and
 
 36 THE ORGAN AND ITS MASTERS 
 
 though some of his examples are not satisfactory, 
 they show his desire to depart from the estabUshed 
 modes of his predecessors. In this respect he may 
 be regarded as one of the pioneers in the extension 
 of thought in music, which led in later times to 
 greater results. 
 
 William Inglott, born 1554, was distinguished for 
 his skill as a performer on the organ and virginals. 
 He was organist of Norwich Cathedral, and died in 
 1621. 
 
 Elway Bevin, a pupil of Tallys, was organist of 
 Bristol in 1589, and was afterward a gentleman of 
 the Chapel Royal. His most eminent pupil was 
 William Childe, organist of St. George's Chapel, 
 Windsor. Bevin published a book on the construc- 
 tion of canons, which was as plain and simple as such 
 a work could be, and which seems to have displeased 
 his fellow musicians, as it exposed one of the mys- 
 teries of their profession. 
 
 One of the greatest names in the history of Eng- 
 lish church music is that of Orlando Gibbons, who 
 was born at Cambridge in 1583. He was one of the 
 finest organists and composers of his time, and one 
 of the greatest musical geniuses of his country. He 
 was the youngest son of three. The Rev. Edward 
 Gibbons, the eldest of the three brothers, was organist 
 of Bristol Cathedral and priest-vicar in 1592, and 
 organist and custos of the college of priest-vicars in
 
 THE ORGAN AND ITS MASTERS 'i^'J 
 
 Exeter Cathedral in 1611, retaining these ofifices 
 until 1644, when the organ and choir were abolished 
 by Oliver Cromwell. For advancing money to King 
 Charles I. during the civil war his property was con- 
 fiscated and he was turned out of his house, when 
 eighty years of age. 
 
 Elhs Gibbons, the second brother, was organist of 
 Salisbury Cathedral at the end of the sixteenth cen- 
 tury, but no record of his life or death is known to 
 exist. 
 
 Orlando Gibbons was admitted to the post of 
 organist of the Chapel Royal in 1604, and in 1623 
 became organist of St. Paul's Cathedral. His death 
 in 1625 was caused by smallpox contracted during a 
 visit to Canterbury, to which place he was called in 
 order to attend the marriage of Charles I. For this 
 occasion Gibbons had composed an ode and some 
 instrumental music. Thus Gibbons, like many of the 
 brightest musical lights, was extinguished at a com- 
 paratively early age. 
 
 Gibbons was the last of what is known as the 
 Early School of English church composers, to which 
 school belonged Tallys, Byrd, and others, but by no 
 composer was the dignity of the school more nobly 
 maintained. In imagination, fancy, scientific knowl- 
 edge, and in his power of concentration, he may be 
 considered the musical Shakespeare of his age. His 
 works possess so much truth in expression that they
 
 38 THE ORGAN AND ITS MASTERS 
 
 still retain the power of pleasing and elevating the 
 mind, and have earned for him the title of "The 
 English Palestrina." Many of his anthems, also his 
 services in F and D, were published in Boyce's " Cele- 
 brated Music," and an excellent collection was pub- 
 lished by Sir F. Ouseley in 1873, containing some 
 thirty-four separate works. His anthem " O Clap 
 Your Hands," which is said to have been his exer- 
 cise for the degree of Doctor of Music, is frequently 
 to be heard at the present day, having retained its 
 virtue during nearly three centuries. 
 
 Gibbons left six children, of whom two were sons, 
 Christopher Gibbons and Orlando, and both became 
 musicians, though they did not equal the genius of 
 their father. In fact only Christopher became promi- 
 nent. He was educated at Exeter Cathedral under 
 his uncle Edward, and became organist of Winchester 
 Cathedral. This appointment he forfeited in 1644 
 when he joined the royalist army, and he is said to 
 have been the bearer of the money (one thousand 
 pounds) which his uncle lent to the king. 
 
 In 1660 Christopher Gibbons, who had shown so 
 much loyalty to the king, was appointed organist of 
 the Chapel Royal, private organist to Charles II., and 
 organist of Westminster Abbey. He was the or- 
 ganist who is said to have expressed in forcible 
 terms his disapproval of Froberger's talent as organ- 
 blower. He died in 1676 and was buried in the
 
 THE ORGAN AND ITS MASTERS 39 
 
 cloisters of Westminster Abbey. Although some of 
 his anthems are still extant, he excelled more as a 
 performer than as a composer. 
 
 John Amner, who was contemporary with Orlando 
 Gibbons, was organist of Ely Cathedral, where he 
 succeeded George Barcroft in i6io, and remained 
 until his death in 1641. He composed much church 
 music, of which some portion is preserved in the 
 books at Ely. 
 
 Adrian Batten, the date of whose birth is un- 
 known, was brought up in the choir of Winchester 
 Cathedral, and in 161 4 became vicar-choral of West- 
 minster Abbey. In 1624 he became vicar-choral and 
 organist of St. Paul's Cathedral. He left considera- 
 ble church music, of which some is still in use. 
 
 WilHam Childe, a native of Bristol (1605), grad- 
 uated Bachelor of Music at Oxford in 1631, and 
 became organist and master of the children at St. 
 George's Chapel, Windsor, in 1632, succeeding John 
 Mundy. Several of his services and anthems are 
 printed in the collections of Boyce and Arnold, and 
 Tudway. Without any great depth of science or 
 elevation of genius, his works possess a great degree 
 of warmth, and exhibit imagination. Doctor Childe 
 was noted for his acts of beneficence, and at his own 
 expense he repaved the body of the choir of St. 
 George's Chapel. This was done on condition that 
 the dean and chapter pay him the amount of salary
 
 40 THE ORGAN AND ITS MASTERS 
 
 due to him, which had fallen very much in arrears. 
 Doctor Childe died at the age of ninety-one, and was 
 buried in St. George's Chapel, where a tablet to his 
 memory remains. 
 
 During Childe's tenure of office an organ was 
 erected in St. George's Chapel by Ralph Dallam. 
 This organ contained one manual and 523 pipes, but 
 had novelties in the way of compound and trumpet 
 stops, and mechanical arrangements for obtaining 
 variety of effect. 
 
 A year or so earlier Bernhard Schmidt (generally 
 known as Father Smith), who had just arrived in 
 England, built a three-manual organ for the ban- 
 queting- room at Whitehall. This organ had one 
 thousand and eight pipes and nineteen stops, and 
 although it did not in all respects come up to ex- 
 pectations, yet it created a favourable impression. 
 
 An organ built for Exeter Cathedral in 1666 con- 
 tained two manuals, fifteen stops, and one thousand 
 and eighty-four pipes, while the organ erected in the 
 Temple Church, London, in 1682-84, by Schmidt, 
 contained three manuals, twenty-three stops, and 
 seventeen hundred and fifteen pipes. 
 
 These organs, it will be noticed, were built after 
 the civil war. During the period of this strife, from 
 about 1 64 1 to 1660, a severe blow was administered 
 to the cause of music in England. It was the period 
 of the Puritans, and Oliver Cromwell, with his armies,
 
 THE ORGAN AND ITS MASTERS 4 1 
 
 devastated the cathedrals and churches, destroying 
 organs, and music, and scattering the choirs and 
 musicians. Sad indeed are the anecdotes told of the 
 wanton destruction of the organs, which were con- 
 sidered to be weapons of the devil. Organ pipes 
 were torn down and pawned for ale (with which of 
 course the devil had nothing to do), valuable books 
 were torn in pieces and the fragments scattered to 
 the winds, much music of historical value being thus 
 destroyed and lost. Barnard's collection of church 
 music, for instance, suffered to such an extent that 
 no perfect copy of it is known to be in existence. 
 This collection, compiled by the Rev. John Barnard, 
 was printed in 1641, just before the troubles broke 
 out. 
 
 In 1644 an ordinance was passed " for the further 
 demolishing of monuments of Idolatry and Super- 
 stition." This was the second ordinance of the kind, 
 and in it the destruction of organs was enjoined. 
 Among the organs which escaped destruction were 
 those of St. Paul's, York, Durham, and Lincoln 
 Cathedrals, Christ's College, Cambridge, and a few 
 others. 
 
 Notwithstanding all this wanton destruction, Oliver 
 Cromwell, it is said, was himself a lover of music, and 
 instances are on record of his befriending musicians. 
 His secretary, the poet Milton, was a good performer 
 on the organ, and the son of an eminent composer.
 
 42 THE ORGAN AND ITS MASTERS 
 
 The organ which stood in Magdalen College, Oxford, 
 was saved from destruction by Cromwell, who caused 
 it to be removed to Hampton Court, in order that he 
 might have the frequent pleasure of hearing it played. 
 Cromwell also appointed as his music master and 
 organist one John Kingston, at a salary of ;2^ioo per 
 annum, and according to Anthony Wood, who lived 
 during the Protectorate, Oliver Cromwell " loved a 
 good voice and instrumental music well," 
 
 There were indications, too, during the latter years 
 of Cromwell's life, that the art of music would receive 
 more distinct assistance. Many learned musical 
 treatises were published during the Protectorate, and 
 music was enjoyed privately. In 1656 a license was 
 granted to William Davenant to open a kind of 
 theatre, in a room behind Rutland House, Aldersgate 
 Street, London, for an " entertainment in declamation 
 and music after the manner of the ancients," and 
 later on other similar enterprises were allowed. 
 
 Church music, however, had been practically 
 stopped, and the forces so scattered that on the Res- 
 toration only three men — Doctor Wilson, Christopher 
 Gibbons, and Henry Lavves — came forward to claim 
 their appointments. In the same way, most of the 
 skilled organ-builders had been dispersed. Many 
 had been obliged to work as carpenters or joiners, 
 while others had gone abroad, so that very few 
 skilled men were to be found. Inducements were
 
 THE ORGAN AND ITS MASTERS 43 
 
 offered to encourage Continental builders to settle 
 in England, and in response to the invitation, Bern- 
 hard Schmidt, with his two nephe'ws, settled in Eng- 
 land, and Thomas Harris, an Englishman, with his 
 son, Renatus, who had taken refuge in France, re- 
 turned to his native land. These, together with 
 Henry Loosemore, of Exeter, and Robert and Ralph 
 Dallam, were, for some years, the chief organ-builders 
 in England. 
 
 Loosemore, in 1665, built an organ for Exeter Ca- 
 thedral, containing the largest pipes made in England 
 up to that time, viz., an open diapason, of which the 
 speaking part was twenty feet six inches long. The 
 organ contained two manuals, fifteen stops, and one 
 thousand and eighty-four pipes. 
 
 Thomas Harris, in 1667, built an organ of fourteen 
 stops, chiefly foundation-stops, for Worcester Cathe- 
 dral, but it did not compare favourably with the organs 
 of his rivals, nor with one which he built about 1670, 
 in London, for St. Sepulchre's Church. This organ 
 was of two manuals, eighteen stops, and one thousand 
 one hundred and seventy pipes. Schmidt built the 
 organ for the Temple Church in 1682, as has already 
 been stated, but both Schmidt and Harris built or- 
 gans for this church in competition. That of Schmidt 
 was set up in the west gallery, and that of Harris on 
 the south side of the communion table. These organs 
 were at first exhibited separately on appointed days,
 
 44 THE ORGAN AND ITS MASTERS 
 
 and then tried on the same day. Although they 
 were completed in 1684, it was not until nearly four 
 years later that the decision was given in favour of 
 Schmidt's organ. This instrument reached in the 
 bass to FFF. From FF upward it had two additional 
 keys or quarter notes in each octave, " which rarityes," 
 we are told, " no other organ in England hath ; and 
 can play any tune, as, for instance, ye tune of ye 
 119th Psalm (in E minor), and severall other services 
 set by excellent musicians ; which no other organ 
 will do." This description gives a sufficient picture 
 of the limitations of the finest organs in those days, 
 and offers a reasonable ground for the statement that 
 the concert organist had not yet come into existence. 
 
 The love of ornament and luxury, which was char- 
 acteristic of the seventeenth century, had its influence 
 upon organ-building, particularly in regard to the ex- 
 terior of the instruments. Perhaps it will be per- 
 missible to quote once more the often quoted portion 
 of Seidel's work on the organ : 
 
 " At this time, great industry and expense was be- 
 stowed upon the external decoration of the organ. 
 The entire case was ornamented with statues, the 
 heads of angels, vases, foliage, and even figures of 
 animals. Sometimes the front pipes were painted 
 with grotesque figures, and the lips of the pipes 
 made to resemble lions' jaws. They went farther, 
 and threw away the money which might have been
 
 THE ORGAN AND ITS MASTERS 45 
 
 expended in a worthier manner, on the display of the 
 most tasteless and absurd trick of art, degrading 
 thereby — doubtless unintentionally — a noble instru- 
 ment, intended for sacred purposes, into a raree-show. 
 Among these ornaments the figures of angels played 
 a very conspicuous part ; trumpets were placed in 
 their hands, which by means of mechanism could be 
 moved to and from the mouth. Carillons (bells), too, 
 and kettledrums were performed upon by the movable 
 arms of angels. In the midst of this heavenly host, 
 sometimes a gigantic angel would be exhibited hover- 
 ing in a ' glory ' over the organ, beating time with his 
 baton as conductor of this super-earthly orchestra. 
 Under such circumstances, the firmament, of course, 
 could not be dispensed with. So we had wandering 
 suns and moons, and jingling stars in motion. Even 
 the animal kingdom was summoned to activity. 
 Cuckoos, nightingales, and every species of bird, sing- 
 ing, or rather chirping, glorified the festival of Christ- 
 mas, and announced to the assembled congregation 
 the birth of the Redeemer, Eagles flapped their 
 wings, or flew toward an artificial sun. The climax, 
 however, of all these rarities, was the fox-tail. It 
 was intended to frighten away from the organ all 
 such inquisitive persons as had no business near it. 
 Thus, when they pulled out this draw-stop, suddenly 
 a large fox-tail flew into their faces ! It was clear 
 that by such absurd practices curiosity was much
 
 46 THE ORGAN AND ITS MASTERS 
 
 rather excited than stopped, and that all this host of 
 moving figures, and their ridiculous jingling, disturbed 
 meditation, excited the curiosity of the congregation, 
 and thus disparaged the sublimity of divine service." 
 
 We will now return to the organists of the time of 
 the civil war. 
 
 Arthur Phillips (born 1605) was appointed organist 
 of Bristol Cathedral in 1638, and of Magdalen Col- 
 lege, Oxford, in the following year. He soon after- 
 ward joined the Roman Church and became organist 
 to Queen Henrietta Maria, in whose service he went 
 to France. It was his organ which Cromwell re- 
 moved to Hampton Court. 
 
 Doctor Benjamin Rogers (born 16 14) appears to 
 have been a somewhat nomadic character, for he held 
 a great variety of appointments at various times, viz., 
 Christ Church, Dublin, Eton College, St. George's, 
 Windsor (as deputy), and Magdalen College, Oxford. 
 This latter place he lost on account of certain irregu- 
 larities, but was granted an annuity. He composed 
 much church music, and some of his anthems are to 
 be found in the collections of Boyce, Rimbault, and 
 Ouseley. He died in 1698. 
 
 Edward Lowe, a native and chorister of Salisbury, 
 became organist of Christ Church Cathedral, Oxford, 
 and professor of music in the university, and was for 
 a time organist of the Chapel Royal. He died in 
 1682.
 
 THE ORGAN AND ITS MASTERS 47 
 
 A more noted musician and prolific composer was 
 Matthew Locke, a native and chorister of Exeter, 
 who was appointed composer in ordinary to the king. 
 Locke does not appear to have held any more impor- 
 tant position than that of organist to the queen, but 
 he wrote some church music for the Chapel Royal 
 and became embroiled with the choir. He died in 
 1677, and Purcell composed an elegy on his death. 
 
 Doctor John Blow, though not one of the first 
 organists appointed after the Restoration, was one 
 of the first set of children of the Chapel Royal on 
 its reestablishment in 1660, under Captain Henry 
 Cooke, who is mentioned frequently in Pepys's diary. 
 Amongst the fellow choristers of Blow were Pelham 
 Humfrey and William Turner, who, with him, com- 
 posed an anthem with orchestral accompaniment, 
 while they were yet boys. 
 
 Pelham Humfrey was a youth of such conspicuous 
 talent that he was sent to France by the king that 
 he might study under Lully. But Humfrey's prom- 
 ising career was cut short by death when he was but 
 twenty-one years of age. 
 
 John Blow was born in 1648, in Nottinghamshire, 
 and rose to eminence rapidly, for he was chosen 
 organist of Westminster Abbey at the age of twenty- 
 one. Eleven years later Purcell, his pupil, was 
 appointed to this office at the request of Blow, but 
 on Purcell's death Blow was reinstated. He held
 
 48 THE ORGAN AND ITS MASTERS 
 
 many oflfices, and was the first regularly appointed 
 composer to the Chapel Royal. 
 
 Unfortunately but little of Blow's music has been 
 published, though he was a voluminous composer. 
 Three services and eleven anthems are printed in 
 Boyce's collection, but fourteen services and over 
 one hundred anthems are in existence. 
 
 Doctor Blow is said to have been a very handsome 
 man, and remarkable for gravity of deportment, 
 blameless morals, and a benevolent temper. Haw- 
 kins says of him : " Such as would form a true esti- 
 mate of his character as a musician must have 
 recourse to his compositions for the Church, his 
 services and anthems, which afford abundant reason 
 to say of Doctor Blow, that among church musicians 
 he has few equals and scarce any superior." 
 
 Doctor Blow died in 1708 and was buried under 
 the organ in the north aisle of Westminster Abbey. 
 The inscription on his monument appropriately says : 
 " His own musical compositions, especially his church 
 musick, are a far nobler monument to his memory 
 than any other that can be raised for him." Doctor 
 Blow was the teacher of several musicians who rose 
 to eminence, such as Jeremiah Clarke, William Croft, 
 and Henry Purcell, but of these the greatest genius 
 was Purcell, who indeed has been called the greatest 
 of all English musicians.
 
 CHAPTER IV. 
 
 PURCELL TO HANDEL 
 
 The effect of the Puritan rule in England upon 
 music is strikingly indicated in Matthew Locke's 
 " Present Practise of Musick Vindicated," which was 
 published in 1673. He says: "For above a year 
 after the opening of his Majestie's chapel, the 
 orderers of the musick there were necessitated to 
 supply the superior parts of the music with cornets 
 and men's feigned voices, there being not one lad for 
 all that time capable of singing his part readily." 
 
 The year 1658 may be considered to mark the 
 beginning of a new era in music. It is doubly mem- 
 orable because in it occurred the death of Cromwell 
 and the birth of Henry Purcell, who raised the 
 musical fame of England to a height it had never 
 before attained. Purcell was born in St. Ann's Lane, 
 Old Pye Street, Westminster. 
 
 Henry Purcell, the father of the great composer, 
 was a gentleman of the Chapel Royal, and in that 
 capacity sang at the coronation of Charles II. He 
 was also a singing-man, master of the chorister boys, 
 
 49
 
 50 THE ORGAA' AND ITS MASTERS 
 
 and music copyist of Westminster Abbey, and he 
 was an intimate friend of Matthew Locke, in whose 
 company be met Samuel Pepys, Esq., and thus ap- 
 pears in the celebrated diary. The elder Purcell 
 died in 1664, leaving his son of six years old to the 
 care of an uncle, Thomas Purcell, who also was a 
 gentleman of the Chapel Royal and was held in high 
 favour by the king. 
 
 Thomas Purcell was chief lutenist, composer in 
 ordinary for the vioUns, and leader of the king's band 
 of "four and twenty fiddlers." Many other appoint- 
 ments, also, he held, but the chief interest to us is 
 that to his care fell the education of young Henry 
 Purcell. Accordingly the boy was placed in the 
 choir of the Chapel Royal under Captain Henry 
 Cooke, who was at that time the master of the 
 children. For eight years, or until he was fourteen 
 years of age, Purcell remained under the instruction 
 of Captain Cooke, and already began to show his 
 talent as a composer, for many of the anthems now 
 in use in the Church were written during this 
 period. 
 
 Captain Cooke died in 1672 and was succeeded by 
 Pelham Humfrey, who also died in 1674, and was 
 succeeded by Doctor John Blow. Purcell became a 
 pupil of Blow, who took pains to proclaim the re- 
 markable abilities of his talented pupil, as he did also 
 those of Jeremiah Clarke. In fact. Doctor Blow
 
 THE ORGAN AND ITS MASTERS 5 I 
 
 resigned his offices at Westminster Abbey and St. 
 Paul's Cathedral in order that they might occupy 
 these prominent and advantageous positions. Thus 
 Purcell became organist of Westminster Abbey in 
 1680, at the age of twenty-two. He had been 
 appointed copyist in 1676, and held that position 
 for two years, resigning it in order that he might 
 devote more time to study and composition, but in 
 1689 he was reappointed to this post. 
 
 In addition to being organist of Westminster 
 Abbey, Purcell was in 1682 appointed to a similar 
 post at the Chapel Royal, and in addition to all his 
 duties in connection with these two important posi- 
 tions, he was assiduous in composition, bringing out 
 many new works for the theatres and for state 
 occasions. 
 
 Purcell married in 168 1, and in the following year 
 (July 31, 1682) his uncle, Thomas Purcell, who had 
 been more than a father to him, died, and was buried 
 in the cloisters of the Abbey. A few days later 
 a son was born to Purcell, but survived only a few 
 months. This child was named John Baptista, as 
 a mark of friendly regard for John Baptist Draghi, 
 the well-known musician, who was in England about 
 that time. Purcell's other children were Thomas, 
 bom and died 1686; Henry, born and died 1687; 
 Frances, born 1688 — she married in 1707 L. 
 Welsted; Edward, born 1689, became organist of
 
 52 THE ORGAN AND ITS MASTERS 
 
 St. Margaret's, Westminster, in 1726, and died in 
 1740. 
 
 The year 1684 is remarkable for the organ compe- 
 tition at the Temple Church, London, which has 
 already been alluded to. In this competition the 
 rival organ-builders selected the organists who should 
 exhibit their instruments. Smith (or Schmidt) se- 
 lected Doctor John Blow and Henry Purcell. Harris, 
 the rival builder, obtained the services of John 
 Baptist Draghi, whose skill and popularity as an 
 organist is proved by frequent mention in records 
 of the time. It is possible that the decision in 
 favour of Smith's organ may have been reached 
 through the fact of its jDossessing the two extra 
 quarter tones in each octave, which, it has been 
 intimated, were added at Purcell's suggestion, and 
 which gave him additional facilities for modulating 
 into remote keys. Smith was organist of St. Mar- 
 garet's, Westminster, and was on very friendly terms 
 with Purcell. 
 
 In the following year Purcell was actively con- 
 cerned in superintending the erection of an organ in 
 Westminster Abbey, expressly for the coronation of 
 James II. and his queen. This was a small instru- 
 ment placed just behind the seats occupied by the 
 " King's Choir of Vocal Musick," in a gallery under 
 a soiuh chancel arch, opposite to that in which sat 
 the "King's Instrumental Musick." For this coro-
 
 THE ORGAN AND ITS MASTERS 53 
 
 nation Purcell wrote two anthems, " I was glad," 
 and " My heart is inditing." 
 
 In 1686 Purcell composed a " Quickstep," which, 
 although not in itself of a nature to be dealt with 
 in these pages, may be mentioned as leading to 
 important events. This "Quickstep" was selected 
 and applied to the absurd verses of the song " Lilli- 
 burlero," which was a satire on the papists. Such 
 was the popularity of the music, that the song 
 spread like wildfire. The whole army, and then the 
 whole people, in city and country, were singing it 
 perpetually, so that, as Bishop Burnet wrote, " never 
 had so slight a thing so great an effect." The song 
 is said to have contributed not a little toward the 
 great revolution of 1688, which resulted in the 
 abdication of King James, and the accession of 
 William and Mary. 
 
 In connection with the coronation of William and 
 Mary a story is told which is interesting, because it 
 throws some light upon the privileges of organists. 
 Purcell admitted into the organ-loft some persons 
 who were desirous of being near spectators of the 
 ceremony, and who were willing to pay for the privi- 
 lege. Purcell retained this money as a perquisite of 
 his office, but the dean and chapter, Doctor Sprat, 
 claimed it. 
 
 Whether Purcell was within his rights or not, the 
 dean had the advantage of him, for upon the chapter
 
 54 THE ORGAN AND ITS MASTERS 
 
 book of the period there is an entry ordering that 
 " Mr. Purcell pay to Mr. Needham such moneys as 
 was received by him for places in the organ-loft, 
 in default of which his place is to be declared null 
 and void, and his stipend to be detained in the hands 
 of the treasurer until further orders." According 
 to one account Purcell is mentioned as "organ- 
 blower," a term which is supposed to have been used 
 in malice, but according to Doctor Benjamin Cooke, 
 the word in the record is organist, and not organ- 
 blower. 
 
 In 1695 Purcell composed two anthems for the 
 funeral of Queen Mary, " Blessed is the man," and 
 " Thou knowest. Lord." Concerning these anthems 
 Doctor Tudway, who was a member of the choir, 
 wrote : " The anthem, ' Blessed is the man,' was 
 composed after the old way, and was sung at the 
 interment of Queen Mary in Westminster Abbey 
 ... I appeal to all that were present, as well such 
 as understood music, as those that did not, whether 
 they ever heard anything so rapturously fine and 
 solemn, and so heavenly in the operation, which drew 
 tears from all ; and yet a plain, natural composition 
 which shows the power of music, when 'tis rightly 
 fitted and adapted to devotional purposes." The 
 other anthem, " Thou knowest. Lord, the secrets of 
 our hearts," " was accompanied by flat, mournful 
 trumpets." This majestic movement is a splendid
 
 THE ORGAN AND ITS MASTERS 55 
 
 monument to the memory of Purcell, and has been 
 used at every choral funeral in Westminster Abbey 
 and St. Paul's Cathedral since its first production. 
 Doctor Croft, who subsequently set to music the 
 " Burial Office," refrained from composing music to 
 these words, because he declared that the music of 
 Purcell was unapproachable, and he adds that in com- 
 posing his own music he had endeavoured, as near as 
 possible, to imitate " that great master and celebrated 
 composer, whose name will for ever stand high in the 
 ranks of those who have laboured to improve the 
 English style, in his so happily adapting his composi- 
 tions to English words in that elegant and judicious 
 manner, as was unknown to many of his predeces- 
 sors." 
 
 At the time of writing these anthems Purcell was 
 in a delicate state of health, yet he worked on with 
 undiminished activity and determination. But dis- 
 ease had fastened its grip upon him, and on Novem- 
 ber 21, 1695, he passed away. Five days later 
 he was interred in Westminster Abbey, beneath the 
 organ, the anthems which he had written for the 
 funeral of Queen Mary being repeated for his own 
 obsequies. 
 
 It is not possible to give any space in these pages 
 to the consideration of secular music, but it must be 
 stated that while Purcell's church music places him 
 at the head of church music composers, his secular
 
 56 THE ORGAN AND ITS MASTERS 
 
 music is more voluminous, and includes some of the 
 choicest gems. The music of "The Tempest" is 
 extremely beautiful ; the songs " Come unto These 
 Yellow Sands," and *' Full Fathom Five," are well 
 known, and are frequently to be found in concert 
 programmes at the present day. 
 
 Concerning Purcell and his music the Reverend 
 Arthur Bedford, who published in 171 i a volume 
 entitled the " Great Abuse of Musick," writes : 
 " Our musick began to equal that of the Italians and 
 to exceed all other. Our Purcell was the delight of 
 the nation and the wonder of the world, and the 
 character of Doctor Blow was little inferior to him." 
 
 Doctor Tudway also may be quoted : " I knew him 
 perfectly well. He had a most commendable ambi- 
 tion of exceeding every one of his time, and he suc- 
 ceeded in it without contradiction, there being none 
 in England, nor anywhere else that I know of, that 
 could come in competition with him for compositions 
 of all kinds. Toward the latter end of his life he 
 was prevailed upon to compose for the English stage. 
 There was nothing that had ever appeared in Eng- 
 land like the representations he made of all kinds, 
 whether for pomp or solemnity, in his grand chorus, 
 etc., or that exquisite piece called the freezing 
 piece of musick; in representing a mad couple, or 
 country swains making love, or indeed any other 
 kind of music whatever. But these are trifles in
 
 THE ORGAN AND ITS MASTERS 57 
 
 comparison of the solemn pieces he made for the 
 Church, in which I will name but one, and that is 
 his Te Deum, etc., with instruments, a composition 
 for skill and invention beyond what was ever at- 
 tempted in England before his time." 
 
 As for his fame abroad, it is related that Corelli, 
 who flourished in Rome contemporaneously with 
 Purcell, declared that the latter was the only thing 
 worth seeing in England, and the great opinion he 
 held of Purcell made him resolve to journey to Eng- 
 land to visit him, a scheme which was frustrated by 
 Purcell' s death. 
 
 Jeremiah Clarke, after leaving the choir of the 
 Chapel Royal, became for a short time organist of 
 Winchester College, but in 1693 Doctor Blow, who 
 was always anxious to forward the interests of his 
 talented pupils, resigned in his favour the appoint- 
 ments of almoner and master of the children of St. 
 Paul's Cathedral, and in 1695 Clarke was appointed 
 organist and vicar choral of the cathedral. Five 
 years later he and William Croft were sworn in as 
 gentlemen extraordinary of the Chapel Royal, with 
 the joint reversion of an organist's place, whenever 
 one should become vacant. This occurred in 1704, on 
 the death of Francis Piggott, and Clarke and Croft 
 were accordingly sworn in as joint organists. Clarke 
 wrote but little church music, but that little was 
 good, and two of his anthems are still favourites.
 
 58 THE ORGAN AND ITS MASTERS 
 
 Clarke was one of the most popular musicians of his 
 day. He died by his own hand at the age of thirty- 
 eight. Having fallen in love with a lady whose 
 station in life was far above his own, he became a 
 victim to despair and shot himself. 
 
 The year of his death marked a new era in musical 
 art in England, for with the introduction of Italian 
 opera, encouragement was given to foreign produc- 
 tions and foreign music in preference to that which was 
 English, a condition which continued, and can hardly 
 be said to have ceased to exist even at the present day. 
 Native art was almost entirely confined to church 
 music, and from among all the musicians of the time 
 only a very few maintained the prestige of English 
 church composers. Of these Weldon, Croft, Greene, 
 and Boyce were the most prominent during the first 
 half of the eighteenth century. 
 
 William Croft was born in Warwickshire in the 
 year 1677, ^^"^ was admitted to the Chapel Royal as 
 chorister when eight years of age. Here he was a 
 pupil of Doctor Blow, who recommended him in 1699 
 to the position of organist of the church of St. Anne, 
 Soho, where an organ had recently been erected. 
 This place he retained until 171 1, although he also 
 received the Chapel Royal appointments already 
 mentioned, and in 1707, on the death of Clarke be- 
 came sole organist there. John Isham, his pupil, 
 acted as deputy for him at St. Anne's. In 1 708, on the
 
 THE ORGAN AND ITS MASTERS 59 
 
 death of Doctor Blow, he was made organist of West- 
 minster Abbey, and at the same time master of the 
 children and composer to the Chapel Royal. In this 
 latter capacity he had occasion to write many of the 
 anthems which gave him such a prominent place in 
 the list of English church composers. They were 
 written for special occasions, such as the frequent 
 public thanksgivings for victories, etc. Doctor Cjoft 
 published in 1724, by subscription, his " Musica 
 Sacra," a collection of thirty anthems and a burial 
 service, the latter being a completion of one begun 
 but not finished by Purcell. This was the first pub- 
 lication of a number of anthems in score, the only 
 previous attempt of a similar nature having been a 
 service of Purcell's, which was not well done. Croft's 
 anthems, "God is gone up," and "We will rejoice," 
 are in constant use at the present day, as is also his 
 service in A, of which the Gloria and the Jubilate 
 have never been surpassed for magnificence and 
 power. Four anthems are published in Boyce's col- 
 lection, and two of Croft's hymn-tunes, St, Anne's and 
 St. Matthew's, will live as long as church music lasts. 
 
 Doctor Croft died in 1727, and was buried in the 
 north aisle of Westminster Abbey, near to Doctor 
 Blow. 
 
 John Weldon was a native of Chichester, and was 
 educated in the choir at Eton, from which place he 
 was transferred to Westminster Abbey, where he
 
 6o THE ORGAN AND ITS MASTERS 
 
 became a pupil of Henry Purcell. He was appointed 
 organist of New College, Oxford, a position which he 
 held for some two years, when he became a gentle- 
 man extraordinary of the Chapel Royal, and suc- 
 ceeded Doctor Blow there as organist in 1708. 
 Weldon wrote some beautiful music for the Church, 
 in which deep religious sentiment appears to have 
 been the motive power. In his anthem " Hear my 
 crying," is to be found the earliest instance on record 
 of the employment of an inversion of the chord of 
 the augmented sixth. Mr. W. A. Barrett remarks 
 that " these sixths are of the family called, alternately, 
 German, Italian, and Neapolitan, because they were 
 discovered by an Englishman, and that Englishman 
 John Weldon, whose powers of invention and har- 
 monical combination seem very much limited, accord- 
 ing to Doctor Burney." 
 
 Weldon, in addition to other appointments, held 
 that of organist at St. Bride's, Fleet Street, and also 
 that of St. Martin's in the Fields. In regard to this 
 latter position, it is related that the king had been 
 appointed church warden to the parish, but after two 
 months' experience of the duties of that office, grew 
 weary and gave the parish an organ, which cost 
 fifteen hundred pounds, by way of a solace on resign- 
 ing his office. The organist also was part of the 
 present, for Weldon was organist to the king. He 
 died in 1736.
 
 THE ORGAN AND ITS MASTERS 6 1 
 
 Maurice Greene was a native of London, and was 
 educated at St. Paul's Cathedral, where he was under 
 Jeremiah Clarke, Charles King, and Richard Brind. 
 After the deaths of Croft and Weldon, he rapidly- 
 rose to the front rank of his profession. In 1 7 1 5 he 
 was appointed organist of St. Dunstan's in the West, 
 and in 17 17 he was elected organist of St. Andrew's, 
 Holborn, in preference to Daniel Purcell, the brother 
 of Henry Purcell. He held both of these positions 
 until the death of his master, Richard Brind, when 
 he resigned them to become organist of St. Paul's 
 Cathedral, and vicar choral. In 1727 he became or- 
 ganist to the Chapel Royal (on the death of Croft), 
 and three years later he accepted the post of profes- 
 sor of music at Cambridge on the death of Doctor 
 Tudway. In 1735 he became "Master of the King's 
 Musick." 
 
 Greene published his " Forty Select Anthems " in 
 1743, but while there is evidence of genius in his 
 music, he is criticised as having been too anxious to 
 minister to the popular fancy of his time. 
 
 Doctor Greene came to grief by trying to be on 
 good terms with both Handel and his rival Buonon- 
 cini. The latter, less fortunate than Handel, was dis- 
 covered to have appropriated a madrigal by Lotti 
 and published it as his own, and left England in dis- 
 grace. Doctor Greene, who had produced the madri- 
 gal with a view to exalt the character of Buononcini,
 
 62 THE ORGAN AND ITS MASTERS 
 
 unable to withstand the reproaches levelled at him, 
 left the Academy of Ancient Music of which he was 
 a member, and gave a concert under his own manage- 
 ment, at the Devil Tavern, in Fleet Street. 
 
 Doctor Greene's organ-playing was much admired, 
 yet he was the first who indulged in that peculiar 
 form of playing represented by " cornet voluntaries," 
 that is to say, a habit of flourishing with a solo stop 
 on the right hand, accompanied with soft foundation- 
 stops on the left. 
 
 Doctor Greene was small of stature and disfigured 
 by a deformity, yet his courteous manners and pol- 
 ished address made him welcome in society. His 
 character does not seem to have been specially ad- 
 mired among musicians. His later years were spent 
 in comparative affluence, and he gave up his teaching 
 and devoted his leisure to collecting and arranging the 
 works of the old church composers. This task was 
 incomplete at his death and he bequeathed it to Doc- 
 tor Boyce. He died in 1755, aged sixty. Greene's 
 daughter married the Reverend Michael Festing, the 
 son of the Festing who was associated with Greene 
 in the foundation of the Royal Society of Musicians. 
 
 Although Handel was a German, he became a nat- 
 uralised Englishman, and was so long identified with 
 English music and musical life in England, that his 
 proper place seems to be among the musicians of 
 his adopted country.
 
 THE ORGAN AND ITS MASTERS 63 
 
 Handel was born at Halle in 1685, and was the 
 son of a surgeon, who had arrived at the mature age 
 of sixty-three before the young musician, Georg 
 Friedrich, was presented to him. The details of the 
 early life of Handel are so familiar to all that it is 
 unnecessary to dwell upon them at length in these 
 pages. How he studied music surreptitiously, and 
 ran behind his father's carriage when the latter went 
 on a visit to Weissenfels, and how the father at last 
 took him into the carriage, is a familiar story. On 
 reaching the castle the boy at once made friends of 
 some musicians attached to the service of the duke's 
 chapel who took him into the organ-loft, where, after 
 service, the organist lifted him upon the stool and 
 permitted him to play upon the instrument. Thus 
 was the sympathy of the duke, who witnessed the 
 scene, enlisted, with the result that the young Handel 
 began his musical education, and the idea of a legal 
 career was abandoned. 
 
 On his return to Halle the boy was placed under 
 Zachau, the organist, who taught him to play upon 
 the organ, harpsichord, violin, hautboy, and most of 
 the orchestral instruments of the period, besides in- 
 structing him in the arts of counterpoint and fugue. 
 
 About 1696 the young musician was sent to Berlin, 
 where his talent became so conspicuous that the Elec- 
 tor Friedrich offered to send him, free of expense, 
 to Italy to complete his education. But to this his
 
 64 THE ORGAN AND ITS MASTERS 
 
 father objected, and the boy was summoned back to 
 Halle, where, a few months later, his father died. In 
 1702 Handel was admitted as a student to the newly 
 founded University of Halle, and in the same year, 
 owing to the dismissal of Leporin, the organist, in 
 disgrace, Handel was appointed to fill his position at 
 the cathedral attached to the Moritzberg, subject to 
 a term of twelve months' probation. This appoint- 
 ment was second in importance to that of Liebfrau- 
 enkirche, and the salary connected with it was fifty 
 thalers per annum, with an official residence, which 
 was underlet for a sum of sixteen thalers. The or- 
 gan was a remarkably fine one, built in 1667, and 
 contained two manuals, twenty-eight stops, and fif- 
 teen hundred pipes. The duties of the organist 
 included seeing that the instrument was kept in 
 proper repair and working order, also that he should 
 set to music the psalms and church cantatas proper 
 for all Sundays and festivals throughout the year, 
 and take whatever measures might be necessary for 
 their correct and efficient performance. 
 
 No sooner was his term of probation over than 
 Handel gave up the appointment and set forth for 
 Hamburg, where he secured an engagement as 
 ripieno second violin in the opera orchestra, and 
 here he soon struck up a friendship with Johann 
 Mattheson, the principal tenor singer at the opera, 
 who became celebrated for his literary productions.
 
 THE ORGAN AND ITS MASTERS 65 
 
 To him we are indebted for much that we know 
 about Handel. 
 
 Mattheson and Handel together visited organs and 
 choirs, operas and concerts, and while Mattheson 
 appears to have had small regard for Handel's ability 
 as a composer at that time, he says : "■ He was great 
 upon the organ ; greater than Kuhnau in fugue and 
 counterpoint, especially extempore, though he knew 
 but little of melody until he frequented the Hamburg 
 opera. On the other hand, Kuhnau's pieces were 
 always melodious and chantants, even those intended 
 only to be played. In former times scarcely any 
 one bestowed a thought upon melody ; bare harmony 
 was the end and aim of everything." 
 
 In August of that year (1703) Mattheson was in- 
 vited to Liibeck as successor to Buxtehude, and took 
 Handel with him. They played upon almost every 
 organ and harpsichord in the place, Handel playing 
 the organs and Mattheson the harpsichords. They 
 also listened with deep respect to Buxtehude at the 
 Marienkirche. It was a condition of the succession 
 of Buxtehude that the person accepting the appoint- 
 ment should also marry the daughter of the retiring 
 organist. Mattheson and Handel did not desire this 
 honour, which was afterward bestowed upon Johann 
 Christian Schieferdecker in 1707, when Buxtehude 
 died. 
 
 In this year Handel paid a short visit to Rome,
 
 66 THE ORGAN AND ITS MASTERS 
 
 but in the meantime he had been busy producing 
 operas and other works, but desiring to learn more 
 about the use of the voice, he decided to study it at 
 the home of the bel canto. After a short stay in 
 Rome, he went to Florence, and thence to Venice, 
 where he remained three months, and returned to 
 Rome in March, 1708. In Rome he made the ac- 
 quaintance of Alessandro and Domenico Scarlatti, 
 and at the wish of Cardinal Ottoboni entered into a 
 friendly contest with Domenico for the purpose of 
 deciding their respective merits on the organ and 
 harpsichord. The verdict was that they were equally 
 proficient upon the harpsichord, but that on the 
 organ Handel had a very decided advantage. Ever 
 afterward, when Scarlatti was complimented upon his 
 organ-playing, he would cross himself and say, " But 
 you should hear Handel." 
 
 In July, 1708, Handel left Rome for Naples, and 
 afterward revisited several of the cities, finally leav- 
 ing Italy about the summer of 17 10, and after visit- 
 ing Hanover and Dusseldorf, made his way through 
 Holland to London. At Hanover he had been ap- 
 pointed chapel-master with free leave of absence, for 
 the purpose of completing his travels. 
 
 In London Handel soon made many friends, and 
 became on intimate terms with Thomas Britton, 
 commonly known as the "small coal man," who, pur- 
 suing the avocation of a coal peddler by day, became
 
 THE ORGAN AND ITS MASTERS 6y 
 
 a musical amateur at night, and drew about him, in 
 order to hear intellectual conversation, and the best 
 chamber-music that London could produce, a most 
 brilliant circle. Here Handel used to play upon the 
 harpsichord, and upon a small organ of five stops. 
 Matthew Dubourg, one of the best violinists of the 
 age, made his first appearance, as a child, at these 
 gatherings. Doctor Pepusch, John Bannister, and 
 many others whose names became celebrated in the 
 world of music, were frequent visitors. 
 
 Handel returned to Hanover to resume his duties 
 as chapel-master, but in 17 12 again obtained leave 
 of absence, and hurried off once more to London, 
 where he was soon absorbed in the production of 
 operas. In this sketch we have refrained from any 
 digression from the subject in hand, and while 
 Handel's life, not only in England but in Hamburg 
 and in Italy, was largely devoted to operatic works, 
 we must, interesting as these may be, confine our 
 story to the part of his life when he devoted himself 
 more completely to the music of the church. 
 
 Having taken up his abode permanently in England, 
 as a naturalised English subject, Handel turned his 
 genius toward a style of composition which appealed 
 to the people of his adopted land, and founded the 
 school of English oratorio, a style of which the first 
 indications were to be found in the "Birthday Ode" 
 composed in honour of Queen Anne. The keen in-
 
 68 THE ORGAN AND ITS MASTERS 
 
 tercst which he exhibited in St. Paul's Cathedral and 
 its organ, on which he used frequently to play, 
 brought him into frequent touch with the music of 
 Purcell, which represented the English school of 
 church music in the highest phase of development 
 which it had yet reached, and from this point he led 
 it on to its zenith. The " Utrecht Te Deum," com- 
 posed to celebrate the peace of 171 3, is generally 
 regarded as Handel's first great English work. It 
 was first performed at St. Paul's Cathedral on July 
 7, 1 71 3, and earned the composer a pension of two 
 hundred pounds per annum, for life. During the 
 next thirty years it was performed at St. Paul's, 
 alternately with Purcell 's Te Deum, for the bene- 
 fit of the Sons of the Clergy, until in 1743 Handel's 
 "Dettingen Te Deum" caused all other works of 
 the kind to be laid aside. 
 
 Handel's first oratorio was composed during his 
 residence at Cannons, the house of the Duke of 
 Chandos, who, having retired from active life with an 
 enormous fortune, built this splendid house or palace 
 near Edgware, and maintained a chapel, with a nu- 
 merous choir and a band of instrumental performers. 
 
 The duke's first musical director was Doctor 
 Pepusch, on whose resignation in 1718 Handel was 
 engaged. This engagement, however, lasted only 
 two years, and in 1820 Handel became interested in 
 the establishment of the first Royal Academy of
 
 THE ORGAN AND ITS MASTERS 69 
 
 Music, an operatic enterprise which died out after 
 some ten years of checkered existence. 
 
 Thus it was not until 1738 that the first great 
 oratorio, " Saul," was produced. But it is our pur- 
 pose to follow the development of the organ rather 
 than choral music, and our interest must here be lim- 
 ited to what we can find regarding that instrument 
 in this connection. We are told that Handel made 
 his own effective organ-playing a prominent feature 
 in the instrumentation of the oratorio, and at the end 
 of the second movement stands the direction organo 
 ad libitntn. 
 
 When the "Messiah" was produced in Dublin, 
 for which occasion Handel visited that city and re- 
 mained there for some months, a series of six con- 
 certs was given, with such success that a second 
 series was also given, and at these concerts Handel 
 played organ concertos. 
 
 A very interesting question which comes before us 
 in connection with Handel's organ-playing in Eng- 
 land is the date at which pedals were first used in 
 that country. Although they had been used in Italy 
 and in Germany for many years, there is no definite 
 date of their introduction into England until the year 
 1790, when G. P. England built an organ for St. 
 James's Church, Clerkenwell, which had "pedals to 
 play by the feet." But it seems impossible that this 
 could have been the first pedal organ in England, for
 
 yo THE ORGAN AND ITS MASTERS 
 
 in Handel's organ concerto in B-flat, written in 
 1740, there are obbligato passages for the feet em- 
 bracing stretches of an octave and a half. Through 
 Mattheson we know that Handel was an accom- 
 plished pedal-player in the days of his youth, and 
 Doctor Burney, in writing of him, says : " On Han- 
 del's first arrival in England, from Greene's great 
 admiration of this master's manner of playing, he 
 had sometimes literally condescended to become his 
 bellows-blower when he went to St. Paul's to play 
 upon that organ, for the exercise it afforded him in 
 the use of the pedals. Handel, after three o'clock 
 prayers, used frequently to get himself and young 
 Greene locked up in the church together ; and in 
 summer, often stripped unto his shirt, played until 
 eight or nine o'clock at night." In 1720 new stops 
 and notes were added to the organ at St. Paul's, and 
 it is considered probable that a pedal keyboard 
 formed part of the addition. On this organ he 
 played before the Princesses Anne and Caroline in 
 1724. It may be assumed, then, that pedals were 
 first used in England early in the eighteenth century. 
 A glowing description of Handel's organ-playing is 
 given by Sir John Hawkins, and though Handel was 
 not the regular organist of any church after his so- 
 journ at Cannons, he was undoubtedly the greatest 
 organ-player of his age, excepting J. S. Bach, whom 
 he never met. The opinion of Sir John Hawkins
 
 THE ORGAN AND ITS MASTERS 7 1 
 
 may, therefore, be quoted at length : " As to his per- 
 formance on the organ, the powers of speech are so 
 hmited that it is almost in vain to attempt to describe 
 it otherwise than by its effects. A firm and delicate 
 touch, a volant finger, and a ready delivery of pas- 
 sages the most difficult are the praise of inferior 
 artists : they were not noticed in Handel, whose excel- 
 lencies were of a far superior kind, and his amazing 
 command of the instrument, the fulness of his har- 
 mony, the grandeur and dignity of his style, the fer- 
 tility of his invention were qualities that absorbed 
 every inferior attainment. When he gave a con- 
 certo, his method in general was to introduce it with 
 a voluntary movement on the diapasons, which stole 
 on the ear in a slow and solemn progression ; the 
 harmony close wrought and as full as could possibly 
 be expressed ; the passages constructed with stupen- 
 dous art, the whole, at the same time, being perfectly 
 intelligible, and having the appearance of great sim- 
 plicity. This kind of prelude was succeeded by the 
 concerto itself, which he executed with a degree of 
 spirit and firmness that no one could pretend to 
 equal. Such, in general, was the manner of his per- 
 formance ; but who shall describe its effects upon the 
 enraptured auditory } Silence, the truest applause, 
 succeeded the instant that he addressed himself to the 
 instrument, and that so profound that it checked res- 
 piration and seemed to controul the functions of
 
 72 THE ORGAN AND ITS MASTERS 
 
 nature, while the magic of his touch kept the atten- 
 tion of his hearers awake only to those enchanting 
 sounds to which it gave utterance." 
 
 Handel's contribution to organ literature, apart 
 from that which is associated with his magnificent 
 oratorios, includes several sets of concertos. The 
 first set, consisting of six concertos (seven instru- 
 mental parts), published in 1734. The second set of 
 six concertos (two with seven instrumental parts), 
 published in 1741. (The instrumental parts to these 
 published in 1760.) The third set of six concertos 
 (seven instrumental parts), published in 1761, and a 
 set of three concertos published in 1797, also with 
 seven instrumental parts. The autographs of the 
 first three sets are preserved at Buckingham Palace. 
 
 Handel will, of course, always be judged by his 
 magnificent choral works, which embody the whole 
 of his genius, while his organ works are but a part, 
 yet his influence upon organ playing and composition 
 in England was strongly marked and lasting. His 
 interest in the noble instrument was made manifest 
 in many ways, of which one of the most character- 
 istic was his gift of an instrument to the Foundling 
 Hospital. 
 
 Handel had, in 1749, given a concert of vocal and 
 instrumental music for the benefit of this worthy 
 charity, and had composed an anthem for the occa- 
 sion, "Blessed are they that consider the poor."
 
 THE ORGAN AND ITS MASTERS ^^ 
 
 This concert had enriched the hospital considerably, 
 and now Handel, having been made a governor of 
 the hospital, proceeded to present the institution 
 with an organ, for its chapel. This organ was of 
 three manuals, twenty-one stops, and sixteen hundred 
 and twenty-three pipes, and was opened, with a per- 
 formance of the "Messiah," on May i, 1750, when 
 the crush for seats was so great that a second per- 
 formance was found necessary. But the matter did 
 not rest here, for Handel repeated the performance 
 annually during his lifetime, and thus increased the 
 funds of the hospital by the sum of nearly seven 
 thousand pounds, which was further added to after 
 his death by those who continued the work until 
 more than ten thousand pounds had been brought 
 into the funds of the hospital by this one work alone. 
 Handel died on April 14, 1759, and was buried in 
 Westminster Abbey.
 
 CHAPTER V. 
 
 JOHANN SEBASTIAN BACH 
 
 The Bach family filled many important positions 
 as musicians during about three centuries. Several 
 of them were organists, prominent in their day, 
 though like all other organists, overshadowed by 
 Johann Sebastian Bach, the greatest organist of his 
 age, if not of all ages. A very brief sketch of the 
 family may be permitted. 
 
 The first Bach in musical history was Hans, who 
 lived at Wechmar, near Gotha, and who is mentioned 
 as Gemeinde-Vonmindscliaftsglied there in 1561. 
 
 The next is Veit, probably son of Hans, born about 
 1550, and died 16 19. He was a baker by trade, but 
 played the cithara for pleasure. 
 
 His son Veit, born about 1580, became a musician 
 and a carpet- weaver. He died in 1626, leaving a 
 large family, of which Johannes became organist at 
 Schweinfurt, and, after the Thirty Years' War, set- 
 tled at Erfurt, as director of the " Raths-Musikanten " 
 and later as organist in the church. He died in 
 1673. 
 
 74
 
 THE ORGAN AND ITS MASTERS 75 
 
 Johann Christoph, the second son of Hans, was 
 born in 161 3, and was the grandfather of the great 
 Bach. He held musical appointments at Weimar, 
 Prettin, Erfurt, and Arnstadt, and died at the latter 
 place in 1661. 
 
 Heinrich, the third son of Hans, born in 16 15, be- 
 came organist at Arnstadt, where he died in 1692, 
 having filled his post for more than half a century. 
 
 Returning to Johannes of Erfurt, — his sons, Job. 
 Christian, born in 1640, and Job. Aegidius, born in 
 1645, were both musical, and the latter became the 
 father of Joh. Bernhard (1676-1749), who was organ- 
 ist at Erfurt, Magdeburg, and Eisenach, and of Joh. 
 Christoph (1685-17 17) who succeeded to the post 
 of his father. Johann Ernst (i 722-1 777) was the 
 son of Joh. Bernhard of Eisenach, and became a 
 lawyer, though he was also chapel-master at the 
 court of Weimar. 
 
 The sons of Johann Christoph of Erfurt and Arn- 
 stadt were, Georg Christoph (1642-97), cantor at 
 Themar, and later at Schweinfurt, where he died ; 
 Joh. Christoph and Joh. Ambrosius, twins, born in 
 1645. Johann Christoph went to Arnstadt as " Hof- 
 musikus," or court musician to the Count of Schwarz- 
 burg. He died in 1693, and his sons did not carry 
 on the musical tradition of the family. Ambrosius 
 was a violinist and became the father of many chil- 
 dren, of whom Johann Christoph and Johann Sebas-
 
 ^6 THE ORGAN AND ITS MASTERS 
 
 tian were musical, Johann Christoph (i 67 i-i 721) 
 was a pupil of Pachelbel at Erfurt, and became 
 organist of Ohrdruff. To his brother Sebastian we 
 will return later. 
 
 Returning to Heinrich Bach of Arnstadt, we have 
 his sons, Johann Michael (1648-94) and Johann 
 Christoph (1643- 1703). 
 
 Johann Christoph was the most famous of the 
 generations preceding the great J. Sebastian, He 
 became organist to the church at Eisenach at the 
 age of twenty-three, and later became court organist. 
 He died at Eisenach, His son Johann Nicolaus 
 (1 699-1 75 3) became organist of the town and uni- 
 versity of Jena, and died there. He was also a 
 manufacturer of pianos. His children did not sur- 
 vive him, so that his branch of the family died with 
 him. 
 
 Johann Michael was appointed, in 1673, organist at 
 Gehren, where he died in 1694 in the prime of life. 
 Of his six children, the youngest daughter, Maria 
 Barbara, became the first wife of Johann Sebastian, 
 and died in 1720. He also was a manufacturer of 
 musical instruments. 
 
 In Johann Sebastian centres the progressive de- 
 velopment of the race of Bach, which had been 
 advancing for years. With him the vital forces of 
 the race exhausted themselves, and further power 
 of development stopped. Born in 1685, he was left
 
 THE ORGAN AND ITS MASTERS // 
 
 fatherless at the age of ten, and became a charge 
 upon his elder brother, Johann Christoph, who was 
 organist at Ohrdruff, Five years later he entered 
 the Michaelis school at Luneburg, where his voice 
 earned for him a free education. In his holidays 
 he made frequent expeditions to Hamburg, on foot, 
 in order to hear Reinken. He was appointed or- 
 ganist of the new church at Arnstadt in 1703. He 
 had, after being three years at Luneburg, been ap- 
 pointed " Hof-musikus " at Weimar, and while at 
 Weimar had visited Arnstadt and played upon the 
 organ, and visited his relations. The result was 
 that Bach was offered the position of organist, and 
 installed with all due ceremony. 
 
 His organ contained two manuals and pedals, and 
 twenty-four stops. After two years of untiring work 
 at Arnstadt, Bach was moved by a desire to hear the 
 celebrated organist Buxtehude, for he was unable to 
 learn anything from musicians in his own neighbour- 
 hood. He therefore sought a month's leave of 
 absence, and set out for Liibeck on foot, — a dis- 
 tance of some fifty miles, — and in due course Bach 
 found himself standing before . the organ which 
 Handel had played upon two years previously, when 
 in Liibeck upon a somewhat similar errand. 
 
 Even at the age of eighteen, when Bach played 
 the organ as a candidate for the position at Arnstadt, 
 he made a deep impression, and the authorities felt
 
 yS THE ORGAN AND ITS MASTERS 
 
 bound to make a special effort on his behalf, and 
 now when he sought Buxtehude his talent proved 
 to be his best introduction. 
 
 Bach apparently forgot all about the limitations of 
 his leave of absence, and remained three months under 
 the influence of Buxtehude, so that on his return he 
 vi^as called to account by the Consistory. Besides 
 this the clerical authorities at Arnstadt became dis- 
 satisfied with his manner of playing the service, for 
 he had adopted a habit of indulging in ornamenta- 
 tions and digressions of a new and bold kind, even 
 during the singing. So far did he go at times that 
 the congregation did not know what they were listen- 
 ing to, and frequently got into complete confusion. 
 Thus he completely alienated his choir, which was 
 none too good for him. When requested to curtail 
 his free preludes before the hymns, he contracted 
 them to such a degree as to give general offence. 
 The result was that his duties as organist became 
 irksome and he devoted himself more than ever to 
 the work of production. And now the " eternal 
 feminine" puts in an appearance, for Bach is remon- 
 strated with on account of a " strange maiden " whom 
 he is supposed to have brought into the church and 
 made music with, contrary to the traditions of the 
 church. 
 
 His marriage in the following year to Maria 
 Barbara, the youngest daughter of Michael Bach, of
 
 THE ORGAN AND ITS MASTERS 79 
 
 Gehren, perhaps justifies the accusation. This wife 
 became the mother of Bach's most illustrious sons, 
 — W. Friedemann, C. P. Emanuel, Joh. Ch. Fried- 
 rich, and Joh. Christian. His marriage took place 
 in the year 1707, and may have been prompted by a 
 feeling of independence caused by the numerous 
 offers made to him of positions as organist in differ- 
 ent places. 
 
 At Easter, 1707, he was successful in a trial per- 
 formance in the church of St. Blasius, at Miihl- 
 hausen, a position of greater honour, if not of 
 greater emolument, than that at Arnstadt, and on 
 October 17 the wedding took place and Bach 
 brought his bride to Muhlhausen. But theological 
 disputes in the church made his position at Miihl- 
 hausen uncomfortable, and it was with much satis- 
 faction that he received the appointment of court 
 organist at Weimar. His fame now soon spread 
 throughout North and Central Germany, and he made 
 many excursions from Weimar for artistic purposes, 
 for he had by this time acquired unlimited mastery 
 over the mighty instrument. 
 
 It was his habit to make visits, in the autumn of 
 every year, to some of the larger towns in the vicin- 
 ity, and to conduct, in person, performances of his 
 own cantatas. In this way he visited Cassel, where 
 he played before the crown prince, and so filled him 
 with astonishment and admiration by his marvellous
 
 8o THE ORGAN AND ITS MASTERS 
 
 execution of a pedal solo that the prince drew from 
 his finger a ring set with precious stones and pre- 
 sented it to the master. " His feet flew over the 
 pedal-board as if they had wings, and the ponderous 
 and ominous tones pierced the ear of the hearer like 
 a flash of lightning or a clap of thunder ; and if the 
 skill of his feet alone earned him such a gift, what 
 would the prince have given him if he had used his 
 hands as well ? " 
 
 In the autumn of 17 13 he went to Halle, where 
 he performed with great success upon the new organ, 
 which had sixty-three stops. The position of organ- 
 ist was offered to him, but, as the terms were not to 
 his liking, he declined the honour. 
 
 In 1 714 he visited Leipzig for the first time, and 
 played at the St. Thomas or the St. Nicholas Church 
 on the first Sunday in Advent, and conducted a per- 
 foramance of his cantata, "Nun komm, der Heiden 
 Heiland." 
 
 In 1 71 7 he visited Dresden, where he met Jean 
 Louis Marchand, the celebrated French organist, who, 
 being under the ban of the king's displeasure, had 
 sought refuge at Dresden, and was much admired. 
 Discussions becoming rife as to their respective 
 merits, Bach was induced by his friends to chal- 
 lenge the vain and arrogant Marchand to a trial 
 of skill. The challenge was accepted, the arrange- 
 ments made. Bach and the umpires were ready at
 
 THE ORGAN AND ITS MASTERS 8 I 
 
 the appointed hour, but Marchand's courage had 
 failed and he had left Dresden that morning by the 
 fast coach. 
 
 On his return from Dresden, Bach was engaged 
 by the Prince Leopold of Anhalt-Cothen as chapel- 
 master at Cothen. His life at Weimar was the most 
 productive of organ music, for he was indefatigable 
 in composing fugues and works of a kindred nature. 
 For his pupils he produced the " Little Organ-Book, 
 in which it is given to the beginning organist to per- 
 form chorales, in every kind of way, and to perfect 
 himself in the study of the pedal, inasmuch as in the 
 chorales to be found in it the pedal is treated quite 
 as obbligato!' 
 
 At Cothen, on the other hand, Bach had no church 
 duties, and his life was devoted to chamber-music, 
 but. his journeys to other towns were kept up. In 
 1 71 7 he went to Leipzig to examine the new organ 
 in St. Paul's Church, and in 1719 he went to Halle, 
 where he endeavoured to meet Handel, who had 
 visited his family for a short time after securing 
 singers for his opera-house in England. Unfortu- 
 nately Bach arrived just too late, for Handel had set 
 out for England that same day. Ten years later 
 these two great organists narrowly missed meeting 
 again, and on that occasion it was Bach who was 
 prevented by illness from travelling, so sent his 
 eldest son from Leipzig to Halle with an invitation
 
 82 THE ORGAN AND ITS MASTERS 
 
 to Handel, — but Handel's time was then too limited 
 and the meeting never occurred. 
 
 In May, 1720, Bach returned to Cothen after one 
 of his journeys, and was met with the distressing 
 news that his wife was dead and had been buried on 
 the seventh day of that month. In the autumn of 
 the same year he went again to Hamburg, where 
 Reinken was still living at the age of ninety-seven. 
 On hearing Bach's improvisation on "An Wasser- 
 fiiissen Babylon " in the St. Katharine's Church, 
 Reinken came to him and said, " I thought this art 
 was dead, but I perceive that it still lives in you." 
 Reinken invited Bach to visit him, and treated him 
 with marked attention. 
 
 The organist of St. James's Church, Heinrich 
 Friese, had died shortly before Bach reached Ham- 
 burg, and Bach offered himself as a candidate for 
 the vacant position, but could not remain at Ham- 
 burg long enough to submit to the necessary tests. 
 It appears that he was asked whether he would 
 accept the place without passing any examination. 
 He did not decline, but the committee elected 
 another man, — Johann J. Heitmann, who, while un- 
 known in his art, had promised to pay to the church 
 four thousand marks in acknowledgment of having 
 been elected. 
 
 On December 3, 1721, Bach married a second 
 wife, Anna Magdalena Wiilken, twenty-one years
 
 THE ORGAN AND ITS MASTERS 83 
 
 of age, the daughter of the court trumpeter. She 
 was extremely musical, and took part in her hus- 
 band's labours, to his great satisfaction, and bore 
 him six sons and seven daughters. 
 
 In 1723 Bach accepted a call to the St. Thomas 
 Schule, Leipzig, as cantor, for since the marriage of 
 the prince his interest in music had fallen off, and, 
 on the other hand, he felt the necessity of a 
 wider field than that offered by the court at Cothen. 
 " Das wohl temperirte Clavier " was one of the 
 results of his work at Cothen, the greater part 
 of them having been written during that period. 
 
 At Leipzig Bach's duties, besides those in the 
 school, included the direction of the music in 
 the churches of St. Thomas and St. Nicholas. On 
 ordinary Sundays a cantata and a motet were per- 
 formed in only one of the churches, each in turn ; 
 the first choir sung the cantata under the leading of 
 the cantor. But on the two first days of each of the 
 great festivals, and at the New Year, Epiphany, 
 Ascension Day, and Trinity Sunday, and on the 
 festival of the Annunciation, concerted music was 
 performed twice a day, and in both churches at 
 once, the plan being that the first choir sang at 
 St. Thomas's in the afternoon the same cantata that 
 it had performed in the morning at St. Nicholas's, 
 and on the next holy day following sang at St. 
 Thomas's in the morning and St. Nicholas's in the
 
 84 THE ORGAN A. YD ITS MASTERS 
 
 afternoon, the second choir taking the reverse order. 
 The second choir sang under the conduct of its pre- 
 fect. The rehearsals of the Sunday music took place 
 in the church regularly on Saturday after two o'clock 
 vespers, and lasted till four o'clock. The direction 
 and performance of music for wedding festivals and 
 funeral processions were also regarded as part of the 
 cantor's official church duties. 
 
 It must not be imagined that Bach had an easy 
 time at Leipzig, or that he was free from criticism. 
 The great work which he accomplished, regarded 
 from a distance of more than a century and a half, 
 might easily lead one to suppose that the way was 
 made clear and easy for him, but he found in Leipzig 
 that the choir had fallen into such a wretched con- 
 dition that some very decisive steps were necessary, 
 if the music were to be carried on at all in the way 
 that had become traditional. He therefore forwarded 
 to the council a statement of the existing conditions, 
 together with his views on the indispensable constitu- 
 ents of the various choirs. 
 
 Some slight attention was paid to his requests, but 
 in spite of the lethargy of the authorities, he was able 
 to conduct, for the first time, a performance of the 
 " Passion Music " according to St. Matthew in the 
 Holy Week of 1729. 
 
 Bach was accused of neglect of his duties ; he was 
 required to hold his classes more regularly ; he
 
 THE ORGAN AND ITS MASTERS 8$ 
 
 was declared to be "incorrigible," and it was stated 
 that he "did nothing," a startling accusation, in view 
 of the fact that, during the seven years that he had 
 been cantor, he had not only produced the " St. Mat- 
 thew Passion Music," in itself a monumental work, 
 but had composed and performed a series of cantatas 
 which, to any other musician, would have represented 
 the labours of half a lifetime. On the occasion of 
 the Jubilee of the Augsburg Confession, the 25th, 
 26th, and 27th of June, Bach had produced and con- 
 ducted three grand cantatas, and this took place but 
 a few weeks before the startling accusation that he 
 "did nothing" was brought against him. It was 
 resolved to sequestrate his income, and he was sub- 
 jected to many petty indignities. 
 
 Goaded by these troubles, Bach sought a position 
 in Russia. His own words to his old acquaintance, 
 Erdmann, who had been appointed agent for the 
 Emperor of Russia, in Dantzig, describes the situa- 
 tion : "I find that (i) this appointment is by no 
 means so advantageous as it was described to me ; 
 
 (2) that many fees incidental to it are now stopped ; 
 
 (3) that the town is very dear to live in ; (4) that the 
 authorities are very strange folks, with small love for 
 music, so that I live under almost constant vexation, 
 jealousy, and persecution. I feel compelled to seek, 
 with God's assistance, my fortune elsewhere." 
 
 No new field opened for Bach, and he remained
 
 86 THE ORGAN AND ITS MASTERS 
 
 at Leipzig. By and by the conditions became some- 
 what ameliorated, and Leipzig remained his home 
 until the day of his death. At Leipzig his greatest 
 work was accomplished. Most of the great choral 
 works were written and produced during the Leipzig 
 period of Bach's life. His cantatas number about 
 three hundred and eighty, besides which there are the 
 various settings of the " Passion," the '• Christmas 
 Oratorio," and many smaller works. 
 
 After twenty-three years as cantor at Leipzig, his 
 life ended in 1750, but not until he had already lost 
 his sight, and in other ways had begun to feel the 
 infirmities of age. 
 
 An interesting account is given of the organs in 
 the churches at Leipzig in use in the time of Bach, 
 a brief summary of which may be given here. 
 
 There were two organs in the St. Thomas Church. 
 The larger had been placed there in 1525, having 
 been previously in the Marien Church of the monks 
 of St. Anthony at Eiche, not far from Leipzig, It 
 was twice repaired in the seventeenth century, and 
 in 1670 was also enlarged. In the year 1721 it was 
 again renovated, and some four hundred new pipes 
 and the mixture-stops added by Johann Scheibe. 
 Again in 1730 and in 1747 this organ was repaired. 
 It contained three manuals and thirty-six stops. 
 
 The other organ was the smaller and the older, 
 having been originally built in 1489. In 1638 it was
 
 THE ORGAN AND ITS MASTERS 8/ 
 
 taken from its original position, and removed to a new- 
 gallery, opposite to the large oi'gan. At Easter, 
 1639, it was played in this place for the first time, 
 and remained there until the tim.e of Bach. In 1727 
 it was again repaired, but was of little use, and in 
 1740 it was removed by Scheibe, who used parts of 
 it for building the organ in St. John's Church. This 
 small organ contained three manuals and pedals, and 
 twenty-one stops. It was kept only for high festivals, 
 when two choirs and two organs were frequently 
 used. 
 
 The organ at the St. Nicholas Church was built 
 about 1597, and the last repairs, before the time of 
 Bach, had been made in 1698, when it contained 
 three manuals and pedal keyboard and thirty-six 
 stops. It was again repaired in 1725 by Scheibe, 
 and in 1750 by Hildebrand. 
 
 In contrast to these old organs, which were of 
 moderate capacity, and liable to get out of order 
 frequently, was the organ in the University Church, 
 which Bach chiefly used when playing for his own 
 pleasure or before other people. This organ was 
 built in 1 716, and fulfilled the highest expectations. 
 It contained three manuals and pedal keyboard, and 
 fifty-three stops. By a new invention six stops in 
 the pedal organ were brought into connection with 
 the great bellows of the manuals. This organ was 
 built by Scheide, and made his reputation.
 
 88 THE ORGAN AND ITS MASTERS 
 
 It is not exactly known at what period the playing 
 of voluntaries came into vogue, but it is supposed 
 to have been customary at Leipzig in the time of 
 Bach. The prelude was used in order to prepare 
 the congregation for the hymns which were to be 
 sung, and was formed upon the melody of the hymn. 
 With the advancing development of the organ, the 
 custom of playing a concluding voluntary, in which 
 the organist could exercise his talent at will in free 
 fantasias and fugues, became more and more general, 
 but there is little mention found concerning this 
 practice. 
 
 For a comparison of Bach and Handel as organ- 
 ists we cannot do better than quote from Spitta's 
 life of Bach, in which the subject is carefully weighed 
 from the best evidence obtainable. Spitta writes 
 thus : 
 
 " The mention of Mattheson brings us once more 
 to a comparison and contrast of Bach and Handel — 
 this time, however, not as men, but as organists. 
 That Bach had no equal in Germany in playing the 
 organ was soon an admitted fact ; friends and foes 
 alike here bowed to the irresistible force of an un- 
 heard-of power of execution, and could hardly com- 
 prehend how he could twist his fingers and his feet 
 so strangely and so nimbly, and spread them out to 
 make the widest leaps without hitting a single false 
 note, or displacing his body with violent swaying.
 
 THE ORGAN AND ITS MASTERS 89 
 
 But from England, on the other hand, Handel's grow- 
 ing fame had reached Germany, not only as a 
 composer of opera and oratorio, but as an unapproach- 
 able organ-player. So far as England was concerned, 
 that was not saying too much, but other foreigners 
 who had heard him there brought the same news, 
 and as he was a German, the comparison with Bach 
 was obvious, while Bach's cantatas. Passion music, 
 and masses were scarcely appreciated in the contem- 
 porary world as compared with Handel's music. The 
 attempt made by his Leipzig friend, in 1729, to bring 
 about a meeting of the two players miscarried, so 
 opinions and assertions could spread unchecked. 
 Some came from England with Handel's praises, but 
 saying, nevertheless, that there was but one Bach in 
 the world, and that no one could compare with him ; 
 others, on the other hand, were of the opinion that 
 Handel played more touchingly and gracefully. Bach 
 with more art and inspiration, and it was always the 
 one then playing who at the moment seemed the 
 greatest. 
 
 " In one thing all were agreed : that if there was 
 any one who could depose Bach, it could be none but 
 Handel ; as, however, the names of those who formed 
 this judgment have remained unknown, and we are 
 no longer able to determine how far they were com- 
 petent, it may be considered a happy accident that 
 Mattheson heard both the masters and recorded his
 
 90 THE ORGAN AND ITS MASTERS 
 
 opinion. Soon after the transactions of 1720, he 
 writes that among the younger composers he had 
 met with no one who displayed such skill in double 
 fugues as Handel, whether in setting them or extem- 
 porising, as he had heard him do, with great admira- 
 tion, a hundred times. A very laudatory general 
 opinion of Bach has been already quoted ; and in 
 a remark written later they are set in direct com- 
 parison, as follows : ' Particularly, no one can easily 
 surpass Handel in organ-playing, unless it were 
 Bach, of Leipzig, for which reason these two are 
 mentioned first, out of their alphabetical order. I 
 have heard them in the prime of their powers, and 
 have often competed with the former, both in Ham- 
 burg and Liibeck.' It is beyond a doubt that 
 Mattheson was quite competent to pronounce judg- 
 ment in such a case ; he was a musician of incon- 
 testably sound training. But I regard it as equally 
 beyond a doubt that in this instance his informa- 
 tion is wholly worthless. Mattheson's recollection of 
 Handel's organ-playing dated from the days of their 
 youth, when they were much together — days which, 
 as he grew older, he recalled with a peculiar pleas- 
 ure. The experience is universal that favourable 
 judgments cherished in youth are apt to persist, in 
 spite of our progressive development, even when 
 the subject of our interest is never again within 
 reach for the verification of the opinion ; and this
 
 THE ORGAiV AND ITS MASTERS 91 
 
 was the case here. Mattheson had never heard 
 Handel play since 1706. Even if he had, his deci- 
 sion might have remained the same, because Handel's 
 proclivities as an artist were far more sympathetic 
 than Bach's to Mattheson, who had grown up under 
 the influence of opera, — more particularly of Reiser's 
 opera, — and who, while still young, had become 
 indifferent to organ music. And this sympathy did 
 not cease to exist, in spite of Handel's distant be- 
 haviour ; still, it is an error to assert that after 1720 
 Mattheson showed a warm interest in Bach. I have 
 already stated that this was not the case, and a 
 collation of the passages from Mattheson's writings, 
 relating to Handel and Bach, reveals his attitude 
 very clearly. Finally, it is of some importance to 
 note that vanity would prompt him to set Handel's 
 importance as an organist as high as possible, for 
 had he not competed with him in Hamburg and 
 Liibeck } The notable mode of expression used in 
 the sentence quoted — not free from partisanship, 
 but only wavering — also had its origin in the want 
 of lucidity, and the indecision of the writer, whose 
 inclination and judgment balanced on opposite sides. 
 All attempts to explain it away are vain; for this 
 purpose he is useless. 
 
 "We may, however, accept his statements about 
 Handel as a player and composer of double fugues, 
 for there is at any rate something characteristic
 
 92 THE ORGAN AND ITS MASTERS 
 
 in it ; but this brings us back to deciding upon 
 internal grounds, which is, in fact, what we must 
 do with the whole question. It must all rest on 
 this : to which of the two musicians organ music was 
 of the deepest vital significance. Handel, too, had 
 derived his first training from a German organist, 
 and had been one himself, for awhile, in his youth ; 
 but he turned toward other aims, ending at last by 
 using the organ as a musical means, one among 
 others in the general mass of instruments he em- 
 ployed, but merely as a support, or to introduce 
 external embellishments. Bach started from the 
 organ, and remained faithful to it to the last day of 
 his life. All his productions in other departments — 
 or, at any rate, all his sacred compositions — are 
 merely an expansion and development of his organ 
 music ; this was to him the basis of all creation, the 
 vivifying soul of every form he wrought out. Conse- 
 quently in this he, of the two composers, must have 
 been capable of the greatest work — the greatest, 
 not merely in technical completeness, but also in the 
 perfected adaptation of its purport to the instrument. 
 When once we are clear as to this, the accounts 
 handed down to us are equally clear, and leave no 
 doubt in our minds that Handel's organ-playing was 
 not, properly speaking, characterised by style in the 
 highest sense, — was not that which is, as it were, 
 conceived and born of the nature of the instrument.
 
 GEORG FRIEDRICH HANDEL
 
 THE ORGAN AND ITS MASTERS 93 
 
 It was more touching and grateful than Bach's ; but 
 the proper function of the organ is neither to touch 
 nor to flatter the ear. Handel adapted to the organ 
 ideas drawn from the stores of his vast musical 
 wealth, which included all the art of his time, just 
 as he did to any other instrument. In this way he 
 evolved an exoteric meaning, intelligible to all, and 
 hence the popular effect. To him the organ was 
 an instrument for the concert-room, not for the 
 church. It corresponds to this conception that we 
 have no compositions by Handel for the organ alone, 
 while it was precisely by these that Bach's fame was 
 to a great extent kept up until this (nineteenth) cen- 
 tury ; but we have by Handel a considerable number 
 of organ concertos with instrumental accompaniment, 
 and adapted with brilliant effect to chamber music. 
 
 <' His fondness for the double fugue — an older, 
 simpler, and not very rich form, of which, however, 
 the materials are easier to grasp, and which is there- 
 fore more generally intelligible — can also be referred 
 to his exceptional attitude toward the organ ; and so 
 no less may the improvisatory manner which was 
 peculiar to his playing and to his clavier composi- 
 tions, which came close to the limits of organ music ; 
 while the organ — which, both in character and appli- 
 cation, is essentially a church instrument — must be 
 handled with the utmost collectedness of mind and 
 an absolute suppression of tb-^ mnod of the moment.
 
 94 THE ORGAN AND ITS MASTERS 
 
 It is in the highest degree probable that Handel, — 
 whose technical skill was certainly supreme, — with 
 his grand flow of ideas, and his skill in availing himself 
 of every quality of an instrument, produced unheard-of 
 effects in his improvisations on the organ. But even 
 the more fervid and captivating of these effects must 
 have been very different from Bach's sublimer style. 
 I must at least contravene what has been asserted 
 by an otherwise thoughtful judge, — namely, that 
 he was surpassed on this one point, — taking it for 
 granted that improvisation is to be criticised by its 
 intrinsical musical worth, and not merely by its tran- 
 sient and immediate effect. At a time when so 
 much importance was attached to extempore music, 
 which indeed, as an exercise in thorough-bass, was 
 part of the musical curriculum everywhere, it would 
 have been most strange if the man whose whole 
 being as an artist was wrapped up in the organ, and 
 who had exhausted its powers in every direction, had 
 not risen to a corresponding height in this point also. 
 The express testimony of his sons and pupils as to 
 his 'admirable and learned manner of fanciful play- 
 ing ' — i. e., improvising — as to the ' novelty, singu- 
 larity, expressiveness, and beauty of his inspirations 
 at the moment, and their perfect rendering,' stands 
 in evidence. 'When he sat down to the organ, irre- 
 spective of divine service, as he was often requested 
 to do by strangers, he would choose some theme, and
 
 THE ORGAN AND ITS MASTERS 95 
 
 play it in every form of organ composition in such a 
 way that the matter remained the same, even when 
 he had played uninterruptedly for two hours or more. 
 First he would use the theme as introductory, and 
 for a fugue with full organ. Then he would show his 
 skill in varying the stops, in a trio, a quartet or 
 what not, still on the same theme. Then would fol- 
 low a chorale, and with its melody the first theme 
 would again appear in three or four different parts, 
 and in the most various and intricate development. 
 Finally, the close would consist of a fugue for full 
 organ, in which either a new arrangement of the 
 original theme was predominant, or it was combined 
 with one or two other subjects, according to its 
 character.' 
 
 " So far as concerns the other aspects of organ 
 music, the author of the Necrology might with justice 
 appeal to Bach's existing compositions, which call 
 into requisition the highest technical means in order 
 to express the prof oundest ideal meaning and ' which 
 he himself, as is well known, performed to the utmost 
 perfection,' and so confirm his statement that * Bach 
 was the greatest organ-player that has yet been 
 known.' " 
 
 From the same source also we are able to draw 
 some comparison between Handel and Bach in regard 
 to proportions of voices, instruments, and organs in 
 the performance of their great choral works.
 
 96 THE ORGAN AND ITS MASTERS 
 
 During the sixteenth century vocal music in Ger- 
 many had attained greatness, notwithstanding the 
 fact that each part was often sung by a single voice. 
 These insignificant choruses had remained, with few 
 exceptions, in use throughout the seventeenth cen- 
 tury and far into the eighteenth, while on the other 
 hand the treatment of the instruments increased 
 steadily in fulness and variety of colour, so that 
 in the time of Bach an orchestra of weak calibre out- 
 numbered the singers by more than a third. Bach 
 had in the memorial service of August 23, 1730, 
 twelve singers and eighteen instrumentalists besides 
 the organist. 
 
 The choir with which Handel performed his orato- 
 rios in England was numerically smaller than his 
 orchestra, but consisted of singers of greater techni- 
 cal ability than those of the German church choirs, 
 and consequently the tone was much fuller, besides 
 which Handel made a much more limited use of 
 the organ. The characteristic feature of giving the 
 vocal parts more importance than the instruments is 
 very prominent with him, and pervades his music so 
 strongly that, in performances of oratorios within a 
 few years of his death, it was settled in England that 
 the voices were to outnumber the orchestra. Han- 
 del's oratorio style tended toward laying a stronger 
 and more decisive emphasis on the vocal factor, 
 while Bach's chorus admits of strengthening addi-
 
 THE ORGAN AND ITS MASTERS 97 
 
 tions only within narrowly defined limits, and, from 
 the first, never bore an indirect ratio to the instru- 
 ments. 
 
 "In Bach's church music the ruling or dominant 
 factor is not the chorus or the voices — if there 
 be any such factor it can only be said to be the 
 organ, or, to put it more decisively, the body of 
 sound used in performing Bach's church music is 
 regarded as a vast organ, of which the stops are 
 much more refined and flexible, and have the indi- 
 viduality of speech. 
 
 " Handel and Bach, the fundamental sources of 
 whose genius were in part the same, had arrived at 
 directly opposite results in this as in many other 
 problems of art." 
 
 In the latter part of the eighteenth century, after 
 the death of Bach, as the influence of the Protestant 
 Church decreased, the spiritual meaning of Bach's 
 church music became less understood. The organ 
 was used less, and a more secular and theatrical style 
 became popular, so that it remained for Mendelssohn 
 to give the permanent impetus to the growing admi- 
 ration for Bach by reviving the " St. Matthew Pas- 
 sion Music" in Berlin on March 12, 1829, exactly 
 one hundred years after its production. 
 
 Since that day Bach societies have been formed 
 without number in all musical countries, and from all 
 musical centres is accorded the worship of the great
 
 98 THE ORGAN AND ITS MASTERS 
 
 musical genius which was but grudgingly given dur- 
 ing his lifetime. 
 
 In Johann Sebastian Bach culminated the genius 
 of his family. Those of his sons who survived him 
 did not reach the greatness of their father. W. 
 Friedemann, called the Halle Bach, was the most 
 gifted of the sons, and was considered the greatest 
 organ-player of his time. But he sunk into dissolute 
 habits, and died in 1784 in a state of great degrada- 
 tion and want. 
 
 Carl Philipp Emanuel, the third son of Sebastian, 
 was born in 171 4, and was brought up to study the 
 law, but being a good musician, relinquished the law, 
 and in 1737 went to Berlin. Some nine years later 
 he became accompanist to Frederick the Great. In 
 1757 he went to Hamburg and took the direction of 
 the music in one of the churches there. He suc- 
 ceeded Telemann in 1767, and held his post until 
 his death in 1788. As composer, director, teacher, 
 and critic his influence was great, and he was 
 much respected and beloved, for he had pleasant 
 manners, literary culture, and was a very active man 
 in music. 
 
 Wilhelm Friedrich Ernst was a son of Johann 
 Christoph Friedrich, Sebastian's ninth son, who is 
 known as the Biickeburg Bach, an upright, modest, 
 amiable man. Wilhelm F. E., after a sojourn of 
 some years in London with his uncle, Joh. Chris-
 
 THE ORGAN AND ITS MASTERS C^C) 
 
 tian, settled in Minden, but was called to Berlin as 
 cemballist to the queen. He died in 1845. 
 
 Johann Christian, the eleventh son of Sebastian, 
 went to Milan, where, at the age of nineteen, he be- 
 came organist of the cathedral. Wishing to devote 
 himself to opera, he resigned his position and married 
 Grassi, the prima donna. He accepted an appoint- 
 ment as director of concerts in London, where he 
 died in 1782. He was most successful as a pianist 
 and composer for the pianoforte.
 
 CHAPTER VI. 
 
 THE CONTEMPORARIES AND PUPILS OF BACH 
 
 It is now necessary to go back a few years and 
 look up some of the German organists, who, a few 
 years older than Bach, were more or less connected 
 with him, and whose lives are of interest for that 
 reason. 
 
 One of these was Johann Pachelbel, who was born 
 at Nuremberg in 1653, and whose life was somewhat 
 troubled by the unsettled political conditions of the 
 times. Pachelbel, on completing his education, be- 
 came deputy organist at the cathedral in Vienna, 
 after which he secured the positions of organist at 
 Eisenach in 1675, Erfurt in 1680, and Stuttgart 
 1690. From 1692 to 1695 he was at Gotha, when 
 he went to Nuremberg as organist to the church of 
 St. Sebaldus, where he passed the remainder of his 
 days, dying in 1706. 
 
 As a resident of the two chief centres of the Bach 
 family, he had ample opportunity to meet many of 
 its members. He was on intimate terms with the 
 father of Sebastian, who chose him to be godfather 
 
 100
 
 THE ORGAN AND ITS MASTERS 10 1 
 
 to one of his daughters and teacher of his eldest 
 son. 
 
 At a time when Italy and South Germany had 
 outstripped North Germany in the art of organ 
 music, Pachelbel carried the Southern influence into 
 the heart of Germany, and stood above all his con- 
 temporaries as a writer. Eight choral treatments 
 by him, published in 1693, are said to indicate his 
 highest level in that line. 
 
 Pachelbel exerted a large influence on organ-play- 
 ing and composition. Among his most prominent 
 pupils were J. H. Buttstedt (i 666-1 727), who suc- 
 ceeded him in his position at Erfurt, and who was 
 a great master of his instrument as well as a remark- 
 able composer of organ chorales and fugues ; Niko- 
 laus Vetter, born in 1666, organist at Rudolstadt 
 until after 1730; Andreas Armstroff {1670-1699) 
 organist at Erfurt ; Johann Graff, organist of Magde- 
 burg (died 1709). Of the following generations, 
 among the more important who followed in his steps 
 were George Kauffmann (1679-173 5) ; Gottfried 
 Kirchoff (1685-1746), organist at Halle; and Johann 
 Walther of Weimar (i 684-1 748.) 
 
 Johann Kuhnau, who had preceded Bach as cantor 
 at Leipzig, was a remarkable musician in his day. 
 Born in 1667 at Geysing, he became a chorister at 
 Dresden, where he received good musical instruction. 
 In 1684 he became organist of the Thomaskirche at
 
 I02 THE ORGAN AND ITS MASTERS 
 
 Leipzig, and, in 1701, cantor in the Thomas-Schule. 
 His talent was marked by phenomenal versatility, for 
 he acquired considerable knowledge of languages, 
 mathematics, and jurisprudence, and was an in- 
 genious writer on musical subjects. It is said that 
 previous to his arrival at Leipzig (which was at 
 the age of seventeen), he had maintained himself 
 by w^orking in the school at Zittau, and lecturing on 
 French. 
 
 In practical music he made himself famous by 
 being the first to transfer the chamber sonata to the 
 clavier. Kuhnau died in 1722, admired and honoured 
 as one of the best musicians of his time. 
 
 George Philipp Tclemann, whose name frequently 
 occurs in connection with Bach, was born in 1681 
 and was therefore four years older than Bach. He 
 was a native of Magdeburg and the son of a clergy- 
 man. His musical knowledge was gained without 
 any regular instruction, but by diligently studying 
 the scores of the great masters. In 1 700 he became 
 a student at the University of Leipzig, and while 
 carrying on his studies of languages and science, be- 
 came organist of the Neukirche and founded a society 
 among the students called " Collegium Musicum." 
 After numerous changes from one post to another, 
 he became, in 1721, cantor of the Johanneum, and 
 Musikdirektor of the principal church in Hamburg, 
 remaining there until his death in i "j^j.
 
 THE ORGAN AND ITS MASTERS I03 
 
 Telemann was a highly skilled contrapuntist and a 
 most prolific composer, so much so that it is said he 
 could not reckon up his own compositions. It is 
 said that the shallowness of church music at the 
 latter end of the eighteenth century is due to the 
 influence of Telemann ; nevertheless he is called a 
 prominent representative of the Hamburg school in 
 its prime during the first half of that century. 
 
 Johann Gottfried Walther was regarded as a 
 second Pachelbel, and in his arrangements and vari- 
 ations of chorales on the organ he stood second to 
 Bach himself. Walther was a native of Erfurt, and 
 was born in 1684. He was distantly related to 
 Sebastian Bach, and a pupil of Johann Bernhard 
 Bach. In 1707 he became organist of the town 
 church at Weimar, where he remained until his death 
 in 1748. 
 
 Walther's name in the world of music is noted by 
 his " Musical Lexicon," pubhshed at Leipzig in 1732, 
 which is the first German attempt to bring the whole 
 mass of musical information into the dictionary form. 
 This work was the fruit of his leisure hours, and he 
 died while still occupied in trying to bring it to per- 
 fection. His chief occupation was practical music — 
 playing, teaching, and composition. His style of 
 playing is said to have been broad and solid, a con- 
 clusion which is reached from a study of such of his 
 compositions as are preserved, a number of which
 
 104 ^^^ ORGAN AND ITS MASTERS 
 
 are for the organ or clavier. His chief interest was 
 bestowed upon organ chorales, of which he was not 
 only a prolific arranger, but also a diligent collector. 
 Though intimate with Sebastian Bach for a number 
 of years, there are indications, in the meagreness of 
 his mention of Bach in his " Lexicon," that the 
 friendship did not last. 
 
 Johann Tobias Krebs was one of the pupils of 
 Bach who became eminent. He was born in 1690 
 at Heichelheim, near Weimar, and in 17 10 was 
 organist and cantor at Buttelstadt. He was at first 
 a pupil of Walther's in playing and composition, but 
 continued his studies under Bach. His son, Johann 
 Ludvvig, also became an organist of the first rank, and 
 was a pupil of Bach at the age of thirteen. After 
 nine years' study under Bach he became organist 
 successively at Zeitz, Zwickau, and Altenburg, where 
 he died in 1 780. 
 
 Johann Caspar Vogler, born at Hausen, near Arn- 
 stadt, in 1696, is said to have been a pupil of Bach 
 while still a boy, and while Bach was organist at the 
 New Church. Later he went to the musical training 
 school at Erlebach, and then studied under Fetter, 
 the organist at Rudolstadt, after which he returned 
 to Bach and became one of his best pupils. In 171 5 
 he was organist at Stadtilm, but on the death of 
 Schubart, Bach's first pupil, succeeded him at Weimar, 
 where he remained, the Duke Ernest August giving
 
 THE ORGAN AND ITS MASTERS I05 
 
 him the title of vice-burgomaster in order to keep 
 him at Weimar. He died about 1765. 
 
 Johann Gotthilf Ziegler, born at Dresden in 1688, 
 was for a time under Bach's tuition, for organ-playing. 
 Ziegler Hved at Halle, where he was organist of the 
 church of St. Ulrich, and was much sought after as a 
 teacher. He declined all offers of honourable em- 
 ployment elsewhere. It is said that his talent was 
 early, ripe, versatile and restless, and in addition to 
 music he also studied theology and jurisprudence. 
 
 Bernhard Bach, organist at Ohrdruff, who has 
 already been mentioned, a nephew of Sebastian, was 
 also his pupil, and it is probably to his industry that 
 we owe a valuable manuscript copy of Sebastian 
 Bach's compositions. 
 
 Johann Christian Kittel, a native of Erfurt (1732- 
 1809), was one of the last of Bach's pupils, for 
 Bach died when Kittel was but eighteen years of age. 
 Kittel became organist at the Predigerkirche at 
 Erfurt in 1756, but his pay was wretchedly inade- 
 quate, and his life was passed in poverty. He was 
 obliged, in his old age, to make a tour of Gottingen, 
 Hanover, Hamburg, and Alrona, after which he re- 
 turned to Erfurt and was kept from starvation by a 
 small pension allowed him by Prince Primas of Dal- 
 berg. 
 
 Kittel was renowned for his playing rather than 
 for his compositions, and he formed many excellent
 
 I06 THE ORGAN AND ITS MASTERS 
 
 pupils, among whom was Rinck, who inherited his 
 papers. That Kittel was a devout worshipper of 
 Bach is shown by the stoiy, generally accepted as 
 true, that he possessed a full-sized portrait of Bach, 
 which he kept screened by a curtain. When any of 
 his pupils had merited reward, he would draw back 
 the curtain and allow them to look at the portrait as 
 the greatest privilege which he could bestow upon 
 them. 
 
 Jacob Adlung, born at Bindersleben, Erfurt, in 
 1699, was theologian, scholar, and musician, and was 
 known for his masterly playing, though he is not 
 regarded as a musician of high rank. He was or- 
 ganist of the Evangehcal church at Erfurt, and died 
 in 1762. He lost his house and all his possessions 
 by fire in 1736, but by his energy and perseverance 
 succeeded in overcoming his adverse fortune and left 
 several works of lasting value in musical literature. 
 In his youth he was befriended by Nicolaus Bach at 
 Jena, who sometimes allowed him the privilege of 
 playing upon his organ. 
 
 Another prominent organist of the same period 
 was Johann Ernst Eberlin, born at Jettingen in 1702. 
 Little is known of his early education, but he became 
 court organist to Archbishop Franz Anton, Graf von 
 Harrach, in 1727. Of his compositions for the organ 
 the best known are " IX Toccate e fughe per I'or- 
 gano," dedicated to Archbishop Jacob Ernst. His
 
 THE ORGAN AND ITS MASTERS lO/ 
 
 writings were numerous, and it was said by Marpurg 
 that he wrote as much and as rapidly as Scarlatti and 
 Telemann. He died in 1762, at Salzburg. 
 
 Heinrich Nicolaus Gerber, born in 1702, was the 
 son of a peasant, and went to the University of 
 Leipzig, where he came under the influence of Bach, 
 by whom his love of music was encouraged and de- 
 veloped. He became organist at Heringen, and in 
 1738 court organist at Sondershausen, where he died 
 in 1775. The early part of his life was largely spent 
 in escaping from the recruiting officers of Frederick 
 William I., and not until he was installed at Sonders- 
 hausen was he safe. His great height marked him 
 for the attention of the officers. He composed for 
 organ and other instruments, and made musical in- 
 struments, and for many years was court secretary. 
 His son Ernst Ludwig compiled a valuable Lexicon 
 of Music. 
 
 Johann Georg Albrechtsberger, who was born in 
 1736 at Klosterneuberg, near Vienna, and died at 
 Vienna, in 1809, ^^^ foJ" a long time an important 
 position in the world of music, for he was teacher 
 of many celebrated musicians, among whom may be 
 mentioned Beethoven, Hummel, Weigl, Seyfried, 
 Eybler, and Mosel. He began life as a chorister 
 in his native town, whence he proceeded to Molk, 
 where he was noticed by the crown prince, who after- 
 ward became the Emperor Joseph. He held the
 
 I08 THE ORGAN AND ITS MASTERS 
 
 position of organist at Molk for twelve years, after 
 which he was organist at Raab in Hungary, and then 
 at Mariataferl, from which place he went to Vienna 
 to take the position of Rcgens Cltori to the Carmel- 
 ites. In 1772 he was appointed court organist, and 
 some twenty years later he became director of music 
 at St. Stephen's, where he entered upon his career as 
 a teacher. 
 
 He is said to have been a conscientious and pains- 
 taking teacher, but in Beethoven he found a pupil 
 who, apparently, left rather a painful impression on 
 him, for he said to an inquiring person, " Have noth- 
 ing to do with him ; he has learnt nothing, and will 
 never do anything in decent style," an opinion which 
 has not been fully justified by events. 
 
 Albrechtsberger's compositions are computed to 
 have numbered two hundred and sixty-one, but only 
 twenty-seven were printed. The finest of these is a 
 Te Deum, which was not performed until after his 
 death. 
 
 Justin Henry Knecht, native of Biberach (1752), 
 had a great reputation in his day, as organist, com- 
 poser, and theoretician. He was well educated and 
 held for a time the position of professor of literature 
 in his native town. From this he drifted by degrees 
 into music, and became director of opera and of the 
 court concerts at Stuttgart, which positions he re- 
 signed after a couple of years, and returned to
 
 THE ORGAN AND ITS MASTERS 109 
 
 Biberach, where he died in 18 17. Knecht was soon 
 forgotten, but one is reminded of him by the fact 
 that he composed a Pastoral Symphony on a scheme 
 almost identical with that used by Beethoven for his 
 immortal " Pastoral Symphony " some twenty years 
 later. Apart from the title, no comparison of the 
 two works can be made. 
 
 Joh. Chr. Ludwig Abeille was a native of Bay- 
 reuth and became court organist at VVUrtemberg. 
 He received a gold medal at the completion of fifty 
 years of faithful service, also a pension, and died 
 shortly after at the age of seventy-one, 
 
 August Eberhardt Miiller was organist of St. 
 Nicholas Church at Leipzig from 1794 for several 
 years. He wa^ born at Nordheim in Hanover, and 
 was the son of an organist. He, like many other 
 musicians, began to study law, but gave it up in 
 favour of music, and in 1789 became organist of the 
 church of St. Ulrich in Magdeburg. In 1792 he 
 became director of the concerts in Berlin, and two 
 years later organist at Leipzig. Miiller ended his 
 days at Weimar (18 17), to which place he moved in 
 1 8 10. He was equally proficient as a performer on 
 the organ and harpsichord, and amongst his com- 
 position are suites for organ ; a sonata and chorale, 
 with variations. 
 
 Joseph Preindl (i 758-1 823) was a native of Mar- 
 bach on the Danube, and became a pupil of Al-
 
 no THE ORGAN AND ITS MASTERS 
 
 brechtsberger in Vienna. He was a good composer, 
 a skilled pianist and organist, and a teacher of sing- 
 ing. His compositions include masses, smaller church 
 pieces, and pianoforte and organ music. Preindl was 
 appointed, in 1790, choirmaster of the Petcrskirche, 
 and in 1809, chapel-master of St. Stephen's in 
 Vienna. The latter post he held until his death, 
 when his pupil Gansbacher was elected to succeed 
 him. 
 
 Johann Gansbacher was a native of Sterzing in 
 the Tyrol (i 778-1 844), and enjoyed a somewhat 
 picturesque life. Beginning as a chorister in his 
 native village, where his father was organist and 
 choirmaster, he later went to Innspruck, Halle, 
 and Botzcn, and learned the organ, piano, cello, and 
 harmony. In 1795 he became a student in the Uni- 
 versity of Innspruck, but served as a volunteer in 
 the " Landsturm," which was formed in the following 
 year. In 1801, after having won the gold " Tapf cr- 
 keits-medaille," he went to Vienna and studied under 
 Vogler and Albrechtsberger. He was recommended 
 as a teacher by Haydn, Gyrowetz, and other dis- 
 tinguished persons, and was associated with Weber 
 and Meyerbeer, who were his fellow pupils and 
 lasting friends. With Weber he went to Mannheim 
 to assist him in his concerts, and later he was with 
 Weber in Prague, assisting him in his "Kampf und 
 S.'^j,"." In Vienna he became acquainted with Bee-
 
 THE ORGAN AND ITS MASTERS III 
 
 thoven. He also served in the war of 1813, and 
 went to Italy as a captain in the army. Eventually, 
 on the death of Preindl, he applied for the position of 
 chapel-master in the cathedral at Vienna, and was 
 appointed, and held that post until his death in 1844. 
 His compositions number two hundred and sixteen, 
 of which a large number are sacred, but apparently 
 none are for organ alone. 
 
 One of the names most familiar to all organ stu- 
 dents is that of Rinck. Johann Christian Heinrich 
 Rinck was a native of Elgersburg in Saxe-Gotha 
 (1770). He became a pupil of Kittel, who was a 
 pupil of Bach, and at the age of nineteen he accepted 
 a post of organist at Giessen (in the duchy of Hesse), 
 his salary being fifty florins, about twenty-one dollars, 
 per annum. His life after this time was strange. 
 Unable to get much teaching, in addition to this paltry 
 pittance, he added to his music the work of a lawyer's 
 copyist. In 1792 he became usher at a school ; the 
 following year he was promoted to the situation of 
 writing-master ! And, in 1 803, his patience was re- 
 warded with the post of music-master at the College 
 of Giessen, From this time on, he was insured 
 against poverty ; and gradually rising, became court 
 organist at Darmstadt — at the head of his pro- 
 fession, beloved by all, and in the highest favour of 
 his prince. 
 
 Rinck will always be remembered as one of the
 
 112 THE ORGAN AND ITS MASTERS 
 
 great players, and during his career he made many 
 artistic tours and gained many high honours, such 
 was the admiration his playing elicited. At Treves, 
 in 1827, he was treated with great honour; in 183 1, 
 he was made a member of the Dutch Society for the 
 Encouragement of Music ; in 1838, he was decorated 
 by the Grand Duke Ludvvig with the cross of the 
 first class ; in 1840, he was made Doctor of Philoso- 
 phy and Arts by the University of Giessen. A grand 
 fete took place at Darmstadt also in honour of 
 the fiftieth anniversary of his installation as court 
 organist. "It was a beautiful and interesting sight," 
 writes Mr. Aspull, "to witness the homage paid 
 by all the elite of the town to this noble, good, 
 and worthy old man, whose modesty is only excelled 
 by the candour of his expressions." He was pre- 
 sented on this occasion, by the duke, with a superb 
 easy chair, a portrait of his Serene Highness, and a 
 tea-service in gold, accompanied by an autograph 
 letter as hearty as the recipient was worthy. 
 
 Sir Herbert Oakley says of him : " His reputation 
 is based on his organ music, or rather his 'Practical 
 Organ School,' a standard work. Rinck's composi- 
 tions for his instrument show no trace of such sub- 
 lime influence as might be expected from a pupil, in 
 the second generation, of Bach ; indeed, throughout 
 them fugue writing is conspicuous by its absence. 
 But without attaining the high standard which has
 
 JOHANN CHRISTIAN HEINRICH RINCK
 
 THE ORGAN AND ITS MASTERS II3 
 
 been reached by living composers for the instrument 
 in Germany, his organ pieces contain much that is 
 interesting to an organ student, and never degener- 
 ate into the debased and flippant style of the 
 French and English organ music so prevalent at 
 present " (1890). 
 
 Rinck's compositions were not confined to his 
 "Practical Organ School" and "Preludes for Cho- 
 rales," which are his best known works, but he wrote 
 a good deal of chamber music, and some church 
 music, including twelve chorales for men's voices, 
 two motets, and a Pater Noster, for four voices 
 with organ. Altogether his works number one hun- 
 dred and twenty-five. 
 
 There have been two celebrated organists named 
 Muffat. The first, George, was a Frenchman, and 
 studied Lully's style in Paris for six years. He was, 
 previous to 1675, organist of Strasburg Cathedral ; 
 he then visited Vienna and Rome. In 1690 he 
 became organist, and, five years later, chapel-master 
 and master of the pages to the Bishop of Passau, and 
 died there in 1704. Among his publications was 
 "Apparatus Musico-organisticus," — twelve toccatas, 
 chaconne, passacaglia, — which was of importance in 
 the development of organ-playing. 
 
 August Gottlieb Muffat was born about 1690, 
 and became a pupil of Fux. He became a distin- 
 guished organist and a composer of taste, and pub-
 
 114 ^-^-^ ORGAN AND ITS MASTERS 
 
 lished for the organ " 72 Versetten oder Fugen, 
 sammt 12 Toccaten, besonders zum Virchendienst 
 bei Choral-Aemtern und Vespern dienlich." 
 
 Muffat became in 17 17 court and chamber organist 
 to the Emperor Charles VI. and the Empress Amalie 
 Wilhelmine. He died in 1770 at Vienna, but had 
 retired on a pension in 1764, 
 
 It is advisable now to take a glance at the develop- 
 ment of organ music, and for this purpose nothing 
 can be better than to take a few excerpts from the 
 detailed and exhaustive account of it written by 
 Philip Spitta. "The art of writing for the organ," 
 he says, "which had been previously confined to a 
 mere ornamental transcription of vocal compositions, 
 in the beginning of the sixteenth century put forth 
 the early buds of a characteristic blossoming, with the 
 first traces of a style peculiar to itself. In Italy 
 Claudio Merulo found in the toccata, as it was called, 
 — a kind of composition in which he endeavoured to 
 give full play to the wealth of the tone possessed by 
 the organ, by alternating combinations of brilliant 
 running passages with sostenuto sequences of harmo- 
 nies, — a form which, if somewhat erratic and fantas- 
 tic, was still highly capable of development. The 
 first steps were taken toward the development of 
 the organ fugue in the canzone of Giov. Gabrieli ; 
 and Sweelinck, a Dutchman, gained great celebrity, 
 it would seem, particularly by his elaboration of the
 
 THE ORGAN AND ITS MASTERS II5 
 
 technique, and by a great gift for teaching, and 
 endeavoured to make the heaviness of the organ 
 style Hghter and more pleasing by skilful and grace- 
 ful handling. Samuel Scheldt, the organist at Halle, 
 was one of his pupils. In his * Tablatura Nova,' he 
 first succeeded in treating the chorale as adapted 
 to the organ in a very varied manner, and with 
 considerable inventive power. ... A new path is 
 opened out, and abundant means are brought in 
 to level it ; but the practical precision and arrange- 
 ment are lacking which would give the full value to 
 each in its place. In the course of the century a 
 whole series of well defined, and in themselves logi- 
 cal forms, grew up for treatment of chorales. Only 
 a few of these are found in any degree pure in 
 Scheldt, and those the most obvious ; among them 
 must be included the method by which the chorale 
 is worked out line by line on the scheme of a motet, 
 and, closely connected with this, the chorale fugue, 
 in which Scheldt still clung evidently to the vocal 
 style." 
 
 A great deal of discussion is given to Johann 
 Christoph Bach, of whom Spitta says : " Following 
 his natural bent, he pursued his own path through 
 this department of music, and, so far as we are now 
 able to judge, never departed from it. The next 
 generation knew him no more, — did not understand 
 him, and ignored him altogether. . . . All that he
 
 Il6 THE ORGAN AND ITS MASTERS 
 
 thus created in his isolated position is found, after 
 due consideration, to be neither unworthy of his great 
 talents nor in any contradiction to the praise awarded 
 to him, even as a master of the organ, by the later 
 and greater members of his family. But one single 
 man cannot do everything, and Johann Christoph is 
 a striking instance of how much we owe to the Ital- 
 ians, even in that most German of all forms of music, 
 the organ chorale. A yearning after an ideal thought- 
 fulness, profound care for details, — these there was 
 no need to borrow from foreigners ; but the sense of 
 beauty as revealing itself in the frankest and grand- 
 est forms was needed to sustain and invigorate us 
 ere we could create anything truly masterly. Such 
 succour soon came flowing in from the South. The 
 organ with its echoing masses of chords, produced 
 by one man, and progressing at his sole will and 
 pleasure, was the most complete conceivable contrast 
 to the ancient chorale music, that rich and compli- 
 cated tangle of so many individual voices which could 
 never altogether become mere instruments. This, 
 more than anything else, brought about the transfor- 
 mation from the old polyphonic to the new harmonic 
 system. It may, perhaps, seem strange to many 
 readers, and yet it is quite natural, that even the 
 best masters, between 1650 and 1700, showed a 
 much more homophonic spirit, a much more inde- 
 pendent treatment of the vocal parts than is com-
 
 THE ORGAN AND ITS MASTERS I 17 
 
 patible with the pure organ style, according to our 
 modern conception of it. Of course the rigid and 
 heavy quality of the organ does not require for its 
 highest idealisation mere external movement, — as 
 attained by runs and spreading of chords, — but an 
 inner vitality from the creation of musical entities, — 
 for what else can we call melody and motive ? — and 
 by their intelligent reciprocity. But this is always a 
 secondary, and not, as in polyphonic vocal music, 
 a primary consideration. We admire with justice 
 the organic structure of an organ piece by Sebastian 
 Bach, every smallest detail of it instinct with vital 
 purpose ; but the so-called polyphonic treatment, 
 which clothes the fine harmonic structure, is but 
 a beautiful drapery. It resembles a Gothic cathe- 
 dral, with its groups of columns that seem a spon- 
 taneous growth, and its capitals wreathed with flowers 
 and leaves ; they call up to our fancy the seeming of 
 an independent life, but they do not live, only the 
 artist lives in them. This radical distinction cannot 
 be sufficiently insisted on ; without a comprehension 
 of it, the whole realm of organ music is an independ- 
 ent art, and all that has any connection with it, 
 including the whole of Sebastian Bach's work, cannot 
 be understood." 
 
 After a lengthy discussion of Job. Christoph 
 Bach, Spitta proceeds to show the influence of 
 Pachelbel, who, "in the last twenty years of the
 
 Il8 THE ORGAN AND ITS MASTERS 
 
 seventeenth century, helped above all others to ad- 
 vance the art of organ music," and we may well 
 quote that portion which leads up to the analysis 
 of Pachelbel's compositions. 
 
 ** His constant changes of residence between 
 South and Central Germany had an essential effect 
 on Pachelbel's art, by giving rise in him to the 
 amalgamation of various tendencies. The style of 
 chorale treatment which was chiefly practised in 
 Thuringia and Saxony found in the skeleton of the 
 church hymn a form offering, it is true, a poetic 
 rather than a musical unity ; but it ran the risk of 
 being decomposed by such handling into incoherent 
 fragments. With that feeling, so especially char- 
 acteristic of Italy, for grand and simple forms, 
 toward which the very being of the organ pointed, 
 and in far more favourable circumstances, Italy and 
 South Germany, under direct Itahan influence, had 
 far outstripped North Germany in the art of organ 
 music. Frescobaldi, organist to the church of St. 
 Peter at Rome, had, so early as in the first half of 
 the century, risen to a height of mastery which, in 
 certain points, — for instance, in the skilful contra- 
 puntal treatment of a cantus firrnus, — was scarcely 
 surpassed by any Catholic organ-master of later date. 
 In the toccata, by careful elaboration, a form had at 
 last been worked out which contained in itself nearly 
 all that the art had then achieved — fugues, free imita-
 
 THE ORGAN AND ITS MASTERS 1 19 
 
 tions, brilliant ornamental passages, and the mighty 
 flow of chord progressions. This summit . . . had 
 been reached by the end of the century ; what re- 
 mained to be done it was beyond the powers of the 
 Catholic organists to achieve. The motive supplied 
 by the Protestant chorale was lacking to them ; the 
 Gregorian chant, which Frescobaldi handled so effi- 
 ciently and effectively for the organ, founded as it 
 was on solo declamation and the church modes, was 
 opposed in its very essence to that richer develop- 
 ment in the new harmonic system, by which alone 
 the full expansion of instrumental music became pos- 
 sible. In the Protestant chorale, on the contrary, 
 that fresh and native growth from the heart of the 
 people, organ music was destined to find the natural 
 element which the Roman nationalities could not 
 supply to it, that pure and unsophisticated essence 
 which penetrated and invigorated all its branches. 
 Nor was it merely an abundant flow of new melodic 
 inventions that sprung from this source : quite new 
 forms of art grew on and from it ; an undreamed-of 
 wealth of harmonic combinations was discovered, and 
 possibilities of instrumental polyphony hitherto un- 
 known. Pachelbel carried these achievements of the 
 South into the heart of Germany, took possession of 
 the elements he there found ready to his hand, and 
 from the two constructed something newer and finer. 
 Nowhere better than in Thuringia could his genius
 
 120 THE ORGAN AND ITS MASTERS 
 
 have met with men capable of welcoming it with 
 unbiassed minds, and with a greater capacity for 
 furthering it on its way. From this time forth the 
 focus of German organ music lay undoubtedly in 
 Central Germany ; the South fell off more and 
 more ; the North, with Dietrich Buxtehude at its 
 head, preserved its position somewhat longer, and 
 even constructed a certain chorale treatment of its 
 own, which, however, lagged far behind that of 
 Central Germany in variety and depth."
 
 CHAPTER VII. 
 
 ENGLISH ORGANISTS OF THE EIGHTEENTH CENTURY 
 
 Returning to England, the first of the celebrated 
 organists who was born in the eighteenth century 
 was Doctor William Boyce, a native of London. 
 Born in 1710, he became a chorister at St. Paul's 
 Cathedral, and on leaving the choir was articled to 
 Maurice Greene, at that time organist of the cathe- 
 dral. His first position as organist was at Oxford 
 Chapel, Vere St., London, and while here he contin- 
 ued his studies under Doctor Pepusch. In 1739 he 
 became organist of St. Michael's, Cornhill, and in 
 the same year was appointed composer to the Chapel 
 Royal, in which office he distinguished himself by 
 writing many fine anthems, which are still used. 
 
 In 1737 Boyce was appointed conductor of the 
 
 festival of the three choirs, Gloucester, Worcester, 
 
 and Hereford, which post he held until 1745, and 
 
 four years later he became organist of All Hallows, 
 
 Thames Street, and in the same year took his degree 
 
 of Doctor of Music at Cambridge. 
 
 121
 
 122 THE ORGAN AND ITS MASTERS 
 
 In 1755 he succeeded Doctor Greene as master 
 of the kmg's band of music, and conductor of the 
 festivals of the Sons of the Clergy, held annually 
 at St, Paul's Cathedral. On the death of John 
 Travers, in 1758, Doctor Boyce became organist to 
 the Chapel Royal, resigning his other organ positions. 
 
 From his youth Doctor Boyce had suffered from 
 deafness, and now his infirmity obliged him to give 
 up teaching. He therefore turned his attention to 
 the work which has added greatly to his fame, viz., 
 the compiling of his three volumes of Cathedral 
 Music, one of the most valuable collections in 
 existence. 
 
 Boyce's style was massive, dignified, and impres- 
 sive, and his anthems are considered equal to any- 
 thing in the whole repertory of cathedra] music. 
 He has been regarded by competent critics as one 
 of the last of a race of English church composers 
 possessed of power and individuality of character 
 sufficiently well marked and well set as to enable 
 them to resist certain meretricious influences from 
 without. Most of those that followed in the next 
 generation seemed moved to utter second-hand 
 thoughts in a second-hand manner, so that in 
 sheer despair of obtaining anything that might be 
 counted as truly worthy of the church service, men 
 looked abroad, and instead of studying to make 
 themselves equal to the effort of continuing the
 
 THE ORGAN AND ITS MASTERS 1 23 
 
 traditions of the elders, tinged with more modern 
 knowledge, they set themselves to work to adapt 
 compositions not originally intended for church use 
 to words that might give a colourable pretext for 
 their introduction into church. 
 
 A name which may not be exactly appropriate 
 here, and yet which cannot well be left out, is that 
 of Doctor Pepusch, who was very prominent in Eng- 
 lish musical matters for many years, and who was 
 organist, for a time, to the Duke of Chandos, the 
 position afterward filled by Handel, 
 
 John Christopher Pepusch was born in Berlin, 
 where his father was a Protestant clergyman. His 
 musical talent was early developed, and at the age of 
 fourteen he received an appointment at the Prussian 
 court, which he held for sixteen years, at the same 
 time devoting himself to the study of Greek, and 
 becoming a skilled theorist. An unpleasant incident 
 — seeing the summary decapitation of an officer with- 
 out trial — made him feel the desirability of getting 
 away to some place where heads were safer, and he 
 went to Holland, and thence to England, arriving in 
 London about the year 1700. He took his degree 
 at Oxford in 171 3, and was prominent in the estab- 
 lishment of the Academy of Ancient Music, and in 
 most of the musical doings of the times, — operatic, 
 theatrical, etc. He wrote a treatise on harrnony, and 
 married Marguerita de I'Epine, the celebrated singer,
 
 124 ^^^ ORGAN AND ITS MASTERS 
 
 and was frequently mentioned by Samuel Pepys in 
 his immortal " Diary." 
 
 In 1737 Doctor Pepusch was appointed organist 
 of the Charter House, and retained that post during 
 the remainder of his life, which ended in 1752. 
 Doctor Pepusch was profoundly skilled in musical 
 science, and was the teacher of such men as Travers, 
 Boyce, and Cooke. 
 
 At one time he set out for the Bermudas, to estab- 
 lish a school of music, but soon after leaving port 
 the ship was wrecked, and on reaching dry land, he 
 decided to remain there. His marriage shortly after- 
 wards to the songstress who brought him a fortune, 
 no doubt confirmed his determination to stay at 
 home. 
 
 A very remarkable organist was John Stanley, 
 born in London in 1713, who became blind, by acci- 
 dent, at the age of two. He began to learn music 
 when seven years of age, and his talent developed so 
 rapidly that in 1724, when only eleven years old, he 
 was appointed organist at All Hallows, Bread Street, 
 and two years later of St. Andrew's, Holborn. In 
 1729 he took degree of Mus. Bac. at Oxford, and 
 in 1734 he became one of the organists of the 
 Temple Church. He succeeded Doctor Boyce as 
 master of the king's band of music in 1779, and 
 died in 1786. He wrote a good quantity of music, 
 amongst which were thirty-six organ voluntaries. He
 
 THE ORGAN AND ITS MASTERS 1 25 
 
 appears to have been a very active man, for he asso- 
 ciated himself with J. C. Smith in carrying on the 
 oratorio performances formerly conducted by Handel. 
 Burney says of him that he was "a neat, pleasing, 
 and accurate performer, a natural and agreeable com- 
 poser, and an intelligent instructor." 
 
 John Alcock, born in London in 171 5, was a pupil 
 of Stanley, though but two years his junior. After 
 several appointments in different places, he became 
 organist, master of the choristers, and lay vicar of 
 Litchfield Cathedral, but resigned the two former 
 offices in 1760, retaining that of lay vicar. He died 
 at Litchfield at the age of ninety-one. Alcock is 
 regarded as a good musician who would not degrade 
 his art to gratify the popular taste. 
 
 Doctor Nares, born at Stanwell, Middlesex, in 
 1 71 5, was a chorister in the Chapel Royal, and after- 
 ward a pupil of Doctor Pepusch. He acted for a 
 time as deputy organist at St. George's Chapel, 
 Windsor, but in 1734 was appointed organist of 
 York Minster. In 1756 he became organist of the 
 Chapel Royal, succeeding Doctor Greene, and he 
 died in 1783. He did not distinguish himself as a 
 composer. 
 
 Doctor Charles Burney was more celebrated as a 
 musical historian than as an organist ; nevertheless, 
 as he did hold various positions as organist and as 
 he was an important man in musical history, he should
 
 126 THE ORGAN AND ITS MASTERS 
 
 be mentioned here. He became a pupil of Doctor 
 Arne, and organist of a church in Fenchurch Street, 
 London, in 1 749, but two years later, being threatened 
 with consumption, he accepted a position as organist 
 at Lynn-Regis, Norfolk, where he remained for nine 
 years and regained his health. He now returned to 
 London and entered actively into the musical life of 
 the city, but in 1770 he set forth on a tour of the 
 Continent, in search of material for his history of 
 music. During this first journey he visited the south 
 of Europe, publishing an account of his journey on 
 his return. He then set out on a tour of the Nether- 
 lands and Germany. 
 
 His history of music was published in four vol- 
 umes, the first appearing in 1776 and the last in 
 1789. 
 
 In the same year Doctor Burney was appointed 
 organist at the Chelsea Hospital, and passed the 
 remaining twenty- five years of his life in that place. 
 He was a man of high attainments, exemplary char- 
 acter, spirited and gentlemanly manners. He died 
 in 18 14. Among his compositions were six cornet 
 pieces with introduction and fugue for the organ. 
 
 Thomas Saunders Dupuis, born in England of 
 French parents, was one of the best organists of his 
 time (1733-1796). As a boy he was a chorister in 
 the Chapel Royal, and on the death of Doctor Boyce 
 m 1779, Dupuis succeeded him there as organist.
 
 THE ORGAN AND ITS MASTERS 127 
 
 Although he composed a quantity of church music 
 which was published, none of it was ever reprinted. 
 
 Jonathan Battishill, born in London in 1738, was 
 one of the choristers of St. Paul's Cathedral, and 
 became deputy organist for Doctor Boyce at the 
 Chapel Royal. He was a good composer both of 
 church and secular music, and was known as one of 
 the most remarkable extempore players of his day, 
 and a most accomplished organist. His memory was 
 prodigious, and he could not only play a piece which 
 he had read through carefully once, but could at any 
 time afterward recall it with slight effort of memory. 
 It is said that he once played to Doctor Arnold the 
 greater part of his oratorio, " The Prodigal Son," which 
 the author had nearly forgotten, and this without 
 ever having seen the work, but having only heard it 
 twice some thirty years previously. 
 
 Battishill was twice married, and survived his 
 second wife some twenty-five years. He died at 
 the age of sixty-three, and was buried in St. Paul's, 
 near to Doctor Boyce. 
 
 Doctor Samuel Arnold, born in London in 1740, 
 held many important positions, and was an active musi- 
 cian and prolific composer. He was organist of West- 
 minster Abbey in 1793, succeeding Doctor Cooke, 
 and three years later became conductor of the annual 
 benefits for the Sons of the Clergy at St. Paul's. 
 He was also appointed, in 1789, conductor of the
 
 128 THE ORGAN AND ITS MASTERS 
 
 Academy of Ancient Music, which institution was 
 then in its dechne. 
 
 Doctor Arnold devoted the greater part of his 
 energies to the stage, and composed several operas 
 which became popular upon both sides of the Atlan- 
 tic, but in church music he is remembered chiefly on 
 account of his collection, which was a continuation of 
 that made by Doctor Boyce. He wrote several ora- 
 torios and anthems, but they were not remarkably 
 successful. Doctor Arnold died in 1802, and was 
 buried in Westminster Abbey. 
 
 A long period elapsed between Arnold, and Att- 
 wood and Wesley, who were the next organists of 
 great talent in England. There are, nevertheless, 
 several names worthy of mention. The family of 
 Corfe, for instance, and that of Camidge. Doctor 
 Busby, John W. Callcott, and Bcckwith were all men 
 of ability. 
 
 Joseph Corfe was born in 1740 at Salisbury, and 
 became organist of Salisbury Cathedral. His son, 
 Arthur Thomas, born in 1773, was organist and 
 choir-master of the same cathedral, being appointed 
 on the resignation of his father. He died in 1863, at 
 the age of ninety. His son, Charles William, became 
 organist of Christ Church, Oxford. 
 
 John Camidge, born about 1735, was organist of 
 York Cathedral from 1756 until the time of his 
 death in 1 803, — forty-seven years, — when his son
 
 THE ORGAN AND ITS MASTERS 1 29 
 
 Matthew was appointed to the position thus made 
 vacant. Matthew died in 1844, when his son John 
 succeeded him in the same position, and the great 
 organ, which was one of the largest in England, was 
 built under his supervision. He died in 1859, when 
 the position had been held in the family for a period 
 of a hundred and three years. 
 
 Doctor Busby, born in 1755, at Westminster, is 
 best known by his writings on musical subjects, 
 especially his " Dictionary of Music " and his " His- 
 tory of Music," He was an excellent scholar, and a 
 man of great industry. 
 
 John Wall Callcott was the son of a bricklayer of 
 Kensington, a suburb of London, and prosecuted his 
 musical studies largely without the aid of a master. 
 By dint of indomitable perseverance he succeeded in 
 carrying off several prizes for glees, catches, etc., one 
 of which was a catch with the words " Have you Sir 
 John Hawkins' History.?" When Haydn visited Eng- 
 land in 1790, Callcott took some lessons of him in 
 composition. He was appointed to succeed Doctor 
 Crotch as lecturer on music at the Royal Institution, 
 and eventually his exertions impaired his health and 
 resulted in the loss of his mind. As an organist he 
 held good appointments, but none of the great ones. 
 
 Thomas Attwood was born in 1767, and became a 
 chorister of the Chapel Royal. On account of his 
 talent he was sent, at the age of sixteen, to Italy,
 
 I30 THE ORGAN AND ITS MASTERS 
 
 and after two years* study at Naples, he proceeded 
 to Vienna, where he became a pupil of Mozart. In 
 1787 he returned to England, and entered upon what 
 proved to be a distinguished career. He was a mem- 
 ber of the king's band, and soon became music 
 teacher of the Duchess of York and the Princess 
 of Wales. In 1795 he became organist of St. Paul's 
 Cathedral, and in the following year composer to the 
 Chapel Royal, of which church he became organist in 
 1836. He died in 1838. 
 
 During the early part of his career he wrote much 
 and successfully for the stage, but later he devoted 
 his attention to church music, and wrote many fine 
 anthems. 
 
 Attwood was one of the first among English mu- 
 sicians to recognise the talent of Mendelssohn, who 
 stayed at his house when in England and who dedi- 
 cated to him three preludes and fugues for the 
 organ. 
 
 Samuel Wesley, born February 24, 1766, on the an- 
 niversary of the birth of Handel, was undoubtedly 
 the greatest EngHsh organist of his time, and was un- 
 rivalled both for his extempore playing and for his 
 performance of the fugues of Bach and Handel. 
 Though not quite as precocious as his older brother 
 Charles, whose musical instinct is said to have made 
 itself manifest when he was two years and nine 
 months old, Samuel was not far behind. He is
 
 THE ORGAN AND ITS MASTERS I3I 
 
 said to have been three years old before he could 
 play a tune. In this particular he was three months 
 behind his older brother, but Charles could always 
 put a true bass to his tune, while Samuel did not 
 acquire this accomplishment until he had learned his 
 notes. Samuel, however, made up for the delay by 
 composing an oratorio named " Ruth " when about 
 eight years old, and this oratorio is said to have met 
 with the approval of Doctor Boyce. 
 
 When twenty-one years of age he met with an 
 accident which seriously affected him throughout his 
 life, and caused him to abandon his profession tem- 
 porarily several times. He fell into a deep excavation 
 and injured his skull. 
 
 Samuel Wesley was one of the most enthusiastic 
 admirers of the works of Bach, and published an edi- 
 tion of the " Wohltemperirte Clavier," besides which 
 he promoted the publication of an English version of 
 Forkel's life of Bach. 
 
 His last active appearance was at Christ Church, 
 Newgate Street, on September 12, 1837, on which 
 occasion he had gone to hear Mendelssohn play the 
 organ, and was himself prevailed upon to perform. 
 This is interesting because there are so few accounts 
 of Mendelssohn's organ-playing, Wesley wrote a 
 dozen organ concertos, and a large number of vol- 
 untaries. He died in 1837, a month after the organ 
 recital above mentioned.
 
 132 THE ORGAN AND ITS MASTERS 
 
 Wesley's enthusiasm over the works of Bach 
 prompted him to labour energetically in order to prop- 
 agate a knowledge of them amongst English musi- 
 cians, and during the years 1808 and 1809 his efforts, 
 in part, took the form of a series of letters addressed 
 to Benjamin Jacob. These letters were edited and 
 published in 1875 by Wesley's daughter, and they 
 bring Benjamin Jacob into a prominence for our pur- 
 poses which he could not have received on account 
 of his compositions, which were trifling, or of his 
 holding a prominent position. Jacob was organist of 
 several churches at various periods, but that with 
 which he was longest connected, and in which he 
 passed the most active period of his life, was the 
 Surrey Chapel. Gradually he became more and 
 more distinguished as one of the best organists of 
 his day, and he enhanced his reputation by giving, at 
 the Surrey Chapel, beginning in 1808, a series of 
 performances of airs, choruses, and fugues played 
 upon the organ alone, without any interspersion of 
 vocal pieces — in short, he gave regular organ re- 
 citals. In all probability it was this enterprise which 
 led Wesley to write the series of letters already men- 
 tioned. In 1809, Wesley and Jacob gave an organ 
 recital at the Surrey Chapel, in which they played 
 alternately some of the fugues of Handel and Bach, 
 as well as other pieces. In later years Jacob gave 
 similar performances in conjunction with Doctor
 
 THE ORGAN AND ITS MASTERS 1 33 
 
 Crotch. In consequence of Jacob's artistic efforts, 
 he became an authority on matters pertaining to the 
 organ, was often called upon to open new organs, and 
 to act as judge in the selection of organists. He left 
 the Surrey Chapel in 1823, and died in 1829. His 
 death was hastened by a controversy with his former 
 rector. 
 
 Before leaving the name of Wesley, although he 
 belongs to a generation later than that which we are 
 now dealing with, and brings us down to compara- 
 tively recent times, it may be well to review Samuel 
 Sebastian Wesley, the third son of Samuel, and the 
 inheritor of his genius. 
 
 Samuel Sebastian Wesley was born in 18 10, be- 
 came chorister at the Chapel Royal in 1824. Three 
 years later he was appointed organist at St. James's 
 Church, Hampstead Road. Two years later he be- 
 came organist of two other churches, and held all 
 four positions at the same time. In 1832 he became 
 organist of Hereford Cathedral, in 1835 Exeter 
 Cathedral, and in 1842 Leeds Parish Church. In 
 1849 he was appointed organist at Winchester Cathe- 
 dral, a position to which he was drawn in the inter- 
 ests of the education of his sons. After fifteen 
 years' enjoyment of this connection, he was ap- 
 pointed to Gloucester Cathedral, and thus became 
 conductor of the Three-Choir Festivals. During his 
 incumbency of the Gloucester position he received
 
 134 ^^^^ ORGAN AND ITS MASTERS 
 
 a pension of ;^ioo per annum from the government 
 for his services to church music, an honour highly- 
 deserved, for, in a time when church music was in 
 a bad condition, his high standard and example did 
 much to restore it to its ancient prestige. As a com- 
 poser, his fame rests chiefly upon a volume of twelve 
 anthems published in 1854. For the organ alone he 
 wrote several pieces, but as a performer he held a very 
 high reputation, and for many years was considered the 
 finest player in England. His extempore playing was 
 something long to be remembered, and many organ- 
 ists who heard him changed their style for the better, 
 some of them catching a ray of the afflatus divimis 
 which as an organist may be fairly ascribed to him. 
 
 In 1 844 Wesley was a candidate for the professor- 
 ship of music at Edinburgh University, which was 
 made vacant by the resignation of Sir Henry Bishop. 
 He was not appointed, but one of his testimonials, 
 written by Spohr, gives a concise estimate of his 
 standing as a composer : " His works show without 
 exception that he is master of both style and form of 
 the different pieces of composition, and keeps himself 
 closely to the boundaries which the several kinds de- 
 mand, not only in sacred art, but also in glees and in 
 music for the pianoforte. His sacred music is chiefly 
 distinguished by a noble, often even an antique style, 
 and by rich harmonies as well as by surprisingly 
 beautiful modulations."
 
 THE ORGAN AND ITS MASTERS 1 35 
 
 Wesley died in 1876, and was buried at Exeter. 
 No organist is regarded with greater reverence by 
 those who remember him, 
 
 Wilham Crotch (i 775-1 847) was a musical 
 prodigy, who failed to fulfil the exalted expectations 
 of his early admirers, but nevertheless occupied a 
 prominent place among organists in England. The 
 expectations appear to have been based upon the 
 fact that at the age of two and a half or less, he 
 evinced a strong desire to play upon an organ which 
 his father had built, and on being placed before it he 
 played a tune which was pronounced to be some- 
 thing like *' God Save the King." Soon afterward 
 he was able to add a bass to it, and then to play 
 other tunes, and at the age of fourteen he produced 
 an oratorio which was performed at Cambridge. In 
 1780, when he was only five years old, he was taken 
 to London, and gave some public performances on 
 the organ. In 1786 he went to Cambridge, and 
 became assistant to Doctor Randall, who was organ- 
 ist of Trinity and King's Colleges, and Great St. 
 Mary's Church, as well as professor of music at the 
 university. 
 
 The organ appointments of Doctor Crotch were 
 all connected with the University of Cambridge, and 
 in 1797 he became professor of music to the univer- 
 sity. Doctor Crotch was appointed lecturer at the 
 Royal Institution in 1820, and two years later, on
 
 136 THE ORGAN AND ITS MASTERS 
 
 the establishment of the Royal Academy of Music, 
 he was made principal of it. His reputation as a 
 teacher was very high. Doctor Crotch wrote several 
 anthems, some fugues and concertos for the organ, 
 and more or less secular music. 
 
 Another good English organist was Thomas 
 Adams (i 785-1858), who at the age of seventeen 
 was appointed organist of the Carlisle Chapel, Lam- 
 beth. Subsequent to this he held at various times 
 the post of organist at St. Paul's, Deptford, St. 
 George's, Camberwell, and St. Dunstan in the West, 
 Fleet Street, holding the two latter conjointly until 
 his death. 
 
 For a period of more than a quarter of a century 
 Adams was very prominent as a performer on the 
 organ, and his services were in constant requisition 
 by the organ-builders to exhibit their instruments 
 prior to their removal from the factory to their desti- 
 nation. One of these occasions is mentioned by 
 Moscheles, who heard him try two new organs built 
 by Gray, one for Belfast and the other for Exeter 
 Hall, and admired exceedingly the finished execution 
 and extempore playing of the organist. Adams ex- 
 celled in both the strict and free styles, and he pos- 
 sessed a remarkable faculty for improvising, in which 
 art he showed great contrapuntal skill. He also 
 composed many organ pieces, fugues, voluntaries, 
 ninety interludes, and several variations on popular
 
 THE ORGAN AND ITS MASTERS 1 37 
 
 themes. Adams for many years superintended the 
 performances on the Apollonicon, a celebrated in- 
 strument built by Flight and Robson, and having 
 both barrel and keys. The Apollonicon was kept 
 on exhibition for about a quarter of a century, and 
 was considered a very remarkable instrument in its 
 day. A full account of it can be found in Grove's 
 Dictionary.
 
 CHAPTER VIII. 
 
 MODERN CONTINENTAL ORGANISTS 
 
 During the nineteenth century organ-playing seems 
 to have become more popular in other countries than 
 in Germany. The German builders have been very 
 conservative, and have been left far behind in the 
 race for improvement by the French, Enghsh, and 
 Americans. Although the Germans were early to 
 adopt the pedal keyboard, they were very far behind 
 in their adoption of the " swell-box," and their ideal 
 organ was an instrument suitable for the proper per- 
 formance of Bach's fugues. In Germany, too, the 
 organ has been a church, and not a concert instru- 
 ment, while in England, France, and America the 
 ** organ concert " or "organ recital," on organs placed 
 in concert halls, has given an impetus to playing 
 which, while it has done much to develop both the 
 instrument and the performer, has also developed 
 certain undesirable features — undesirable at least in 
 the eyes of those who wish the organ to maintain its 
 sacred character. To many minds the playing of 
 opera overtures upon the organ is but a degree less 
 
 138
 
 THE ORGAN AND ITS MASTERS 1 39 
 
 shocking than the incident of the French Revolu- 
 tion, when Sejan was made to play dance-music on 
 the organ of Notre Dame. 
 
 Germany remains the home of intellectual music 
 for the organ, while the French excel in the lighter 
 vein, and incline toward the sensational. 
 
 Of German organists since Bach, Schneider has 
 been regarded as one of, if not quite, the greatest. 
 
 Johann Gottlob Schneider was born at Alt-gersdorf 
 in 1789. His musical talent developed at a very 
 early age, and when twenty-two years old, after hav- 
 ing studied organ with Unger of Zittau, he was 
 appointed organist of the University Church at Leip- 
 zig. In the course of a few years he became known 
 as a player of the highest rank, and he gave many 
 concerts in Saxony and elsewhere. In 1825 he 
 played at the Elbe Musical Festival held at Magdeburg, 
 and in consequence of his excellent performance was 
 appointed court organist to the King of Saxony, a 
 post which he held with honour and renown until his 
 death in 1864, 
 
 As a player of Bach, Schneider was considered as 
 the first authority of his day, and he possessed a 
 traditional reading of the organ works of that great 
 master, with all of which he appeared to be acquainted. 
 His grand extempore preludes to the opening chorales 
 at the Lutheran church at Dresden were a great at- 
 traction for all musical visitors, and on those occasions
 
 140 THE ORGAN AND ITS MASTERS 
 
 that particular form of improvisation which has been 
 made a special study and feature in Germany since 
 the time of Bach, might be heard to the greatest 
 advantage. 
 
 As a teacher the elevation and dignity of his style, 
 the exclusion of everything derogatory to the instru- 
 ment, and his reverence and enthusiasm for the great 
 music he delighted to teach, combined, with other 
 qualities, to place him in the front rank. It was his 
 custom to play any composition of Bach which the 
 pupil might ask to hear, at the end of each lesson, 
 thus giving invaluable instruction as to tempi, regis- 
 tration, etc. 
 
 Schneider left very few published works, but they 
 are masterly. One of these is an "answer of thanks " 
 for a " Jubel-Album fiir die Orgel," containing about 
 thirty original pieces, all in classic form, by his best 
 pupils. This album was presented to him in 1861, 
 on the fiftieth anniversary of the beginning of his 
 artistic career, and the seventy-third of his birth. 
 Among the contributors were Topfer, Van Eyken, 
 Faisst, Fink, Herzog, Merkel, E. F. Richter, Schellen- 
 berg, Liszt, A. G. Ritter, Schaab, Hering, Naumann, 
 Schurig, and Schutze, who was the editor. There 
 were seven hundred and fifty subscribers, amongst 
 them being the king and royal family of Saxony. 
 His answer of thanks was in the form of a fugal treat- 
 ment of " Nun danket alle Gott."
 
 THE ORGAN AND ITS MASTERS 141 
 
 An excellent account of Schneider and his organ- 
 playing was given by Henry F. Chorley, the musical 
 critic, who paid a visit to the great organist at his 
 home in Dresden, — an account well worth reproduc- 
 ing : " His simple and hearty welcome, and his homely 
 and intelligent features, on which a smile sits more 
 at its ease than on many countenances far more 
 regularly agreeable, — in short, the appearance, air, 
 and abord (as the French say) of the man, had the 
 welcome familiarity of old acquaintanceship. It was 
 late in the day when I paid my visit ; and he had 
 been occupied with his usual avocations since the 
 lark's hour of rising. But when I told him how short 
 the duration of my stay in Dresden must be, he sent 
 for the keys of the church and his bellows-blower, as 
 if he was doing the most natural thing instead of the 
 greatest favour imaginable, without any superfluous 
 words between us. Indeed, profuse thanks would 
 have suited ill with his hearty plainness of manner, 
 and we were out of the house, and on the road to 
 one of the rarest musical pleasures I ever enjoyed, as 
 if we had known one another ' in the body ' for 
 years, within ten minutes of his breaking the seal of 
 's friendly letter. . . . 
 
 "Those who treat organ-playing as 'a black busi- 
 ness,' to which they bend themselves with frowning 
 brows, and coat-sleeves turned up half-way to the 
 shoulders, — the school of kickers, and swingers to
 
 142 THE ORGAN AND ITS MASTERS 
 
 and fro, who make much exertion cover up very Httle 
 skill, — might have taken a lesson from this admirable 
 artist, whose hands, as they glide away over the keys 
 (^worked axvay' is the established phrase), were 
 bringing out into their fullest glory all those mag- 
 nificent chains of sound, — all those replies, and sus- 
 penses, and accumulations, which, with a calm but 
 never-tiring munificence, the noble old cantor of 
 the Thomas-Schule has lavished upon his composi- 
 tions. Perhaps a finer specimen of these does not 
 exist than in the fugue in E minor, with which Herr 
 Schneider next indulged me, where the subject, spread- 
 ing in the form of a wedge, offers such excellent 
 scope for the amplification of science and the arrange- 
 ment of climax, I withdrew to the further corner of 
 the gallery, where the twilight was now fast sinking, 
 and while listening to this marvellous performance, 
 lost the personality both of the composer and the 
 performer, more completely perhaps, than I have 
 ever done. It was neither Bach nor Schneider : the 
 building was filled to running over with august and 
 stately music, and the old childish feeling of mystery 
 and delight which, in the days when I was sparingly 
 admitted to the acquaintanceship of any instrument 
 whatsoever, the gigantic sounds of the organ used to 
 
 awaken in me, came back as if I had been only 
 
 years old. 
 
 "After one or two more glorious displays of entire
 
 THE ORGAN AND ITS MASTERS 1 43 
 
 mastery over the key and pedal-board, ' It is too 
 dark for us to see any more of Bach,' said my hberal 
 host, ' so you must excuse what I am going to do,' 
 and with that struck off at once into an improvisation 
 of rare beauty of figure, and affluence of device. 
 The subject was not at all a recondite one, — simple 
 and bold, and at first I fancied a little dryly treated : 
 what, indeed, is there that would not sound so after 
 the unfoldings of Bach ? But whether the admirable 
 artist was excited by the keen relish I showed, or 
 whether it is the nature of such powers as his to 
 sustain and to excite themselves, as he went on the 
 depth of his science was surpassed by the brilliancy 
 of his fancy. It was the work of one hand to draw 
 and close the stops which were wanted by the play 
 of his imagination, a matter, of course, in which he 
 could receive no help. But he ministered to himself 
 with such a wonderful promptness and agility of 
 finger, that the changes of hand from the keyboard 
 to the register were never felt, while so subtly were 
 they combined and alternated, as to be totally clear 
 of producing that piecemeal effect in which the 
 fantasy work of common organists so often ends, 
 from a want of a like judgment in combination. Till 
 then the remarkable mental energy demanded for an 
 exhibition like this never struck me in all its fulness. 
 And yet, not only must the performer originate 
 thoughts, but, by new and happily successive ad-
 
 144 ^-^^ ORGAN AND ITS MASTERS 
 
 mixtures, contrive effects totally beyond the reach 
 of him who has only before him the plain and im- 
 movable keys of a pianoforte. Taken merely in its 
 most matter-of-fact sense, as a display which proved 
 nothing, here were memory, combination, prompti- 
 tude, invention, and mechanical skill united. I may 
 be laughed at, but I could not help imagining that 
 the exercise of a power at once implying thought, 
 self-mastery, and a patient use of physical strength, 
 could hardly have been carried to so high a perfec- 
 tion without its favourable moral influences ; and if 
 that were so, herein, and not from their being erected 
 in churches, might lie the superior sacredness of 
 organs beyond other instruments — herein the holi- 
 ness of the performance of the music written for 
 them." 
 
 The next morning Mr. Chorley attended the ser- 
 vice at the Sophienkirche and enjoyed another 
 exhibition of Schneider's skill, which he describes as 
 follows : " He had warned me that the plain Lutheran 
 service forbade his exercising his craft with anything 
 like fantasy, but I would not have exchanged what I 
 did hear for the most elaborate performance which 
 hands and feet in concord could have completed. 
 Before the service commenced to an ample congrega- 
 tion, he treated us to a brief prelude on the full 
 organ, of great majesty and brilliancy, as clear in 
 design and as symmetrical in elaboration as though
 
 THE ORGAN AND ITS MASTERS I45 
 
 it were an impromptu fait d loisir. Then, while 
 accompanying the psalms, — five or six of which were 
 most admirably sung by a choir of eighteen boys and 
 young p-en, — the extent of resource brought by 
 him to bear on a prosaic and inferior task (as a 
 second-rate player might choose to esteem it) was to 
 me little less astonishing than the force he had 
 shown in mastering the difficulties of Bach, The 
 interludes between the verses were substantially and 
 solidly dignified, yet sufficiently rich in ideas to set 
 up for a twelvemonth some of the renowned im- 
 provisers I have heard, while the artful and unex- 
 pected management of the stops, so as to produce 
 every variety of crescendo and diminuendo, entirely 
 precluded the occupation of the swell. Though I 
 stood close by, I was unable, from a want of familiarity 
 with the manipulations of the instrument, and the 
 rapidity with which the changes were executed, to 
 take any note of the successions and mixtures of 
 stops employed." 
 
 A biographical sketch of Mendelssohn would be 
 out of place and quite unnecessary here, but some- 
 thing may be said of him as an organ-player and 
 composer. In searching the biographies of Mendels- 
 sohn it is surprising to find how little mention is 
 made of his organ playing, and yet we are told that 
 when he was in England his organ-playing was 
 watched with great interest, " for he was the greatest
 
 146 THE ORGAN AND ITS MASTERS 
 
 of the few great German organ-players who had 
 visited this country (England), and the English or- 
 ganists, some of them no mean proficients, learned 
 more than one lesson from him." 
 
 In 1837, on September 10, Mendelssohn played 
 the organ at St. Paul's Cathedral. It was on a 
 Sunday afternoon, and such was the effect of his 
 playing that the congregation would not leave, and the 
 verger withdrew the organ-blower and let the wind 
 out of the organ in the midst of Bach's prelude 
 and fugue in A minor. Two days after this, on 
 Tuesday, September 12, Mendelssohn played at 
 Christ Church, Newgate Street, in the morning. He 
 was on this occasion in a particularly good vein, and 
 played six extempore fantasias, one on a subject 
 given at the moment. He also played the Bach 
 prelude and fugue which had been so ruthlessly 
 strangled on the previous Sunday. It was on this 
 occasion that Samuel Wesley was present, and 
 played. He was then seventy-one years of age, and 
 died a month later. 
 
 It would be unnecessary to quote at length the 
 opinion of Doctor Gauntlett, who wrote an account of 
 these performances in the Musical World, but a 
 few of his essential and less technical points may 
 well be used : 
 
 " It was not that he played Bach for the first time 
 here — several of us had done that. But he taught
 
 THE ORGAN AND ITS MASTERS I47 
 
 US how to play the slow fugue, for Adams and others 
 had played them too fast. His words were, ' Your 
 organists think that Bach did not write a slow fugue 
 for the organ.' Also he brought out a number of 
 pedal fugues which were not known here. . . . One 
 thing which particularly struck our organists was the 
 contrast between his massive effects and the light- 
 ness of his touch in rapid passages. The touch of 
 the Christ Church organ was both deep and heavy, 
 yet he threw off arpeggios as if he were at the 
 piano. His command of the pedal clavier was also 
 a subject of much remark." 
 
 After this he went to Birmingham for the festival, 
 and during that period he played the organ at the 
 evening concert of Tuesday, September 19, when 
 he extemporised upon the subject of his fugue from 
 *' Your harps and cymbals " (Solomon), and the first 
 movement of Mozart's Symphony in D, both of 
 which he had conducted earlier in the day. On the 
 following Friday morning he played Bach's prelude 
 and fugue in E-flat (St. Anne's). Again in 1840 
 he went to Birmingham to conduct the festival, and 
 played the organ on several occasions both in private 
 and in public, and on all these occasions he seems to 
 have caused wonder and delight, both by his playing 
 of Bach fugues and by his extemporising upon various 
 themes. 
 
 Adolph Friedrich Hesse, born at Breslau (1809-
 
 148 THE ORGAN AND ITS MASTERS 
 
 1863), was the son of the celebrated organ-builder. 
 His talent was so conspicuous that the authorities of 
 tlie town of Breslau granted him an allowance suffi- 
 cient to enable him to go to Leipzig, Cassel, Ham- 
 burg, Berlin, and Weimar, in each of which towns he 
 played his own and other compositions, and during 
 his sojourn enjoyed the instruction and acquaintance 
 of Hummel, Rinck, and Spohr. 
 
 In 1 83 1 Hesse was appointed organist at the 
 church of the Bernardines, Breslau, which post 
 he retained until his death. 
 
 In 1844 he travelled to Paris. And in a criticism 
 in the Revue et Gazette Musicale, it is stated : 
 *' Hesse plays with his feet alone better than others 
 with their hands." In 1846 he visited Italy. In 
 1852 he went to England, where every one won- 
 dered at and honoured him, especially in the Crystal 
 Palace in London, the monster organ of which he 
 played in an extraordinary way. Returning to Bres- 
 lau, he spent the rest of his life in teaching, and his 
 fame was such that he had many visits from admirers. 
 He was director of the Symphony Concerts at Bres- 
 lau. His " Practical Organist," containing twenty- 
 nine pieces, is a widely known work, but he wrote 
 also many works for the organ, besides other music. 
 
 " Karl August Haupt was born in Kunern, Silesia, 
 August 25, 18 10. His musical studies were directed 
 by A. W. Bach, Bernard Klein, Siegfried Wilhelm
 
 THE ORGAN AND ITS MASTERS 1 49 
 
 Dehn, and somewhat later by Friedrich Johann 
 Schneider and Johann Gottlob Schneider. He made 
 such marked progress that, at the age of twenty-two, 
 he received an appointment at the French Convent 
 in Berhn. Not yet satisfied, and struggHng with 
 poverty, he continued his progress till, in 1849, he 
 succeeded Louis Thiele in the parish church of that 
 city, 
 
 "His reputation spread abroad, and many organists 
 visited Berlin to hear his remarkable execution and 
 his fine improvisation in the style of J. S. Bach. 
 
 "In 1854 he was consulted by a number of Eng- 
 lish organists, who were appointed a committee to 
 draft the plans for a large organ for the Crystal Pal- 
 ace, near London. In 1870 he was elected director 
 of the Konigliche Hochschule fiir Kirchenmusik in 
 Berlin, succeeding' his old master, Bach, which posi- 
 tion he held till his death, July 4, 1 89 1 . 
 
 " When Professor Haupt was in the prime of life, 
 his performance of the organ music of Bach, Men- 
 delssohn, and Thiele was remarkable for its clear- 
 ness, breadth, and absolute accuracy. His personal 
 acquaintance with Mendelssohn and Thiele created a 
 special fondness for their music, though, in his later 
 years, with the decline of his youthful vigour, he 
 rarely played any concerted music, confining himself 
 to extempore playing, and frequently calling Thiele's 
 music 'furchtbar schwer^
 
 I50 THE ORGAN AND ITS MASTERS 
 
 "In 1883 Professor Haupt told me' that over a 
 hundred and fifty American organists had studied 
 with him, among whom he mentioned Eugene 
 Thayer, George W. Morgan, Clarence Eddy, J. K. 
 Paine, Arthur Bird, and Philip Hale. He said he 
 was 'always pleased to have American pupils, as they 
 worked with so much determination and energy.' 
 
 " I have many fond recollections of my early morn- 
 ing lessons with him, when he would meet me at the 
 old Parochial Kirche on Kloster Strasse, take out of 
 his bag the enormous key (not less than nine inches 
 long), and, after placing it in the lock, and turning 
 it round with his two hands twice, take out another 
 key a trifle smaller, and unlock a second lock by 
 turning that key around twice, after all of which 
 we could enter the dark, bare vestibule of the 
 church. On our way up-stairs several doors had 
 to be unlocked and locked again, till finally we 
 stood before the old organ. This instrument had 
 forty-two registers. The colour of the keys was the 
 reverse of the modern custom. The stops worked 
 on the ratchet principle, and each one, when being 
 drawn, had a squeak peculiar unto itself. There was 
 no low C-sharp in the pedal keyboard, and a swell- 
 pedal or a combination pedal would have been a 
 luxury. 
 
 ' This account of Haupt is taken, by permission of Mr. Tniette, 
 the writer, from the Etude.
 
 THE ORGAN AND ITS MASTERS I5I 
 
 "Notwithstanding the barren surroundings, the 
 lessons were always instructive and intensely interest- 
 ing. After playing a couple of preludes and fugues 
 of Bach, or a Mendelssohn sonata, which were inter- 
 spersed with various squeaks as the professor took a 
 notion to change the registration, he would take 
 a pinch of snuff, and finally say : ' Ach, ja ! sehr 
 gilt, sehr gut' 
 
 " After numerous suggestions from him we would 
 converse a large part of the forenoon on topics con- 
 nected with the organ, he relating numerous experi- 
 ences with Mendelssohn, Bach, and Thiele, and many 
 foreign organists, while I, with my extremely limited 
 stock of 'high-school German,' would give monosyl- 
 labic answers and ask numerous questions in the most 
 bungling manner. At home on Oranienberger Strasse 
 he was equally interesting and always sociable." 
 
 Johann Georg Herzog, born 1822, at Schmolz in 
 Bavaria, was a modern organist of excellent ability, 
 and a composer of great merit for his instrument. 
 His early career was passed in Munich, where he 
 became organist in 1842, and seven years later 
 cantor. 
 
 In 1850 he was appointed professor at the Con- 
 servatorium. Five years later he removed to Erlan- 
 gen, where he became a teacher in the university 
 and director of the Singakademie, positions which 
 he held until 1888, when he retired to Munich.
 
 152 THE ORGAN AND ITS MASTERS 
 
 Herzog's best known works are his " Praludenbuch " 
 and his " Handbuch fur Organisten." 
 
 Emmanuel Gottlob Friedrich Faisst, born at Ess- 
 lingen in 1823, entered the university at Tubingen 
 as a theological student, but his musical talents, 
 which had already shown themselves in the direction 
 of great proficiency on the organ, were too strong, 
 and in 1844, when he went to Berlin and showed his 
 compositions to Mendelssohn, he determined to make 
 music his profession. He had already made great 
 progress without any instruction worthy of mention, 
 and on the advice of Mendelssohn, he continued his 
 work in composition without a teacher. 
 
 In 1846 Faisst appeared in several German towns 
 as an organ-player, and eventually took up his abode 
 in Stuttgart, where, in 1847, he founded an organ 
 school and a society for the study of church music. 
 Ten years later he took a prominent part in the 
 establishment of the Conservatorium, of which he 
 was later appointed manager. 
 
 His writing was almost entirely confined to church 
 and choral compositions, but several organ pieces of 
 his composition have been published. Faisst died at 
 Stuttgart in 1894. 
 
 Gustav Merkel (1827-85) was born at Oberoder- 
 witz, Saxony, and became one of the best organists 
 and composers for his instrument of the nineteenth 
 century. He was a pupil of Schneider at Dresden,
 
 GUSTAV MERKEL
 
 THE ORGAN AND ITS MASTERS 1 53 
 
 but also received instruction from Julius Otto, Reis- 
 siger, and Schumann. The appointments which he 
 held were as follows : Waisenkirche, Dresden, 1858 ; 
 Kreuzkirche, i860; court organist, 1864; professor 
 at the Conservatorium, 1861 ; director of the Dresden 
 Singakademie, 1867-73. 
 
 Merkel's compositions for the organ are numerous 
 and of a very high order ; indeed, he is unsurpassed by 
 any composer of his day, and his writings show him 
 to have been a true disciple of the lofty and imper- 
 ishable school of which Bach was the founder and 
 master. His later organ sonatas are noble specimens 
 of that form of writing, and entitle him to the high- 
 est position as a composer for the organ. His works 
 include a large number of preludes, fugues, fantasias, 
 variations, and sonatas, besides some pieces for violin, 
 cello, and organ. 
 
 Joseph Gabriel Rheinberger (i 837-1901) was one 
 of the best German organists and teachers of the 
 latter half of the nineteenth century. He was a 
 native of Vaduz, and a very precocious child, being 
 organist of the church in his native place at the age 
 of seven, and as his legs were too short to reach the 
 pedals, a second set of pedals was fixed above the 
 regular pedal clavier. Soon after becoming organist 
 of this church he composed a mass in three parts 
 with organ accompaniment. 
 
 At the age of twelve Rheinberger was sent to the
 
 154 THE ORGAN AND ITS MASTERS 
 
 Conservatorium at Munich, where he studied until he 
 was nineteen. He was now appointed pianoforte 
 teacher in the same institution and organist of the 
 Hofkirche of St. Michael, and then director of the 
 Munich Oratorienverein. 
 
 In 1867 Rheinberger received the title of Royal 
 Professor, and became instructor in counterpoint and 
 higher organ-playing at the Munich Conservatorium. 
 In this position he had many pupils, not a few being 
 Americans, amongst them G. W. Chadwick and H. 
 W. Parker, both prominent in American musical 
 life. 
 
 In 1877 he was appointed chapel-master of the 
 royal choir. His compositions are numerous and of 
 a very high order ; among them may be mentioned 
 the " Symphonische Tongemalde Wallenstein," two 
 Stabat Maters, the opera " Die sieben Raben," the 
 oratorio " Christophorus," three pianoforte sonatas, 
 a grand requiem, also one a capella theme with fifty 
 metamorphoses for strings, three trios, a pianoforte 
 quartet, a nonet, a string quartet, twenty organ 
 sonatas, an organ concerto, a comic opera, " Des 
 Tiirmers Tochterlein," a vaudeville, "Das Zauber- 
 Mrort," the choral works, " Toggenburg," " Klarchen 
 auf Eberstein," "Das Thai des Espingo," and " Wit- 
 tekind," a pianoforte concerto, several masses, many 
 hymns and vocal compositions, and pianoforte and 
 organ pieces.
 
 THE ORGAN AND ITS MASTERS I 5 5 
 
 Rheinberger's organ works have been estimated 
 very highly, and are well known in all churches 
 where good music is required. In the biographies 
 published at the time of his death, it was said that 
 the mantle of Bach and Mendelssohn had fallen upon 
 his shoulders. His genius, however, will not com- 
 pare with that of Bach, or even of Mendelssohn ; but 
 while he was a master of the technique of his instru- 
 ment and possessed a deep sympathetic insight with 
 its special capabilities, he also had a mind fruitful in 
 the conception of genuine, sincere, and sometimes 
 very fine musical ideas. Of these, many are formed 
 into his organ sonatas, which reflect the spirit of 
 modern music not less in their ingenious structural 
 design than in the freshness and beauty of their 
 themes. 
 
 Rheinberger's organ sonatas form an important 
 part of the repertoire of the modern organist, and 
 they deserve careful and critical study. He may be 
 said to have undertaken for the organ what Beethoven 
 did for the pianoforte, that is to say, the development 
 of the organ sonata. In this great task he may not 
 have met with the most perfect success, nevertheless 
 Rheinberger's twenty sonatas are so full of brilliant 
 and original ideas, and form the employment of such 
 structural device, that they may justly be said to 
 mark an epoch in the development of the organ 
 sonata.
 
 156 THE ORGAN AND ITS MASTERS 
 
 The following is a personal view of Rheinberger 
 by J. W. Nicholl, in Musical Opinion : 
 
 " With his monumental series of twenty organ 
 sonatas, Rheinberger enriched organ literature to 
 an incalculable extent. The predominating charac- 
 teristics of his sonatas are a happy blending of the 
 modern romantic spirit with masterly counterpoint 
 and a noble and dignified organ style ; and, as exam- 
 ples of perfect form, these organ sonatas are unri- 
 valled. Movements of wonderful beauty and lofty 
 inspiration are found in each one of them, and it is 
 a real joy to the earnest and conscientious organist 
 to study and assimilate these fine examples of 
 musical art, 
 
 " All Rheinberger's pupils stood in profound awe 
 of him ; respect mingled with admiration was the 
 prevailing sentiment he inspired. Perfectly simple, 
 honest, and straightforward, — sparing not himself, 
 — he expected every one to be the same, and any 
 lack of effort on the part of a student called forth his 
 severest censure. This was most noticeable in his 
 organ class, which was very select, containing only 
 students. He expected, and in fact demanded, that 
 a student should be technically perfect in an organ 
 piece before playing it for him. Rheinberger's four 
 organ-students — two Germans, an American, and an 
 Englishman (the writer) — had to work very hard 
 and conscientiously to satisfy the doctor. At a tech-
 
 JOSEPH GABRIEL RHEINBERGER
 
 THE ORGAN AND ITS MASTERS I 57 
 
 nical blunder the professor would frown, and if later 
 in the lesson the same mistake occurred, he would ex- 
 postulate. Once, from nervousness or perhaps lack of 
 sufficient preparation, a student made the same mis- 
 take three times during the playing of a Rheinberger 
 sonata ; the result was that the lesson came to a 
 violent stop, and the unfortunate student left the 
 Conservatorium in a very unenviable state of mind. 
 " As one would expect, Rheinberger's idea of the 
 greatest in organ music is Bach, given with broad 
 and noble delivery. The many changes of manual 
 affected by some modern organists and arrangers 
 of Bach's music he strongly deprecated. Once when 
 the present writer suggested changes of manual to 
 add variety to a performance of a Bach fugue, Rhein- 
 berger said : * This fugue can be compared to a noble 
 and beautifully finished piece of architecture com- 
 plete in itself, and unnecessary changes can only 
 have a weakening and degrading effect.' Rhein- 
 berger had a great horror of the 'ugly' music: any 
 straining after effect he strongly condemned. An- 
 other time the writer played a very modern prelude 
 out of curiosity to see how the doctor would take it. 
 The effect upon him was curious ; he kept up an 
 accompaniment of sighs and groans all through the 
 performance, and, when the music (?) had finished, 
 he turned and said : ' That to me is like a man deliv- 
 ering an elaborate oration in an unknown tongue.'
 
 158 THE ORGAN AND ITS MASTERS 
 
 The primary consideration in music, he said, 'is that 
 it shall be beautiful ; music that does not sound 
 beautiful has no attraction for me.' " 
 
 Samuel de Lange, a noted Dutch organist and 
 composer, was born at Rotterdam in 1840, and was 
 the son of an organist, who was also his first teacher. 
 De Lange studied also at Vienna and at Lemberg, 
 made concert tours in Galicia in 1858-59, and 
 lived in Lemberg until 1863, when he became organ- 
 ist and teacher at the Rotterdam Music School. 
 From 1874 to 1876 he was teacher at a music school 
 in Basel, and was then called to a similar position at 
 Cologne Conservatoire. He became teacher and 
 vice-director at the Stuttgart Conservatoire, and in 
 1895 conductor of the Stuttgart Society for Classical 
 Church Music. For a number of years De Lange 
 made tours as an organ virtuoso through Central 
 Europe. 
 
 We will now return to the French organists. 
 
 According to M. Guilmant, the father of the 
 French school of organ-playing was Jean Titelouze, 
 a name not to be found in the dictionaries of music 
 most in use. For many years the French school 
 was noted for its triviality, and it has at times re- 
 lapsed into that condition. Alexandre Boely, who 
 died in 1858, made a great effort to introduce the 
 works of Bach and other serious composers into 
 France, but was unsuccessful. He was organist for
 
 THE ORGAN AND ITS MASTERS 1 59 
 
 some time of the church of L'Auxerrois at St. Ger- 
 main, but he sacrificed himself to his artistic desires 
 and was dismissed from his church. 
 
 A few years later Lemmens, the Belgian organist, 
 astonished the French by his playing of Bach fugues, 
 and was more successful in his efforts than Boely 
 had been. He may be said to have laid the founda- 
 tion for a more serious style, and his example has 
 been followed by a long list of noted organists, 
 among whom are conspicuous the names of Franck, 
 Chauvet, Salome, Saint-Saens, Widor, Guilmant, 
 Gigout, Loret, and Dubois. 
 
 Some mention has already been made of Mar- 
 chand, the French organist who was put to flight by 
 Bach. Louis Marchand was a native of Lyons, born 
 about 1 67 1, and becoming renowned in Paris for 
 his organ-playing, was made court organist at Ver- 
 sailles. He appears to have been a man of reckless 
 and dissipated habits, which got him into trouble. 
 It is said that the king caused half his salary to be 
 paid to his wife, an arrangement which did not suit 
 M. Marchand, who showed his resentment by stop- 
 ping in the middle of a mass and leaving the church. 
 The king remonstrated and Marchand replied : " Sire, 
 if my wife gets half my salary, she may play half the 
 service." This caused his banishment, and hence 
 his presence in Dresden. On his flight from Dres- 
 den he returned to Paris, his banishment being ended,
 
 l60 THE ORGAN AND ITS MASTERS 
 
 and set up as a music teacher, meeting with great 
 success, inasmuch as he became the fashion and was 
 able to charge enormous prices for his lessons. He 
 appears to have been a frothy, overrated individual, 
 and he died in poverty in 1732. 
 
 There have been two noted French organists of 
 the name of S6jan. Nicolas Sejan, born in Paris in 
 1745, became organist of St. Andr6-des-Arts at the 
 age of fifteen. In 1772 he was appointed to Notre 
 Dame, and in 1783 to St. Sulpice. In 1789 he be- 
 came organist at the Invalides, and in 18 14 of the 
 Royal Chapel. He died in Paris in 18 19. 
 
 Nicolas Sejan went through a thrilling experience 
 at the time of the French Revolution. In 1793 the 
 revolutionists held high carnival in the church of 
 Notre Dame ; a dancer from the opera, one Demoiselle 
 Candeille, was installed upon the altar as the God- 
 dess of Reason, while Laharpe made an address 
 abolishing all religion. A full account of these 
 sacrilegious proceedings will be found in Carlyle's 
 " French Revolution." To wind up the orgies a ball 
 was given, and S6jan was compelled to play dance 
 music upon the great organ, while the mob danced 
 and howled popular songs. 
 
 Louis Sejan was organist of St. Sulpice until 1863, 
 when he was succeeded by his friend and pupil, Le- 
 febure-Wely. He was noted for elegance of form in 
 his playing.
 
 THE ORGAN AND ITS MASTERS l6l 
 
 Another French organist who added something to 
 the musical hterature of the organ was Francois 
 Benoist, a native of Nantes (1794-1878). Entering 
 the Paris Conservatoire in 181 1, he remained there 
 for four years and carried off the Grand Prix de 
 Rome. On his return from Italy he became organist 
 at the Chapel Royal and professor of organ-playing 
 at the Conservatoire. Besides numerous other com- 
 positions he left his ** Bibliotheque de I'Organiste," 
 consisting of twelve books of organ works. 
 
 One of the -most prominent French organists of 
 the nineteenth century was Louis James Alfred Le- 
 febure-Wely, a native of Paris (18 17-1869). He 
 was the son of an organist and composer named 
 Lefebvre, who took the name of Lefebure-Wely, 
 The young musician learned his notes before his al- 
 phabet, and showed a marvellous aptitude for music 
 as soon as he was able to speak. Such was his pre- 
 cocity that he was his father's assistant when only 
 eight years of age, accompanying the plain-song and 
 playing short pieces. On the death of his father in 
 1 83 1 the boy was appointed his successor at the 
 church of St. Roch. In the following year he en- 
 tered the Conservatoire and gained the second prizes- 
 for pianoforte and organ in 1834, and the first prizes 
 in the following year. Outside of the Conservatoire, 
 he took lessons in composition of Adolphe Adam 
 and in organ-playing and improvising of Sejan, to
 
 l62 THE ORGAN AND ITS MASTERS 
 
 whom he owed a great deal. His improvisations 
 were considered marvellous, and the piquancy of his 
 harmonies, the unexpectedness of his combinations, 
 and the fertility of his imagination, together with the 
 charm which pervaded all his work, gained for him 
 the title of "the Auber of the organ," 
 
 Wely was organist of the Madeleine from 1 847 to 
 1858, during which time he received the Legion of 
 Honour, For some years he had no regular post, 
 but in 1863 he was appointed organist of St. Sulpice, 
 which post had long been held by his friend and 
 teacher, Sejan. Here he remained until his death. 
 
 Lef6bure-Wely was a man of untiring energy, and 
 wrote a great deal of music, many of his compositions 
 being for the organ and harmonium, the use of which 
 latter instrument he made very popular in France. 
 
 The French organists have been compared as 
 follows : 
 
 ** In the gallery of organists of St. Sulpice, Nivert 
 represents correctness, Clerembault majesty, Coppeau 
 religious unction, Nicolas Sejan elevated thought, 
 Louis S^jan elegance of form, Georges Schmidt im- 
 petuosity and brilliancy. Lefebure-Wely may claim 
 many of the qualities of his predecessors, adding the 
 radiant charm of melody and the scintillation of a 
 charming fancy." 
 
 Antoine Edouard Batiste, a native of Paris (1820- 
 ^G), has been called a musician of severe and un-
 
 THE ORGAN AND ITS MASTERS 163 
 
 erring taste, and one of the best organists of his time. 
 Batiste, as a child, was one of the pages of Charles 
 X., but at the age of ten he was sent to the Conserva- 
 toire, where he went through a course of solfeggio, 
 harmony, counterpoint, fugue, and organ-playing. In 
 these studies he carried off the first prizes, and in 
 1840 obtained the second Prix de Rome. While 
 still a student at the Conservatoire he was entrusted 
 with classes of solfeggio, and later he became teacher 
 of a choral class and of a class of harmony for 
 women. In 1842 he was appointed organist of the 
 church of St. Nicolas des Champs, and twelve years 
 later of St. Eustache, which position he held until 
 his death. 
 
 Batiste will be remembered chiefly by his educa- 
 tional works, his diagram for reading music, and 
 particularly by his accompaniments for organ writ- 
 ten on the figured basses of celebrated solfeggi by 
 Cherubini, Catel, Gossec, and other masters of that 
 date. He was an exceptionally fine teacher and 
 performer, but his organ works were not by any 
 means equal to his talent as a professor and executant. 
 
 The following estimate of Batiste is taken from an 
 article by E, E. Truette in the Etude : 
 
 " Comparatively few composers of organ music have 
 become so universally popular as the composer of 
 the four ' Offertories to St. Cecilia.' This popular- 
 ity, which is hardly enviable, is due to the 'ear-
 
 164 THE ORGAN AND ITS MASTERS 
 
 tickling tunefulness ' of his melodies and an absence 
 of technical difficulties, rather than to the presence 
 of any musicianly content in his compositions. 
 
 " He was a prolific composer, and two hundred and 
 ninety-two of his compositions have been published 
 by the house of Ashdown, under the editorship of 
 the late Doctor Spark. Twenty-two of these com- 
 positions are ' arrangements,' and prove an absence 
 of the savoir faire which is necessary in adapting 
 compositions for the organ which were originally 
 composed for other instruments. 
 
 "In this list of nearly three hundred compositions, 
 numbers three to nine, called ' Grand Offertories,' 
 and including the St. Cecilia Offertories, are the best 
 known. It requires a minimum amount of technical 
 skill, compared with the 'noisy show,' to perform 
 these offertories, and the average organist can play 
 them at sight. 
 
 "The celebrated andante in G, called 'Com- 
 munion in G,' which was further named by Doctor 
 Spark 'The Pilgrim's Song of Hope,' is the cJief 
 d'cetivre of many an organist, and figures prominently 
 in the repertoire of the so-called ' right-foot-always- 
 on-the-swell-pedal organists.' So long as audiences 
 continue to encore it, so long will the majority of 
 organists continue to perform it ; but it reflects on 
 the musical culture of the people when such a com- 
 position receives storms of applause from an audi-
 
 THE ORGAN AND ITS MASTERS 1 65 
 
 ence which will be only indifferently enthusiastic 
 over a Guilmant sonata, a Merkel pastorale, or a 
 Bach toccata. 
 
 "There is no doubt that Batiste possessed genius 
 of some sort. The organ at St. Eustache was a 
 noisy instrument, containing many solo stops, but 
 was deficient in pleasing combinations, notwithstand- 
 ing its four manuals and sixty-eight speaking stops, 
 and nothing so influences the style of the playing or 
 composing of an organist as the particular organ 
 which is his constant companion. 
 
 " To mention a few of his better-known composi- 
 tions, beside the * Communion in G,' which has 
 already been alluded to, the ' Offertories ' in D, 
 C-minor, and F are the most popular. The ' Offer- 
 tory in B-minor ' is a piece of musical fireworks of 
 the order of Widor's toccata from the * Fifth Sym- 
 phony.' The ' Offertory in A-minor,' based on an 
 old Easter hymn, is of ' the left hand melody and 
 right hand flute arpeggio ' variety. The * Offertory 
 in E ' (No. 22) and ' Postlude in E-flat ' are only 
 somewhat less popular. 
 
 *• It has been said that, without the music of Ba- 
 tiste, organ music would be less popular than it is ; 
 that many people are first attracted to the organ by 
 the tunefulness of the music of this composer. The 
 latter point is undoubtedly true, just as many people 
 are first attracted to music by the 'rag-time' melo-
 
 1 66 THE ORGAN AND ITS MASTERS 
 
 dies and ' coon ' songs of to-day, but it is doubtful 
 if the rank of musicians would be noticeably depicted 
 if such music were banished." 
 
 Nicolas Jacques Lemmens (1823-81) was born 
 at Zoerle-Parwys, Westerloo, Belgium, and was the 
 son of an organist. He began his organ studies at 
 the age of eleven, under Van der Broeck, organist 
 at Dieste. Four years later he entered the Conser- 
 vatoire at Brussels, but remained only a short time, 
 as he was called home on account of the illness of his 
 father. During this time he succeeded his former 
 teacher as organist at Dieste, but in 1841 he 
 returned to the Conservatoire, where he carried off 
 the second prize for composition in 1844, and the 
 first in 1845, as well as the first prize for organ-play- 
 ing. In the following year he was sent, at the expense 
 of the government, to Breslau, where he became a 
 pupil of Hesse, remaining a year, and returning 
 with a testimonial from his teacher to the effect that 
 he could "play Bach as well as he himself did." 
 
 Lemmens was now appointed professor of organ- 
 playing at the Brussels Conservatoire, and his energy 
 and talent brought him many pupils, and inspired 
 a new feeling throughout Belgium. In 1857 he 
 married Miss Sherrington, an English lady who was 
 a prominent singer, and who, as Madame Lemmens- 
 Sherrington, became the most popular soprano in 
 England. After his marriage, Lemmens resided
 
 THE ORGAN AND ITS MASTERS 1 6/ 
 
 chiefly in England, but in 1879 he established a 
 college at Malines, Belgium, under the auspices of 
 the Belgian clergy, for the training of Catholic 
 organists and choirmasters. 
 
 Lemmens's organ compositions, some sixty in all, 
 are well known and much used, and his " Ecole 
 d'Orgue " was adopted in the Brussels and Paris 
 Conservatoires, and in many other music schools. 
 
 Alphonse Charles Renaud de Vilback (1829-84) 
 was a native of Montpelier, France, and became one 
 of the most brilliant executants of his day upon the 
 organ. He was educated at the Paris Conservatoire, 
 and carried off the Prix de Rome in 1844. On his 
 return from Rome he became organist of the church 
 of St. Eugene, Paris, where he rivalled Lefebure- 
 Wely in improvisation, and equalled him in execu- 
 tion. This position he held from 1855 to 187 1. He 
 died in Brussels in poor circumstances, having be- 
 come nearly blind. He was noted for his charming 
 manner and brilliant conversation. 
 
 Camille Saint-Saens, one of the foremost of French 
 composers, is also an organist of great ability. Born 
 in Paris in 1835, he lost his father at a very early 
 age and was brought up by his mother, and a great- 
 aunt who taught him the elements of music. When 
 seven years old he was placed under Stamaty. In 
 1847 he entered Benoist's class at the Conserva- 
 toire and obtained the second organ prize in 1849,
 
 I 68 THE ORGAN AND ITS MASTERS 
 
 and the first, two years later. Having failed to 
 secure the Prix de Rome, he became organist of the 
 church of St. Merri, in 1853, and in 1858 was ap- 
 pointed organist of the Madeleine, where he dis- 
 tinguished himself by his talent for improvisation as 
 well as by his execution. This position he resigned 
 in 1877, and was succeeded by Dubois. From this 
 time he has been occupied chiefly by compositions, 
 teaching, and concerts ; his concert tours have taken 
 him all over Europe. His compositions do not in- 
 clude anything for organ solo. 
 
 M. Gustave Chouquet is authority for the following 
 anecdote concerning the improvising of Saint-Saens : 
 *' At a party where several eminent musicians were 
 assembled, some one begged Schulhoff to play 
 anything that came into his head. After a httle 
 pressing the fascinating pianist sat down to the 
 instrument and began to prelude in the bass, when 
 Saint-Saens drew near, and still standing, accompa- 
 nied in the treble the melodies which Schulhoff was 
 playing. Then sitting down in his turn, he impro- 
 vised upon the improvisation of his partner in a 
 manner to captivate the most hypercritical ear. 
 There was indeed a slight clashing of keys, but even 
 these double modulations with contrary resolutions 
 added to the interest with an audience composed 
 entirely of practised musicians. It was a most ex- 
 traordinary exhibition of this kind of power."
 
 THE ORGAN AND ITS MASTERS 1 69 
 
 Clement Francois Theodore Dubois, one of the 
 most prominent French organists of recent years, 
 was born at Rosny (Marne) in 1837, and entered 
 the Paris Conservatoire at an early age. His career 
 as a student was brilliant, for he gained successively 
 the first prizes for harmony, fugue, and organ, and in 
 1 86 1, under Ambroise Thomas, the Prix de Rome. 
 On his return from Italy he devoted himself to 
 teaching and composition, and produced a number of 
 good works. In 1871 he was appointed professor 
 of harmony at the Conservatoire; in 1891 he suc- 
 ceeded Delibes as professor of composition, and in 
 1896 he succeeded Ambroise Thomas as director of 
 that institution. In 1894 he was elected to the 
 chair in the Academy made vacant by the death of 
 Gounod. 
 
 On his return from Italy he became organist of 
 the chapel of St. Clotilde, and in 1877 he replaced 
 Saint-Saens as organist of the Madeleine. 
 
 The compositions of Dubois are numerous, but of 
 those pertaining to the organ are a " Fantaisie Tri- 
 omphale," for orchestra and organ, " Meditatione 
 Priere " for strings, oboe, harp, and organ, and several 
 pieces for organ alone. 
 
 Dubois is considered to possess a full knowledge 
 of the resources of his art, but little originality or 
 independence of style, yet he has gained many prizes 
 and honours. In 1878 he carried off, together with
 
 170 THE ORGAN A AW ITS MASTERS 
 
 B. Godard, the prize at the Musical Concours in- 
 stituted by the city of Paris, for his " Paradis Perdu," 
 and in 1883 he was decorated with the Legion of 
 Honour. 
 
 Theodore Cesar Salom6 and Charles Alexis 
 Chauvet were both excellent organists. The former 
 was born at Paris in 1834, and won the second Grand 
 Prix de Rome in 186 1. He became second organist 
 of La Trinite and wrote a large number of organ 
 pieces and a symphony. 
 
 Chauvet was born at Marncs in 1837 and took 
 first prize in the organ class at the Paris Conserva- 
 toire in i860. He became organist of La Trinity in 
 1869, but died two years later. Chauvet was a 
 wonderful improviser and a highly gifted composer 
 of organ music. 
 
 The following account of Guilmant from the pen 
 of E. E. Truette, one of his pupils, is taken by per- 
 mission from the Etude : 
 
 " Felix Alexandre Guilmant, undoubtedly the most 
 noted organist and composer of organ music which 
 France can claim as her own, was born March 12, 
 1837, at Boulogne-sur-Mer, where his father was, 
 for nearly fifty years, organist at the church of St. 
 Nicholas. The people of the whole town worshipped 
 the venerable form of the old man who for so long a 
 time had been in their midst, and who had officiated 
 so many Sundays at the old organ. He lived to the
 
 THE ORGAN AND ITS MASTERS 171 
 
 advanced age of ninety-seven, dying at Meudon 
 in 1887. 
 
 "When but a small boy Guilmant commenced the 
 study of music with his father, making such marvel- 
 lous progress that at the early age of twelve he 
 frequently took his father's post. He studied har- 
 mony diligently with Gustavo Carulli (son of a some- 
 what noted guitarist), who resided in the same town. 
 His hunger for musical knowledge was so ravenous 
 that he mentally devoured every theoretical work to 
 which he could gain access, and acquainted himself 
 with the compositions of classical writers. He went 
 to the church daily, where in solitude he laboured for 
 hours, — sometimes for ten hours, tiring out several 
 blowers, — perfecting himself in organ-playing, with 
 such gratifying results that he was appointed organist 
 of St. Joseph's at the youthful age of sixteen. 
 
 "At the age of eighteen he brought out his first 
 'Festival Mass in F,' and other similar works fol- 
 lowed in close succession. In 1857, at the age of 
 twenty, he was appointed maitre de cJiapelle at St. 
 Nicholas, and soon afterward teacher in the music 
 school. He organised the Orpheus Singing Society, 
 which became celebrated in that vicinity, and was soon 
 after elected a member of the Philharmonic Society. 
 
 " On a trip to Paris he heard Jacques Lemmens, the 
 celebrated Belgian organist, who was a professor in 
 the Brussels Conservatory. Guilmant then went to
 
 1/2 THE ORGAN AND ITS MASTERS 
 
 Brussels and became the favourite pupil of Lemmens. 
 Being called upon frequently to inaugurate new 
 organs, Guilmant acquired a reputation which was 
 far-reaching, and which preceded him to Paris, to 
 which city he journeyed in 1862, when, on April 2, 
 he assisted in the inauguration of the new famous 
 organ in the church of St. Sulpice. 
 
 " His performance of several organ numbers was 
 thus described by Professor Elwart : 
 
 " * The able Boulogne organist, Guilmant, played in 
 immediate succession a "Toccata" and "Fugue" of 
 Bach, " Pastorale " of Kullak, and several pieces of his 
 own composition, among them a " Communion," which 
 was preeminently distinguished by deep feeling. 
 Finally, the young artist, a pupil of his father and of 
 the celebrated Lemmens, played a " Grand March," 
 on a theme by Handel. This Cavaille-Coll organ is 
 so complicated in its combinations that usually about 
 one month is necessary to become acquainted with 
 it thoroughly. A. Guilmant took but two hours to 
 prepare himself. All admired the spirit and intellect 
 of the organist of St. Nicholas, and after the concert 
 he received the heartiest congratulations of those 
 artists whom he had invited to attend. It is, indeed, 
 a notable thing for a youthful artist to have left his 
 predilections and his allotted work resolutely behind 
 him and gone forth to seek the baptism of a Parisian 
 verdict upon his rising fame.'
 
 THE ORGAN AND ITS MASTERS 1 73 
 
 "In 1865 Guilmant inaugurated an organ in the 
 Carmelite Church, Kensington, London, which was 
 built by Cavaille-Coll. In this concert he was as- 
 sisted by Widor, at that time of Lyons, but now 
 of Paris. Soon after this he inaugurated the great 
 organ in Notre Dame, Paris, at which time he gave 
 the initial performance of that masterpiece, which 
 was specially composed for this occasion, namely : 
 'Marche Fun^bre et Chant Seraphique.' This 
 composition opened the eyes of the French organists 
 to the resources of a modern organ for producing 
 varied effects and tone-colours, and created a sensa- 
 tion. Guilmant thus achieved a complete triumph 
 in Paris before establishing himself in that city, and 
 in 1 87 1, when he was called to take the post of 
 organist at La Trinity, at the death of Chauvet, he 
 had an enviable reputation. This reputation rapidly 
 spread in foreign countries, particularly in England, 
 whither he journeyed frequently for various concert 
 engagements. He went to Rome and opened the 
 new organ built by Merklin in the church of St. 
 Louis des Frangais, giving daily concerts for two 
 weeks, during which time many of the organ works 
 of Bach and Handel were heard for the first time in 
 Italy. During this visit Pope Leo XIII. decorated 
 him a Commander of the Order of St. Gregory the 
 Great. He went to Riga, Russia, and gave a series 
 of concerts on Walcker's great organ, at that time,
 
 1/4 THE ORGAN AND ITS MASTERS 
 
 and until the construction of the Sydney organ, the 
 largest organ in the world. 
 
 " During the Paris Exposition of 1878, Guilmant in- 
 augurated his famous series of organ recitals in the 
 hall of the Trocadero, in which many of the organ 
 works of Bach and Handel have been performed for 
 the first time in Paris. Some years afterward he 
 secured the cooperation of Colonne's orchestra, giving 
 the concertos of Bach and Handel with orchestral 
 accompaniment. For twenty years or more he made 
 annual, and oftentimes semi-annual, trips to England 
 for concerts. In 1890 he played at St. George's 
 Chapel, Windsor, at the request of the queen, who 
 was charmed with his marvellous skill in improvising. 
 In 1893 he received the decoration of a Chevalier 
 de la Legion d'Honneur. 
 
 " Guilmant has made two concert tours in the 
 United States, playing in all the principal cities, 
 always with the greatest success. On the first of 
 these tours he gave several concerts at the World's 
 Fair, Chicago. 
 
 " In 1902 M. Alexandre Guilmant, for so many 
 years organist of La Trinity, Paris, resigned. For 
 several years the relations between the cur6 and the 
 organist have been strained, and at last ended in the 
 organist's resigning. M. Ch. Quef was appointed 
 to the position. 
 
 " Guilmant has been one of the most prolific com-
 
 Copyright, IS'.ii;, by A. Dii|n.nt 
 
 ALEXANDRE GUILMAXT
 
 THE ORGAN AND ITS MASTERS 1 75 
 
 posers of organ music since the time of Bach, his 
 works being not only numerous, but of widely vary- 
 ing character. His first ' Sonata in D-minor,' stands 
 preeminent among his compositions. This work, 
 though first appearing for organ alone, was conceived 
 for organ and orchestra, but the opportunities for 
 its performance as such being rare at that time, he 
 wisely published the \/ork first as a sonata for organ 
 alone, and some years afterward as a symphony for 
 organ and orchestra. He has since published five 
 other sonatas, but none of the later ones compare 
 with the first one in originality, breadth of conception, 
 and unity of construction. Lack of space forbids, at 
 the present moment, extended notice of all the organ 
 compositions of Guilmant, but a glance at his ' Air 
 and Variations,' * Marche Funebre et Chant Sera- 
 phique,' 'Marche Religieuse,' 'Fugue in D,' 'First 
 Meditation,' 'Lamentation,' and 'Scherzo Sympho- 
 nique ' will prove the versatility of the composer. 
 
 " Guilmant's unique skill in improvising on one or 
 more given themes brought forth storms of applause 
 at all his concerts in this country, and has always 
 been one of his special characteristics. For years 
 Guilmant gave most of his organ lessons on the small 
 one-manual organ in his studio in Rue de Clichy, but 
 he has now a fine three-manual organ at his home in 
 Meudon, near Paris. 
 
 "As an instructor Guilmant is quite unlike all other
 
 176 THE ORGAN AND ITS MASTERS 
 
 organ-teachers, in the extremely close attention which 
 he gives to minute details, and especially to phrasing, 
 accentuation, rests, dotted notes, etc., and it is this 
 same attention to details that characterises his public 
 performances. His innate modesty and unassuming 
 manner at all times have won the respect and admira- 
 tion of all classes of musicians." 
 
 Eugene Gigout, a native of Nancy (1844) is a 
 modern French organ virtuoso who has won fame 
 throughout Europe by his playing and his composi- 
 tions. At the age of thirteen he entered the Neider- 
 meyer School at Paris, in which he studied and 
 taught for over twenty years. In 1863 he was ap- 
 pointed organist at the church of St. Augustin, and 
 in 1885 he founded an organ school in Paris which 
 was subsidised by the government. He was also 
 appointed an officer of public instruction in 1885, 
 and has been decorated with the Legion of Honour. 
 He has published a number of organ pieces, and is 
 noted for his adherence to the severe style. 
 
 Gabriel Urbain Faure, born at Pamiers, Ariege, 
 France, in 1845, studied in Paris under Neidermeyer, 
 Dietsch, and Saint-Saens. He was appointed, in 
 1866, organist of the church of St. Sauveur at Rennes. 
 In 1870 he returned to Paris to fill the position of 
 accompanying organist at St. Sulpice. He was then 
 for a time principal organist at St. Honors, and later 
 became chapel-master at the Madeleine, being ap-
 
 THE ORGAN AND ITS MASTERS Ijy 
 
 pointed organist of that church in 1896, in which 
 year he also became professor of composition, coun- 
 terpoint, and fugue at the Conservatoire, where he 
 succeeded Massenet. 
 
 Faure is one of the best known of French com- 
 posers, but has contributed nothing to the hterature 
 of the organ. 
 
 Another eminent French organist and composer 
 is Charles Marie Widor, born in 1845, at Lyons, 
 where his father was organist of the church of St. 
 Francois. After preliminary study at home he was 
 sent to Belgium, where he became a pupil of Lem- 
 mens on the organ and Fetis for composition. Re- 
 turning to France, he succeeded his father at St. 
 Fran9ois in i860, and in 1869, having gained a high 
 reputation by his concerts in various cities, he was 
 appointed organist at St. Sulpice, Paris. In 1890, 
 he succeeded Cesar Franck as professor of organ- 
 playing at the Paris Conservatoire, and in 1896 he 
 replaced Dubois as professor of counterpoint, fugue, 
 and composition. 
 
 Widor is an excellent player and skilful improviser, 
 and has added some valuable works to organ litera- 
 ture, notably his " Symphony Gotique," and nine 
 other symphonies or sonatas. His works show grace 
 and distinction, and are free from vulgarity, qualities 
 which appeal both to the public and the select few. 
 
 The playing of Dubois, Guilmant, and Widor has
 
 178 THE ORGAN AND ITS MASTERS 
 
 been compared by an American resident in Paris ; 
 "Dubois plays more nervously than Guilmant, less 
 happily than Widor, more rigidly than either, 
 Dubois moves his pedals with the balls of small, 
 short feet, Guilmant, with the toes of long, narrow 
 ones. Widor glides over them as in dancing." 
 
 The original organ of St. Sulpice was built by the 
 celebrated Cliquot, and was completed in 1781. Sev- 
 eral changes were made, and some parts of the instru- 
 ment were reconstructed in the following years. In 
 1857 Cavaille-Coll began a thorough remodelling and 
 enlarging of this organ, and, when it was reopened 
 on April 29, 1862, by Lefebure-Wely, the organist 
 of the church, it was one of the largest and most 
 celebrated in the world ; and even to-day it holds its 
 own at the head of French organs. Owing to the 
 limited space which was available, Cavaille-Coll was 
 obliged to construct the organ in seven distinct 
 stories, the third, fifth, and seventh containing the 
 wind-chests and pipes, while all the mechanism and 
 reservoirs were located in the intervening stories. 
 
 Six large reservoirs, fed by five huge feeders, 
 capable of supplying over a thousand cubic feet of 
 wind per minute, distribute the wind to the numerous 
 wind-chests, by means of thirty regulating reservoirs, 
 having numerous degrees of pressure. This organ is 
 composed of five manuals and pedals, one hundred 
 speaking stops, mechanical registers, twenty combina-
 
 THE ORGAN OF ST. SULPICE, PARIS, FRAN'CE
 
 / 
 
 THE ORGAN AND ITS MASTERS 
 
 179 
 
 tion-pedals, ten adjustable combination-stops, and six 
 thousand seven hundred and six pipes. 
 
 The console is reversed, and the tiers of draw-stops 
 are arranged to form a semicncle with the manuals, thus 
 bringing all the knobs within easy access of the per- 
 former. A liberal use of the pneumatic lever is made 
 throughout the organ. Appended is the specification : 
 
 I. Grand Chorus (13 Stops). 
 
 Salicional 
 
 ft. Basson 16 ft. 
 
 Octave 4 " 
 
 Grosse Fourniture . . IV. rks. 
 
 Grosse Cymbale . . . VI. " 
 
 Plein Jeu IV. " 
 
 Cornet V. " 
 
 Premiere Trompette 
 Second Trompette . 
 
 Basson 
 
 Clarion 
 
 Clarion Doublette . 
 
 8 
 8 
 8 
 
 4 
 2 
 
 Bombarde 
 
 16 ft. 
 
 II. Great Organ (13 Stops). 
 
 Prin. Harmonique 
 Montre . . . . 
 Bourdon . . . 
 Flute Conique 
 Flute Harmonique 
 Flute Traversiere 
 Montre . . . . 
 
 32, 16 
 
 16 
 
 16 
 
 16 
 
 8 
 
 8 
 
 ft. Bourdon 8 
 
 " Diapason 8 
 
 " Flute a Pavilion ... 8 
 
 " Prestant 4 
 
 " Grosse Quinte . . . . 5^^ 
 
 " Doublette 2 
 
 ft- 
 
 III. Bombarde (20 Stops). 
 
 Soubasse . . . 
 Flfite Conique . 
 Principal 
 FKite Harmonique 
 Bourdon . . 
 Gambe . . . 
 Violoncelle . . 
 Keraulophone . 
 Flflte Octaviante 
 Prestant . . 
 
 • 5^ ft. 
 
 16 ft. Grosse Quinte 
 
 16 " Grosse Tierce . . 
 
 8 " Quinte 2f " 
 
 8 " Octave 4 " 
 
 8 " Octavin 2 " 
 
 8 " Cornet V. rks 
 
 8 " Bombarde 16 ft 
 
 8 " Baryton 8 " 
 
 4 » Trompette 8 " 
 
 4 " Clarion 4 "
 
 i8o 
 
 THE ORGAN AND ITS MASTERS 
 
 IV. Choir Organ (20 Stops). 
 
 Violon Basse . 
 Quintaton . . 
 Quintaton . . 
 Flute Traversiere 
 Salicional 
 Viole de Gambe 
 Unda Maris 
 Flute Deuce 
 Flute Octaviante 
 Dulciana . . 
 
 16 
 
 ft. 
 
 16 
 
 t( 
 
 8 
 
 t( 
 
 8 
 
 (( 
 
 8 
 
 t( 
 
 8 
 
 (( 
 
 8 
 
 <t 
 
 4 
 
 <t 
 
 4 
 
 (( 
 
 4 
 
 ti 
 
 Quinte 2| ft. 
 
 Doublette 2 " 
 
 Plein Jeu Ilarmonique y-d " 
 
 Tierce if " 
 
 Larigot '} " 
 
 Piccolo I " 
 
 Euphone 16 " 
 
 Trompette 8 " 
 
 Clarinette 8 " 
 
 Clarion 4 " 
 
 V. Swell Organ (22 Stops). 
 
 Quintaton 16 ft. 
 
 Bourdon 8 " 
 
 Flute Harmonique . . 8 " 
 
 Violoncelle 8 " 
 
 Voix Celeste .... 8 " 
 
 Prestant 4 " 
 
 Flute Octaviante . . . 4 " 
 
 Dulciana 4 " 
 
 Nazard 2f " 
 
 Doublette 2 " 
 
 Octavin 2 " 
 
 Fourniture . 
 Cymbale 
 Cornet . . 
 Bombarde . 
 Cor. Anglais 
 Trompette . 
 Trompette Har. . 
 Basson et Hautbois 
 Cromorne . . 
 Voix Humaine 
 Clarion .... 
 
 IV. rks. 
 
 V. " 
 
 V. " 
 
 16 ft. 
 
 16 " 
 
 8 " 
 
 8 " 
 
 8 " 
 
 8 " 
 
 16 " 
 
 4 " 
 
 Principal Basse . . 
 
 Contre Basse .... 16 
 
 Soubasse 16 
 
 Fmte 8 
 
 Violoncelle 8 
 
 Flfite 4 
 
 Pedal Organ (12 Stops). 
 
 . 32 ft. Contre Bombarde 
 
 32 ft. 
 
 Bombarde 16 
 
 Basson 16 
 
 Trompette 8 
 
 Ophicleide 8 
 
 Clarion 4 
 
 Pedal Movements. 
 
 1. Orage (Storm Pedal). 5. Sub. Octave, Gr. Ch. 
 
 2. Coupler, Gr. Ch. to Ped. 6. Sub. Octave, Gt. 
 
 3. Coupler, Gt. to Ped. 7. Sub. Octave, Bombarde. 
 
 4. Ventil Pedal (Reeds). 8. Sub. Octave, Ch.
 
 THE ORGAN AND ITS MASTERS l8l 
 
 9. Sub. Octave, Sw. 15. Coupler, Gt. to I. 
 
 10. Bombarde Ventil (Reeds). 16. Coupler, Bonibarde to I. 
 
 11. Choir Ventil (Reeds). 17. Coupler, Ch. to I. 
 
 12. Great Ventil (Reeds). 18. Coupler, Sw. to I. 
 
 13. Swell Ventil (Reeds). 19. Tremolo. 
 
 14. Coupler, Gr.Ch. to I. Manual. 20. Swell pedal. 
 
 Cesar Auguste Franck, a native of Liege and a 
 pupil of Liege Conservatoire, is better known by his 
 compositions than as an organist. Leaving Liege in 
 1837, he went to Paris, where he entered the Conser- 
 vatoire, and in the following year took first prize in 
 pianoforte and second prize for composition. In 
 Paris he was a pupil (for organ) of Benoist, whom he 
 succeeded at the Conservatoire as professor of organ- 
 playing and as organist at the church of St. Clothilde 
 in 1872. He died at Paris in 1890. 
 
 At the time of the Paris Exposition of 1878 Ce'sar 
 Franck, in common with other organists, played at 
 the Trocadero. At these recitals he gave six pieces 
 for organ, a " Fantaisie Cantabile " and " Pi^ce Hero- 
 ique." Franck has been spoken of as the saint of 
 French music : "A real saint in music, a Bach French 
 and modern, an ascetic who has united with divine 
 sanctity all the tenderness of human sympathy and 
 grace. By the authority of his musical example he has 
 dispensed about him the grandeur, love, taste, and 
 sense of a strong and substantial music school." 
 
 Franck was succeeded at St. Clothilde by Henri 
 Constant Gabriel Pierne, who was born at Metz in
 
 1 82 THE ORGAN AND ITS MASTERS 
 
 1863. Piern6 became a student at the Paris Con- 
 servatoire and a pupil of Marmontel, Franck, and 
 Massenet. He won the first prize for pianoforte- play- 
 ing in 1879, for counterpoint and fugue in 1881, and 
 for organ in 1882, besides which he gained the Grand 
 Prix de Rome. 
 
 Fernand de la Tombelle is one of the best known 
 French organists and composers of organ music. He 
 was born at Paris in 1854, and received his first les- 
 sons from his mother, but his musical education did not 
 begin in earnest until after he had finished his college 
 course. Then he became a pupil of Guilmant on the 
 organ and studied counterpoint and fugue with Dubois. 
 His compositions gained for him several prizes, and his 
 collection of organ pieces, which is his most impor- 
 tant work, built up his reputation in England and 
 America. 
 
 M. Tombelle is an excellent improviser and a 
 fluent player upon the organ, but he has devoted 
 most of his time to composition, and does not pre- 
 tend to be a virtuoso. 
 
 Henri Paul Riisser, born at Toulouse in 1872, is 
 one of the most brilliant of the younger generation 
 of French organists. After early study at Toulouse, 
 he went to the Niedermeyer School at Paris, and 
 later he studied at the Conservatoire. In 1892 he 
 was appointed organist at St. Cloud. In the same 
 year he took the second Grand Prix de Rome, and in
 
 THE ORGAN AND ITS MASTERS 1 83 
 
 the following year he took the Grand Prix de Rome 
 with his cantata "Antigone." 
 
 Of modern Belgian organists may be mentioned 
 Mailly, Tilborghs, and Callaerts. Of these, Alphonse 
 J. E. Mailly is best known as a virtuoso. Born at 
 Brussels in 1833, he was educated at the Conserva- 
 toire in his native city, where he became professor of 
 pianoforte in 1861 and of organ in 1868. He has 
 given many organ concerts in France, Holland, and 
 England, and has written some sonatas, fantasias, 
 and other pieces for the organ. 
 
 Joseph Tilborghs was born at Nieuwmoer in 1830, 
 was a pupil of Lemmens and Fetis at the Brussels 
 Conservatoire, and became professor of organ-playing 
 at the Ghent Conservatoire in 1882. He has written 
 some organ pieces and motets with organ accompani- 
 ment. 
 
 Joseph Callaerts was a native of Antwerp (1838), 
 and a pupil of Lemmens at Brussels. He was organ- 
 ist of the Jesuit College from 185 i to 1856, and later 
 of the cathedral at Antwerp, also organ-teacher at 
 the music school since 1867. 
 
 Since the early days of Italian supremacy in organ- 
 playing, when the German and Flemish organists 
 journeyed to Italy to learn of Gabrieli and the other 
 great organists, organ-playing in that country has 
 fallen into a low condition. There are in Italy few 
 good organs and few good organists. For many years
 
 184 THE ORGAN AND ITS MASTERS 
 
 the successors of the great organists left unde- 
 veloped the modern style of playing. The organists 
 took but little interest in their organs, regarding 
 them merely as instruments for the accompaniment 
 of the voice, and the organ-builders had but little 
 incentive to use their best efforts. In many of 
 the organs the stops are divided as in a reed organ, 
 and the pedal-boards are deficient, being of only an 
 octave and a half, and the pedals themselves too 
 short. 
 
 As recently as 1886, when Guilmant visited Italy, 
 he played Bach fugues upon these instruments, to the 
 great astonishment of the native organists. 
 
 In recent years a few good organists have used 
 their utmost efforts to bring back the art of organ- 
 playing to its ancient preeminence in Italy. Of 
 these the most prominent are Filippo Capocci of 
 Rome, and Enrico Bossi at Venice, both of them 
 good composers for their instrument. The best 
 organ in Italy is that at the church of St. John 
 Lateran, where Capocci plays. 
 
 The name of Capocci is first among modern Italian 
 organists. But there have been two eminent men of 
 that name. The first, Gaetano, was a native of 
 Rome, born in 18 11. He became a pupil of Sante 
 Pascoli, was appointed organist at the church of 
 S. Maria di Vallicella, and in 1839 ^^'^s made or- 
 ganist at S. Maria Maggiore. In 1855 he became
 
 THE ORGAN AND ITS MASTERS 1 85 
 
 maestro direttore of the " Capella Mia " at the Lateran. 
 He died in 1898. 
 
 One of his best pupils was his son Filippo, who was 
 born at Rome in 1840, and who has since 1875 been 
 organist at St. John Lateran. He is not only an ex- 
 cellent organist, but a good composer of organ music. 
 
 Marco Enrico Bossi was born at Salo, Brescia, in 
 1 86 1. He was a pupil of his father (organist at 
 Morbcgno), and later of Fumagalli, for organ, besides 
 other noted musicians for piano and theoretical 
 branches. 
 
 From 1 88 1 to 1891 Bossi was organist and chapel- 
 master at Como Cathedral, and after that he was 
 professor of organ and harmony at the Royal Con- 
 servatory, San Pietro a Majella, at Naples. In Janu- 
 ary, 1896, he became director of, and professor of 
 advanced composition and organ in, the Liceo Bene- 
 detto Marcello, at Venice. 
 
 He is acknowledged by all to be one of the very 
 best organists of Italy at the present day, his name 
 being coupled with that of Capocci, who is an older 
 musician. 
 
 As a composer Bossi is very prolific, having written 
 considerably over one hundred works. Much of this 
 music is for choir and organ, some for strings, or- 
 chestra, etc., but for organ he has also written a large 
 amount, including concertos, sonatas, and almost every 
 form of organ composition.
 
 CHAPTER IX. 
 
 ENGLISH ORGANISTS 
 
 Although he was born in the year 1800 (Decem- 
 ber 27), and the nineteenth century did not begin, 
 strictly speaking, until 1801, yet Sir John Goss may 
 be considered as the first English organist of emi- 
 nence born in the nineteenth century. He was the 
 son of an organist of Fareham, Hants, and became 
 one of the children of the Chapel Royal, afterward 
 becoming a pupil of Attwood, whom he eventually 
 succeeded as organist of St. Paul's Cathedral. This 
 position he held actually for thirty-four years, and 
 nominally for forty-two, for when he retired from 
 active service he retained the title and salary of the 
 office. 
 
 Goss was considered the greatest church musician 
 of his day, and was, in 1856, appointed composer to 
 the Chapel Royal. In this capacity it fell to his lot 
 to compose the music for the thanksgiving service 
 for the recovery of King Edward, then Prince of 
 Wales, from his severe illness (1872,) and this was 
 
 186
 
 THE ORGAN AND ITS MASTERS 1 8/ 
 
 made the occasion for conferring upon him the honour 
 of knighthood. 
 
 Goss was for many years a teacher at the Royal 
 Academy of Music. He wrote some fine anthems, a 
 book on harmony, and other works, and pubhshed 
 " The Organist's Companion," a series of voluntaries, 
 interludes, and other works. He died in 1880, 
 honoured and respected for his ability, his sincerity, 
 his modesty, and kind and gentle disposition, 
 
 Henry John Gauntlett, native of Wellington, Salop 
 (1806-76), became organist, at the age of nine, of 
 the parish church of Olney, Bucks, to which living 
 his father (a clergyman) had been appointed. He 
 showed an aptitude for music, and especially for organ- 
 playing, at a very early age. In 1826 he was articled 
 to a solicitor, and for some years was in active prac- 
 tice in London. In 1827 he obtained the post of 
 organist of St. Olave's, Southwark, and he continued 
 the study of music together with that of law. About 
 1836, after he had obtained a high reputation as an 
 organist, Gauntlett began to advocate a reform in 
 organ-building by the adoption of the C organ in the 
 place of the old F and G instruments. In this he 
 found a strong supporter in William Hill, the organ- 
 builder, and together, under the supervision of Gaunt- 
 lett, many fine organs of the new style were built and 
 the reform firmly established in England. 
 
 About 1842 Doctor Gauntlett (whose degree had
 
 1 88 THE ORGAN AND ITS MASTERS 
 
 been conferred upon him by the Archbishop of Can- 
 terbury) gave up the practice of law and devoted 
 himself entirely to music. He became a lecturer, 
 critic, and reviewer, and edited and published many 
 of the works of Bach, Beethoven, etc. 
 
 He was selected by Mendelssohn to play the organ 
 part in his oratorio " Elijah," when it was produced 
 at Birmingham, in 1846. During his career he held 
 various positions as organist, but he will be best 
 remembered as a composer and editor of psalm and 
 hymn tunes, in which field he worked with great 
 enthusiasm for over forty years. He died suddenly 
 in 1876. 
 
 Henry Smart (1813-79) was an exceptionally 
 fine organist and a writer of good ability for the 
 organ. He was born in London and was educated 
 for the law, but preferred music, and in 1831 received 
 his first appointment as organist of the parish church 
 of Blackburn, Lancashire. Five years later he se- 
 cured a London position, and eventually became or- 
 ganist at St. Pancras Church. He was an excellent 
 player, was considered particularly able as an accom- 
 panist in the service, and was also a splendid impro- 
 vises About 1864 he became blind, and after that 
 time all his compositions had to be dictated to an 
 amanuensis. Shortly before his death in 1879, the 
 government granted him a pension in acknowledg- 
 ment of his services in the cause of music.
 
 THE ORGAN AND ITS MASTERS 1 89 
 
 Henry Smart was the nephew of Sir George Smart, 
 who was a good organist, having been one of the 
 organists of the Chapel Royal. But Sir George 
 Smart was better known as an organiser and con- 
 ductor of festivals, in which capacity he introduced 
 to the British public Mendelssohn's " Mount of 
 Olives," in 18 14, and "St. Paul," in 1836 at the 
 Liverpool Festival. 
 
 Sir George Smart was also celebrated as a teacher 
 of singing, and was much sought by those who 
 desired to acquire the traditional style of interpret- 
 ing Handel. Amongst these singers were Henri- 
 etta Sontag and Jenny Lind. Sir George Smart 
 taught singing until he was more than eighty years 
 of age, but lived until he was ninety-one. He died 
 in 1867. 
 
 Edward John Hopkins was known as the father of 
 English organists. He was born in 18 18 in West- 
 minster, and came of a musical family, many mem- 
 bers of which were eminent in different branches of 
 the profession. Two brothers of Edward, viz., John 
 and Thomas, became organists, the former holding 
 the position at Rochester Cathedral, and the latter, 
 who died in 1883, being organist at St. Saviour's 
 Church, York, — and both were very fine extempore 
 players. 
 
 E. J. Hopkins began his musical career as one of 
 the children of the Chapel Royal, at the age of eight,
 
 190 THE ORGAN AND ITS MASTERS 
 
 and he was such a good reader, and had such a re- 
 markable voice, that he was made to do double duty 
 at the Chapel Royal and St. Paul's Cathedral, singing 
 at four services a day. 
 
 The first state function in which he participated 
 was the coronation of William IV., and the last the 
 Diamond Jubilee of Queen Victoria. When fifteen 
 years old he left the Chapel Royal, and being on very 
 good terms with James Turle, who was organist of 
 Westminster Abbey, and with two of the leading 
 organ-builders, he applied himself vigorously to ob- 
 taining a thorough knowledge of the instrument. 
 He was entirely self-taught, and Turle used fre- 
 quently to allow him to play parts of the service. It 
 was through Turle's kindly interest that he was 
 elected, at the age of sixteen, to be organist of the 
 parish church at Mitcham, eight miles from London. 
 The committee hesitated to appoint one so young, 
 and Turle sent his compliments to them and said, 
 " If they are afraid to trust Hopkins to accompany 
 hymns and chants in Mitcham Church, Mr. Turle 
 does not hesitate to entrust him to play services in 
 Westminster Abbey." That settled the question, 
 and Hopkins was appointed with a salary of forty 
 guineas a year. 
 
 After four years of duty at Mitcham, Hopkins was 
 invited to open the new organ at St. Peter's, Isling- 
 ton, and was afterward offered the position of organ-
 
 THE ORGAN AND ITS MASTERS I9I 
 
 ist, which he accepted, but m 1841, wishing to be 
 nearer home, he accepted the appointment to St. 
 Luke's, Berwick Street, Soho, where he remained 
 for two years. Then began the long and notable 
 career at the Temple Church, which covered a period 
 of nearly sixty years. 
 
 The contest for the appointment lay between Hop- 
 kins and George Cooper, and it was decided in favour 
 of Hopkins because his rector, objecting to his ab- 
 sence during the probationary period at the Temple, 
 discharged him. The benchers found the two candi- 
 dates about equal in merit, but felt that as Hopkins 
 had lost his position on their account, he should get 
 the post. Hopkins was then twenty-five years of age. 
 
 Of Doctor Hopkins's playing it is needless to say 
 much here. During his long service his fame spread 
 far and wide. He was admirable as an accompanist 
 and as an extempore player. The Temple Church 
 became a Mecca for all young organists, and many 
 were the pupils who benefited by his instruction. 
 
 Doctor Hopkins was connected with many institu- 
 tions, and the composer of a number of excellent 
 anthems. He was not a prolific composer for the 
 organ, but his pieces and arrangements maintain a 
 high standard of excellence. His book, " The Organ ; 
 Its History and Construction," in which he was asso- 
 ciated with Doctor Rimbault, has long been the stan- 
 dard work upon the subject, and his contributions to
 
 192 THE ORGAN AND ITS MASTERS 
 
 Grove's Dictionary of Music and Musicians are inval- 
 uable. 
 
 Doctor Hopkins died early in 1901. 
 
 George Cooper, who was considered one of the 
 best organists of his day in England, was the son 
 of the assistant organist at St. Paul's Cathedral, 
 and was born at Lambeth, in 1820. His quickness 
 of ear, readiness of execution, and taste for good 
 music developed themselves very early, and when he 
 was eleven years of age, he often played the services 
 at St. Paul's for his father. At the festivals of the 
 Sons of the Clergy, Attwood, who was then chief 
 organist, delighted to make him extemporise, and on 
 one such occasion Mendelssohn, who was present, 
 is said to have remarked upon his talent and to have 
 praised him. When he was a little over thirteen 
 years of age he was made organist of the church of 
 St. Benet, Paul's Wharf, London, and when Attwood 
 died in 1838, Cooper was appointed assistant organ- 
 ist of St. Paul's Cathedral — the post formerly held 
 by his father, who resigned in his favour. Besides 
 this, he occupied various positions in different 
 churches until, in 1867, on the death of Sir George 
 Smart, he became organist of the Chapel Royal. He 
 died in 1876. 
 
 Cooper was highly respected, and did much to 
 familiarise his hearers with the works of Bach and 
 other great composers, which he played in a broad
 
 THE ORGAN AND ITS MASTERS 1 93 
 
 and noble style. He did not leave any compositions, 
 but published several books of organ music. " The 
 Organist's Manual," the " Organist's Assistant," 
 '• Organ Arrangements," and " Introduction to the 
 Organ " are all well known works. 
 
 The name of Doctor Edward Chipp is one which 
 is to be found frequently in the accounts of organ 
 recitals in England during the middle of the nine- 
 teenth century. Edmund Thomas Chipp was the 
 son of T. P. Chipp, who was the player of the 
 "Tower Drums." Born in London on Christmas 
 Day, 1823, he was educated at the Chapel Royal, 
 afterward studied the violin, and entered the queen's 
 private band in 1844. He now soon became known 
 as an organist, and in 1847 succeeded Doctor Gaunt- 
 lett at the St. Olave's Church. It is unnecessary to 
 record Doctor Chipp's church appointments, of which 
 he held several at different periods ; but his opportu- 
 nity as a concert organist came when he succeeded 
 Mr, Best as organist of the Panopticon, a post which 
 he held until the close of that institution. His next 
 public appointment was to Ulster Hall, Belfast, in 
 1862, and four years later he was called to Dundee, 
 where he became organist of Kinnaird Hall. In the 
 following year he settled down into the position of 
 organist at Ely Cathedral. He died at Nice in 
 1886. 
 
 Doctor Chipp is mentioned as having played in
 
 194 T'//^ ORGAN AND ITS MASTERS 
 
 public, from memory, Mendelssohn's organ sonatas, — 
 an accomplishment which was considered remarkable. 
 
 In reviewing English organists, it is impossible to 
 omit the name of Sir Frederick Ouseley, for his skill 
 in extempore playing and his facility in dealing with 
 suggested or improvised themes was most remarkable. 
 He never held a position as an organist. His posi- 
 tion in musical life was somewhat anomalous, for 
 though he was educated for the Church and followed 
 the profession of a clergyman, and was regarded as a 
 musical amateur, yet he held for many years one of 
 the most important professional posts in England, 
 viz., that of professor of music at the University of 
 Oxford. 
 
 Sir Frederick Arthur Gore Ouseley was born in 
 London, in 1825, and was the son of Sir Gore Ouse- 
 ley, a man of considerable and varied attainments, 
 who for several years was British ambassador to the 
 Persian court, and who, being musical, was one of 
 the chief founders of the Royal Academy of Music 
 in London. 
 
 As a child Sir F. Ouseley was considered a prod- 
 igy, and there are many amusing anecdotes concern- 
 ing his deeds. He was an object of interest to 
 Queen Victoria, Mendelssohn, Malibran, Lablache, 
 and other musicians who were celebrated in the days 
 of his youth. He had absolute pitch and a very ob- 
 serving nature. The deeds of prodigies grow monot-
 
 THE ORGAN AND ITS MASTERS 195 
 
 onous, and we will pass over that period and come to 
 the more serious business of his life. 
 
 Sir Frederick took his degree of Bachelor of Arts 
 at Oxford in 1849, and became curate of St. Paul's 
 Church, Knightsbridge, London. In 1850 he took 
 his degree of Bachelor of Music, resigned his curacy, 
 and went to the Continent to travel, and to make a 
 special study of church music and organs. During 
 this tour he played on almost every celebrated organ 
 in Western Europe. On his return to England he 
 immediately took steps to carry out his great desire, 
 which was to establish a church in which the service 
 should be of a high musical order. In 1856, after 
 many difficulties had been overcome, the college and 
 church of St. Michael and All Angels, at Tenbury, 
 Worcestershire, was dedicated. On this occasion 
 Arthur Sullivan, then one of the children of the 
 Chapel Royal, sang the solos in the newly formed 
 choir, and Sir George Elvey, of St. George's Chapel, 
 Windsor, played the organ. 
 
 Sir Frederick Ouseley devoted his fortune to the 
 maintenance of this church and the college, in which 
 the choristers received their education. It has been 
 a musical nursery, and, at least during the life of its 
 founder, a musical centre which attracted many of 
 the rising men. Sir John Stainer was organist of St. 
 Michael's Church for three years, and did space per- 
 mit, a long list of well-known names of those who
 
 196 THE ORGAN AND ITS MASTERS 
 
 have been directly or indirectly connected with the 
 church might be produced. 
 
 It was, however, as professor of music at Oxford 
 that Sir Frederick Ouseley wielded his most direct 
 influence on the musical life of his time, for in this 
 capacity a vast number of young men came under his 
 personal supervision. There were many complaints 
 in the profession that an amateur should be appointed 
 to this professorship, but it is doubtful whether any 
 one could have been selected who would have been 
 of greater benefit to the cause of music. Independ- 
 ent of the miserable stipend, he was able to root out 
 many abuses which had accrued during years of mu- 
 sical lethargy. Bogus degrees were stopped, exami- 
 nations became real, and a distinct advance was made. 
 
 In addition to the professorship at Oxford, Sir 
 Frederick Ouseley was rector of St. Michael's 
 Church, precentor of Hereford Cathedral, and he 
 became canon of Hereford Cathedral in 1886. 
 Three years later he was stricken down, in the midst 
 of his labours, by apoplexy, and a busy, useful, and 
 noble life was ended. 
 
 Sir Frederick Ouseley was the composer of much 
 music, the greater part of which was for the Church, 
 though at the age of eight he wrote an opera. For 
 the organ he wrote eighteen preludes and fugues, 
 three andantes, and a sonata. His works on har- 
 mony, counterpoint, musical form, etc., his articles
 
 THE ORGAN AND ITS MASTERS 1 97 
 
 for Grove's Dictionary are well known, but perhaps 
 the most valuable possession was the excellent collec- 
 tion of old and rare works and manuscripts which he 
 acquired and left to St. Michael's College. This 
 includes the identical copy of the score of the 
 "Messiah" from which Handel conducted the first 
 performance at Dublin in 1742; all the treatises of 
 Gafurius, including the earliest and rarest one, pub- 
 lished in Naples in 1480 ; the famous " Organ Book " 
 of Adrian Batten ; and very many more rare and val- 
 uable works too numerous for mention here. 
 
 The organ in St. Michael's Church, which was re- 
 modelled several times, is one of the finest instru- 
 ments outside of cathedral or concert-hall. It 
 contains four manuals and sixty-four speaking stops. 
 
 A very good story concerning Doctor Corfe, of 
 Christ Church, Oxford, and Sir F. Ouseley in his 
 student days was told by Doctor Stainer : "Being 
 a musician of the old type. Doctor Corfe rarely 
 changed his stops during the psalms. Ouseley and 
 his young friends got so accustomed to one partic- 
 ular quality of tone that they named it the ' Corfe- 
 mixture.' Ouseley knew that Doctor Corfe always, 
 at the close of one service, prepared his stops for the 
 giving out of the chant at the next. Moreover, Doc- 
 tor Corfe was fond of long walks, and was in the 
 habit of rushing into the organ-loft after service had 
 begun and just in time to place his hands on the
 
 198 THE ORGAN AND ITS MASTERS 
 
 keys. This offered a temptation for the undergrad- 
 uates which was irresistible. Watching Corfe safely 
 out of the cathedral one morning, Ouseley put in 
 all the arranged stops, and then drew on each man- 
 ual the most horrible and startling combination he 
 could think of. When evening service commenced, 
 Ouseley and his friends stood behind a pillar to hear 
 the effect. Just as the psalms commenced. Doc- 
 tor Corfe hurried in and placed his hands on the 
 keys. Everybody in the church gave a start except 
 Doctor Corfe himself, who placidly held down the 
 chord while one by one he put in the objectionable 
 registers, and gradually drawing his usual stops, once 
 more returned to the old ' Corfe-mixture.' " 
 
 An organist who did much in the cause of his art 
 was Doctor William Spark, a native of Exeter (1825- 
 1897). Spark became a chorister at Exeter Cathe- 
 dral, where his father was a lay vicar. At the age of 
 fifteen he was articled to Samuel Sebastian Wesley 
 for five years. When Wesley left Exeter for Leeds, 
 he took Spark with him, and the young man soon 
 became deputy organist of the parish church. Sev- 
 eral other church appointments followed, but in 
 1850, on Wesley's removal to Winchester, Spark 
 was appointed his successor at St. George's Church, 
 Leeds. 
 
 Within a year of his appointment Doctor Spark 
 had organised the Leeds Madrigal and Motet Society.
 
 THE ORGAN AND ITS MASTERS 199 
 
 A short time afterward he established the People's 
 Concerts, and this led to the building of the Town 
 Hall. For the Town Hall it was necessary to have 
 a fine organ, and a magnificent instrument was 
 erected by Gray and Davison from the designs of 
 Henry Smart and Doctor Spark. This organ (of 
 four manuals and one hundred and ten stops, — one 
 of the finest in the world) was opened in 1859, ^^^ 
 Doctor Spark was appointed Borough organist, though 
 not without a severe competition. Here he gave 
 organ recitals twice a week. 
 
 Doctor Spark was a man of great activity, and 
 besides some excellent organ pieces and other com- 
 positions, he wrote several books, and was editor of 
 The Orgaiiisfs Quarterly Jojirnal, and of a large 
 number of Batiste's organ compositions. 
 
 James Coward, who for many years was organist 
 at the Crystal Palace, was born in London, in 1824. 
 He was a chorister in Westminster Abbey, afterward 
 was appointed organist at St. Mary's Church, Lam- 
 beth, St. George's, Bloomsbury, and St. Magnus the 
 Martyr, in succession. He was also organist of the 
 Sacred Harmonic Society, and grand organist of 
 the Grand Lodge of Free Masons. He held the 
 Crystal Palace appointment from 1857 until his 
 death in 1880. 
 
 William Thomas Best was for many years con- 
 sidered the first among English concert organists.
 
 200 THE ORGAN AND ITS MASTERS 
 
 He was the son of a solicitor of Carlisle, and was 
 educated with a view to becoming an engineer. Mu- 
 sic, however, proved to be a stronger attraction, and 
 he began to take lessons of Young, the organist of 
 Carlisle Cathedral. He subsequently took some les- 
 sons of other organists, but they were men of the old 
 stamp, and unprogressive. For all practical purposes 
 Best was self-taught. He obtained his first organ 
 appointment at the age of fourteen, at the Pembroke 
 Road Baptist Chapel, Liverpool, where the organ 
 possessed the first CC pedal keyboard in Liverpool. 
 In 1847 Best was appointed organist of the Church 
 for the Blind at Liverpool, and he was also organist 
 of the LiveqDool Philharmonic Society, under whose 
 auspices he made his first appearance as a concert 
 organist, in 1849. 
 
 A few years later Best was in London, where he 
 came prominently before the public as organist of 
 the Panopticon (now the Alhambra), in Leicester 
 Square, where a fine four-manual instrument had 
 been erected. He was also organist, for a short time 
 only, of the churches of St. Martin-in-the-Fields, and 
 Lincoln's Inn Chapel. His London appointments 
 were brief, but his playing of Bach and other classi- 
 cal composers attracted much attention and added 
 greatly to his fame. It is interesting to know that 
 his Panopticon engagement came to an end because 
 he refused to accede to the request of the director,
 
 WILLIAM THOMAS BEST
 
 THE ORGAN AND ITS MASTERS 201 
 
 that after the entertainment he should play the afl- 
 dience out to the strains of the "Wedding March." 
 
 The brevity of his London engagement was soon 
 compensated for by his appointment, in 1855, to be 
 organist of St. George's Hall, Liverpool, at a salary 
 of ^300, which was afterward increased to ^^400, 
 This position he held for nearly forty years, and his 
 recitals earned for him a world-wide reputation. 
 
 During his long career Best held several church 
 appointments, but his chief work was at St. George's 
 Hall, and in opening numerous organs, of which the 
 most important was that at the Albert Hall in Lon- 
 don, in 1 87 1. His appearances at the Handel Festi- 
 vals on Selection days were eagerly looked forward 
 to by organists, who used greatly to enjoy the sang- 
 froid with which he would insist upon, and dog- 
 gedly keep to, his own tempi of Handel's organ 
 concertos, regardless of the exertions of the con- 
 ductor in trying to keep the band and the organ 
 together. 
 
 Althoug-h he made several contributions to the 
 literature of organ music. Best's fame does not rest 
 upon his compositions. His " Organ Arrangements " 
 — full and yet faithful to the original score — are un- 
 surpassed. He edited Handel's organ concertos, and 
 Mendelssohn's and Bach's organ works. His " Art 
 of Organ-Playing," especially Part H., "Studies for 
 the Pedal," is an invaluable aid to the organ-student.
 
 202 THE ORGAN AND ITS MASTERS 
 
 He also edited Handel's "Messiah," in which he 
 incorporated Mozart's additional accompaniments. 
 
 In 1880 Best was offered the choice between 
 knighthood and a pension from the Civil List of 
 ;^ioo per annum, — and chose the latter, as he dis- 
 liked titles. 
 
 In 1890 Best went to Australia and gave twelve 
 recitals on the huge organ in the Town Hall, Sydney, 
 — the largest organ in the world. In 1894, owing to 
 continued ill-health, he resigned his position at St. 
 George's Hall, and three years later he died. 
 
 Away from the organ, Best was very much of a 
 recluse. He abhorred social functions, and repelled 
 all attempts to induce him to associate with his pro- 
 fessional brethren. He was a master of ironical wit, 
 and many stories are current of his pungent remarks 
 when expressing his opinions, which were as out- 
 spoken as they were amusing. 
 
 Best had a number of pupils, many of whom be- 
 came prominent, but during the later years of his 
 life he did not teach. George E. Whiting was one 
 of his most noted American pupils. 
 
 As before stated, there are many amusing anec- 
 dotes concerning Best's remarks, and we may be for- 
 given if one is quoted. This one was made in 1894, 
 when Best was giving some information regarding 
 the introduction of Mendelssohn's organ music into 
 England. After explaining how the younger genera-
 
 THE ORGAN AND ITS MASTERS 203 
 
 tion of organists adopted the CC pedal-board, which 
 made the performance of Bach and Mendelssohn pos- 
 sible, he continued : " Adams, with enormous contra- 
 puntal talent, regaled himself by serving up one or 
 two of Bach's '48, adding a droning pedal wJien his 
 bunions ivere propitious. ' ' 
 
 The following sketch of Best's character was writ- 
 ten by Mr. Everett E. Truette, in the Etude : 
 
 " Best was greatly maligned by many of his own 
 countrymen as being cross and testy, disagreeable, 
 and the like. His disposition was peculiar and made 
 for him many enemies. He was a man of very strong 
 ideas, and never hesitated to give vent to his opin- 
 ions, oftentimes exaggerating to increase their force- 
 fulness. 
 
 "At one time I was chatting with him in his 
 study. We had been talking about organ-builders, 
 and I casually mentioned the name of an English 
 builder with whom he had recently held a wordy 
 disagreement. Best burst forth : ' That man X. 
 does not know how to build an organ. Look at 
 
 the organ in Hall ! He put the solo stops 
 
 on such a high pressure of wind that it was neces- 
 sary to chain them to the wind-chest to keep them 
 from being blown out through the roof.' I roared, 
 and he too burst out laughing. Ten minutes later 
 he was enthusing over the fine work of this same 
 builder in another organ.
 
 204 "^^^ ORGAN AND ITS MASTERS 
 
 "When I first wrote to him, asking if he would 
 give me lessons, he sent me a sharp reply, stating 
 that he did not teach at all, and ended his letter : 
 'You Americans are very fond of studying music 
 in Germany and afterward coming to England to 
 rub off the Teutonic rust.' I wrote back that, as 
 I had been studying with Guilmant for six months 
 or so, I thought the ' Teutonic rust ' was about all 
 rubbed off. He then wrote me a most cordial letter, 
 inviting me to visit him, and sent me a great pack- 
 age of his music. This was the beginning of a 
 friendship which lasted to his death, and I have 
 many pleasant recollections of long chats with him, 
 when, in spite of his natural irritability, we had 
 many pleasant discussions on organ topics. I always 
 found him cordial, warm-hearted, enthusiastic, and 
 entertaining. 
 
 "To the organ-student he is best known by his 
 * Arrangements from the Scores of the Great Mas- 
 ters,' in which he brought out so prominently a fea- 
 ture which was peculiarly his own, and in which he 
 showed that the organ is in itself capable of repro- 
 ducing orchestral effects, without transcending its 
 proper functions or descending to trickery. This 
 he made possible only by his complete knowledge 
 of its resources. Though he was the first and great- 
 est in his methods of reproducing orchestral effects, 
 he repeatedly expressed himself as believing that the
 
 THE ORGAN AND ITS MASTERS 205 
 
 organ was an instrument of its own kind, producing 
 effects that no orchestra could produce, and should 
 be treated accordingly." 
 
 This book would be incomplete without some 
 mention of the great organ in the town hall at Syd- 
 ney, New South Wales, which is the largest organ 
 in the world, having five manuals and one hundred 
 and' twenty-eight speaking stops. Its organist too 
 must be reckoned among the celebrated concert 
 organists of the world, and though a Belgian, his 
 appropriate place in this account seems to be that 
 which is nearest to his instrument. 
 
 M. Auguste Wiegand was elected to fill this 
 position in 1891, from amongst one hundred and five 
 competitors. Bom at Liege, in Belgium, in 1849, 
 Wiegand had developed sufficient musical talent by 
 the time he was seven years of age to receive the 
 appointment of organist at the church of St. Giles 
 in his native city. In the following year he began 
 his career as a concert performer, giving exhibitions, 
 in conjunction with his sister, as a pianist and violin- 
 ist. In 1859, he was admitted to the Conservatoire 
 at Liege, being the successful one of eighteen candi- 
 dates. At the age of twelve he received his " primus 
 accessit " for skill at the organ, and at fifteen he was 
 awarded second prize. He gained the first prize in 
 1867, and the silver medal for organ-playing as well 
 as first prize for piano-playing in the following year.
 
 206 THE ORGAN AND ITS MASTERS 
 
 The gold medal, both for piano and organ playing, he 
 received in 1869, also first prize in harmony, counter- 
 point, and reading" at sight from orchestral score. 
 In 1870, he was appointed professor at the Li^ge 
 Conservatoire, and remained there for six years, 
 when he resigned in order to devote his time to con- 
 cert playing. Wiegand also began study under 
 Lemmens, who died very shortly after. Then the 
 Belgian government recognised his talent by allowing 
 him to study under Alphonse Mailly, professor at 
 the Royal Conservatoire at Brussels, and organist 
 to the King of Belgium. He was also appointed a 
 member of the jury of organ competitions. 
 
 In 1878 M. Wiegand seriously began his career 
 as a concert organist, and before receiving the ap- 
 pointment to Sydney he had given five hundred and 
 fifty-three recitals in Holland, Belgium, England, 
 and France, of which the five-hundredth v^ras given 
 on the great organ in the Albert Hall, London. 
 
 In Australia M. Wiegand led a very active life, 
 and in his first season gave one hundred and fifty- 
 six recitals on his great instrument, besides playing 
 on organs in different parts of the colonies. He 
 held his position until the beginning of 1902. 
 
 M. Wiegand's repertoire is immense, and includes 
 all the standard organ works and a great number of 
 operatic arrangements and music of a popular nature, 
 showing that the taste of the people in Australia is
 
 THE ORGAN AND ITS MASTERS 207 
 
 much the same as elsewhere and is not yet educated 
 up to the strictly legitimate in organ music. 
 
 In regard to the organ itself, one or two re- 
 markable features may be noticed in the following 
 specifications. 
 
 Completed in 1890, by Messrs. Hill & Son, of 
 London, it was heralded as the " largest and grandest 
 organ ever built or ever to be built." It certainly is 
 a monster, and undoubtedly no larger organ will be 
 attempted for some time to come. The success of 
 the instrument from a musical point of view is some- 
 what doubtful. This gigantic instrument has five 
 manuals, one hundred and twenty-six speaking stops, 
 forty-three combination movements (pistons and ped- 
 als) and twenty-one mechanical accessories. 
 
 The chief feature of the instrument, never before 
 attempted, is a sixty-four foot reed-stop in the pedal, — 
 con tra-trom bone, — a " striking reed " of full length, 
 with wooden tubes. Inasmuch as the lowest notes 
 of a thirty-two-foot stop are hardly distinguishable, 
 — they QXQ felt more than heard, — extending the 
 compass an octave lower cannot and does not pro- 
 duce a result to warrant the outlay. The lowest 
 note has only eight vibrations a second, and the 
 distinct vibrations are noticeable, thus preventing a 
 pure musical tone. 
 
 In the appended specification it will be noticed 
 that a large amount of duplication has been necessary
 
 208 
 
 THE ORGAN AND ITS MASTERS 
 
 to bring the number of stops up to the monster re- 
 quirements, and that the redundancy of the diapasons 
 would seem otherwise unnecessary. 
 
 The town hall is very large, with a seating capacity 
 of six thousand. The organ is blown by an eight- 
 horse-power gas-engine. The instrument cost about 
 sixty thousand dollars. Several changes have been 
 made since the organ was first completed, and the 
 accompanying specification shows the organ as it 
 now stands : 
 
 Swell Organ. 
 
 Double open diapason . i6 
 
 Bourdon l6 
 
 Open diapason .... 8 
 Viol di gamba .... 8 
 
 Salicional 8 
 
 Dulciana 8 
 
 Vox angelica .... 8 
 
 Hohl-flote 8 
 
 Octave 4 
 
 Gemshorn 8 
 
 Harmonic flute ... 4 
 Rohr-flote 4 
 
 ft. 
 
 
 Twelfth 2f ft. 
 
 Fifteenth 2 " 
 
 Harmonic piccolo . . . i " 
 
 Mixture IV. rks. 
 
 Furniture V. " 
 
 Trombone 16 ft. 
 
 Bassoon 16 " 
 
 Horn 8 " 
 
 Cornopean 8 " 
 
 Oboe 8 " 
 
 Clarion 4 " 
 
 Vox humana .... 8 " 
 
 Contrabourdon . . 
 
 Bourdon 
 
 Double open diapason 
 Open diapason (i). . 
 Open diapason (2). . 
 Open diapason (3). . 
 Open diapason (4). . 
 Harmonic flute . . 
 
 Great Organ. 
 
 32 ft. Viola 8 
 
 16 " Spitz-flote 8 
 
 16 " Gamba 8 
 
 8 " Hohl-flote 8 
 
 8 " Rohr-flote 8 
 
 8 " Quint 
 
 8 " Harmonic flute ... 4 
 
 8 " Principal 4 
 
 ft. 
 
 5i
 
 CONSOLE OF THE ORGAN IN THE TOWN HALL, 
 SYDNEY, N. S. W.
 
 THE ORGAN AND ITS MASTERS 
 
 209 
 
 Octave 4 ft. 
 
 Gemshom 4 " 
 
 Twelfth 2f " 
 
 Fifteenth 2 " 
 
 Mixtures .... III. rks. 
 Cymbal IV. « 
 
 Sharp mixture . . IV. rks. 
 Furniture .... V. " 
 Contraposaune ... 16 ft. 
 
 Posaune 8 " 
 
 Trumpet 8 " 
 
 Clarion 4 " 
 
 Solo Organ. 
 
 Quintaton . . 
 Open diapason 
 Violin diapason 
 Flauto traverse 
 Doppel-flote 
 Stopped diapason 
 Viola .... 
 Octave . . . 
 Flauto traverso 
 Harmonic flute 
 
 16 ft. 
 
 8 
 8 
 8 
 4 
 4 
 4 
 
 Flauto traverso . 
 Contrafagotto . . 
 Cor anglais . . . 
 Corno di bassetto 
 Orchestral oboe . 
 Harmonic trumpet 
 Octave oboe . . 
 Contratuba . . . 
 
 Tuba 
 
 Tuba clarion . . 
 
 2 
 
 16 
 8 
 8 
 8 
 8 
 
 4 
 16 
 
 8 
 4 
 
 ft. 
 
 Viol d'amour . . . 
 Unda maris (II. rks.) 
 Lieblich gedacht . . 
 Viol d'amour . . . 
 
 Echo Organ. 
 
 8 ft. Flageolet 2 ft. 
 
 8 " Glockenspiel . . . IV. rks. 
 
 8 " Echo dulciana cornet IV. " 
 
 4 " Basset horn 8 ft. 
 
 Contradulciana 
 Open diapason 
 Gamba . . . 
 Dulciana . . . 
 Flauto traverso 
 Hohl-flote . . 
 Lieblich gedacht 
 Octave . . . 
 Violina . . . 
 Voix celeste 
 
 Choir Organ. 
 
 16 ft. Lieblich-flote .... 4 ft. 
 
 8 " Twelfth 2f « 
 
 8 " Fifteenth 2 " 
 
 8 " Dulcet 2 " 
 
 8 " Dulciana mixture . . III. rks. 
 
 8 " Bassoon 16 ft. 
 
 8 " Trumpet 8 " 
 
 4 " Clarinet 8 " 
 
 8 " Oboe 8 " 
 
 8 " Octave oboe .... 4 "
 
 2IO THE ORGAN AND ITS MASTERS 
 
 Pedal Organ. 
 
 Double open diapason, Violoncello 8 ft. 
 
 wood 32 ft. Bass flute 8 " 
 
 Double open diapason, Twelfth Sl " 
 
 metal 32 " Fifteenth 4 " 
 
 Contrabourdon ... 32 " Mixture II. rks. 
 
 Open diapason, wood . 16 " Mixture III. " 
 
 Open diapason, metal .16 " Mixture IV. " 
 
 Violone 16 " Contratrombone, wood 64 ft. 
 
 Gamba 16 " Contraposaune, metal . 32 " 
 
 Dulciana 16 " Posaune 16 " 
 
 Bourdon 16 " Trombone 16 " 
 
 Quint io| " Bassoon 16 '♦ 
 
 Octave 8 " Trumpet 8 " 
 
 Prestant 8 " Clarion 4 " 
 
 8 pneumatic combination pistons to great. 
 
 8 
 
 
 <( 
 
 
 (t 
 
 " swell. 
 
 7 
 
 
 <i 
 
 
 (( 
 
 " choir, 
 
 7 
 
 
 c< 
 
 
 « 
 
 " solo. 
 
 3 
 
 
 « 
 
 
 « 
 
 " echo. 
 
 6 combination pedals 
 
 to 
 
 pedal. 
 
 
 4 
 
 
 (( 
 
 (( 
 
 great. 
 
 
 Choir tremulant. 
 
 
 
 
 
 3 pedals for 
 
 pedal 
 
 coupl 
 
 ers. 
 
 
 Sir Herbert Stanley Oakeley, an excellent organ- 
 ist, was born at Ealing, near London, in 1830, and 
 educated at Eton and Christ Church College, Oxford. 
 He was a pupil in harmony of Doctor Stephen Elvey, 
 and studied the organ under Schneider in Dresden, 
 completing his musical studies at Leipzig, and under 
 Breidenstein at Bonn. In 1865 he was appointed 
 Reid professor of music at Edinburgh Univ^ersity, 
 which position he held until 1891, and in which his
 
 THE ORGAN AND ITS MASTERS 2 1 1 
 
 successful exertions were recognised by the bestowal 
 of numerous distinctions. He was knighted in 1876, 
 and received honorary degrees from many universi- 
 ties in Great Britain, Canada, and Australia. 
 
 Under his management the Reid concerts received 
 a great impulse and developed into a three days' 
 festival ; the concerts of the university musical society 
 and his own excellent organ recitals had a wide-spread 
 educational influence. He was regarded as an organ- 
 player of exceptional ability, and a good composer, 
 but only a few of his compositions for organ have 
 been published. 
 
 One of the most highly respected of English or- 
 ganists was Doctor George Mursell Garrett, who was 
 born at Winchester in 1834 and died at Cambridge 
 in 1897. 
 
 Doctor Garrett was a pupil of Elvey and Wesley 
 and was assistant organist at Winchester Cathedral 
 from 185 I to 1854, when he received the appointment 
 of organist at the cathedral at Madras, which he held 
 for two years. Returning to England, he was ap- 
 pointed to St. John's College, Cambridge, and in 
 1873 he succeeded Doctor Hopkins as organist to 
 the university, where he became also lecturer on 
 harmony and counterpoint, and examiner in music. 
 
 Doctor Garrett wrote a number of pieces for the 
 organ, besides an oratorio, five cantatas, and other 
 church music.
 
 212 THE ORGAN AND ITS MASTERS 
 
 Doctor Edmund Hart Turpin is one of the most 
 prominent English concert organists of the present 
 day. He was born at Nottingham, in 1835, and 
 became organist of a church in Nottingham at the 
 age of thirteen. He gave his first organ recital 
 at the Hyde Park E.xhibition of 185 1, and soon 
 afterward he obtained a London appointment. In 
 1869 he became organist of St. George's Church, 
 Bloomsbury, a position which he retained until 1888, 
 when he was appointed to St. Bride's, Fleet Street. 
 In the following year the degree of Mus. Doc. was 
 conferred upon him by the Archbishop of Canterbury. 
 
 Doctor Turpin has been long connected with the 
 musical press of London, and was editor of the 
 Musical Standard for some years, and later of 
 the Musical News. He is noted as a lecturer, 
 and has written several works, including some organ 
 pieces. In 1875 he became Hon. Secretary of the 
 College of Organists, to which institution he has 
 devoted much time. 
 
 Frederick Archer, who was considered one of the 
 greatest of organ virtuosi, was born at Oxford, Eng- 
 land, in 1838. His musical talent first became man- 
 ifest when he was about eight years of age, and he 
 was soon able to play at sight any composition which 
 came within the range of his fingers, besides which he 
 showed remarkable aptitude for improvising. 
 
 At the age of nine he became a chorister at Mar-
 
 THE ORGAN AND ITS MASTERS 21 3 
 
 garet Chapel, London, where, before long, he was 
 able sometimes to officiate as organist, although he 
 had not yet taken an organ lesson. 
 
 On leaving Margaret Chapel, he was appointed 
 organist at St. Clement's Church and at Merton 
 College, Oxford, holding both appointments simulta- 
 neously, and a few years later he travelled on the 
 Continent, giving exhibitions of his marvellous skill 
 as a performer. On his return to England, he was 
 made organist at the Panopticon in London, where, 
 with a concert instrument of unusual size and excel- 
 lence, he soon distinguished himself. In May, 1875, 
 the new organ in Alexandra Palace was completed, 
 — an instrument having four manuals and eighty-nine 
 stops, — and he became organist. On this instru- 
 ment Archer gave over two thousand recitals, never 
 repeating a programme ; his remarkable power of sight 
 reading, either from orchestral score or other scores, 
 made his repertoire practically inexhaustible. He was 
 a man of the finest physique, and his appearance be- 
 fore his instrument was very imposing. Some of the 
 effects which he produced have never been accom- 
 plished by any other organist, for the simple reason 
 that he was gifted by nature with fingers of unusual 
 length. This peculiarity gave him the immense ad- 
 vantage of being able to play on two, and occasionally 
 on three manuals simultaneously, with the same hand. 
 His executive facility, both with hands and feet, was
 
 214 THE ORGAN AND ITS MASTERS 
 
 marvellous, and passages of enormous difficulty and 
 rapid tempi were played by him without the slightest 
 apparent effort. 
 
 In 1880 Mr. Archer came to America, first settling 
 in Boston, and then going to Brooklyn, where he 
 became organist of Henry Ward Beecher's church, 
 and later of Doctor Storr's church in New York, 
 which he left to go to the Church of Incarnation, 
 He was also editor of a musical journal called the 
 Keynote. 
 
 Leaving New York, Mr. Archer was for a time 
 organist of the St. James's Roman Catholic Church in 
 Chicago, 
 
 In the year 1896 he accepted the terms offered by 
 the Carnegie Library Commission, of Pittsburg, Penn- 
 sylvania, and became city organist, and musical direc- 
 tor of Carnegie Music Hall. His indefatigable energy 
 and enthusiasm were readily appreciated in that city, 
 and his musical influence was wide-spread. His organ 
 recitals, musical lectures, and concerts made his name 
 famous in America, 
 
 He died in 1901, 
 
 Mr. Archer was a man of immense activity, and it 
 is recorded that, after the rebuilding of the Alexandra 
 Palace, and the erection therein of the new and mag- 
 nificent organ, he frequently played to audiences 
 numbering as high as twenty thousand. His duties 
 as musical director of the palace were, at the same
 
 THE ORGAN AND ITS MASTERS 215 
 
 time, enormous, and in addition to conducting cho- 
 ruses and orchestral concerts he had many engage- 
 ments at distant places. 
 
 While resident in New York he gave ninety-two 
 organ recitals at Chickering Hall, besides which he 
 inaugurated almost every large new organ erected in 
 the United States and Canada. 
 
 At Pittsburg, during his first three seasons, he 
 gave two hundred and twenty-three recitals in Car- 
 negie. Hall, and played six hundred and twenty-three 
 organ compositions, and seven hundred and forty-two 
 orchestral transcriptions, to total audiences of one 
 hundred and ninety-five thousand people. He also 
 gave a great number of lectures, and was largely 
 instrumental in founding the Pittsburg Symphony 
 Orchestra. 
 
 It was conceded that Archer revolutionised the art 
 of organ-playing in America. His success was gained 
 by recognising the necessity of popularising the in- 
 strument. Programmes made up of heavy scholastic 
 works have always proved wearisome to a general 
 audience, and sometimes even to a musical audience. 
 Archer adapted the organ to the requirements of 
 orchestral compositions, while at the same time he 
 was one of the finest exponents of classical organ 
 music. 
 
 Sir John Stainer was one of the most active and 
 eminent musicians of his day. Born in London
 
 2l6 THE ORGAN AND ITS MASTERS 
 
 (1 840- 1 901), he was educated entirely in England, 
 entering the choir of St. Paul's Cathedral at the age 
 of seven, when he was already a remarkable player 
 and sight singer. In 1854 he was appointed organist 
 and choirmaster of St. Benedict and St. Peter's 
 Church. He studied organ under George Cooper, 
 and in 1856 he was selected by Sir PYederick Ouse- 
 ley as organist for the newly founded college and 
 church of St. Michael, Tenbury, where he remained 
 three years, during which time he matriculated at 
 Christ Church, Oxford, and took his degree of Bach- 
 elor of Music. Being appointed organist of Magda- 
 len College, Oxford, he left Tenbury, and entered at 
 Oxford as an undergraduate, discharging his duties 
 as organist while working for his B. A. degree, 
 which he took in 1863. On the death of Doctor 
 Elvey he was appointed organist of the University 
 of Oxford, and conductor of two musical societies. 
 In 1865 he took his degree of Doctor of Music, and 
 in the following year that of Master of Arts, and 
 became one of the examiners for musical degrees. 
 From 1872 to 1888 he was organist of St. Paul's, 
 London, succeeding Sir John Goss, 
 
 In 1888 he was knighted, and in 1889 was 
 appointed professor of music at Oxford University. 
 Various other positions held by him were professor 
 of organ and harmony of the National Training- 
 School of Music, and later principal of the same.
 
 THE ORGAN AND ITS MASTERS 21/ 
 
 When this institution became the Royal College of 
 Music, he was one of the professors. He was also 
 government inspector of music in the training- 
 schools. In 1878 he was made a Chevalier of the 
 Legion of Honour. 
 
 His principal works are the oratorio, " Gideon ; " 
 the cantatas, "The Daughter of Jairus," "St. Mary 
 Magdalene;" "The Crucifixion;" numerous an- 
 thems, services, primers, and, in conjunction with 
 W, A. Barrett, the well-known " Dictionary of 
 Musical Terms." 
 
 The Reverend Frederick Scotson Clarke (born in 
 London, 1840, died in London, 1883) was a prolific 
 composer for the organ. He was an organ pupil of 
 E. J. Hopkins, and studied music both at the Royal 
 Academy and in Paris, He also studied for the 
 ministry at Oxford and at Cambridge, and was 
 organist at Exeter College, Oxford. He next stud- 
 ied music again at Leipzig and Stuttgart, and on 
 his return to England founded the London Organ 
 School in 1873. He was also the representative 
 English organist at the Paris Exposition in 1878. 
 For the organ he wrote fifteen marches, forty-eight 
 voluntaries, and six communions, besides offertories 
 and other pieces. 
 
 Sir Walter Parratt holds at the present day the 
 much desired position of master of music to the king, 
 also that of organist at St. George's Chapel, Windsor.
 
 2l8 THE ORGAN AND ITS MASTERS 
 
 Sir Walter Parratt is a native of Hucldersfield, in 
 Yorkshire, where his family has been long and hon- 
 ourably associated with the musical life. In fact, 
 the musical history of Huddersficld is said to have 
 commenced with the year 1812, when Thomas Par- 
 ratt, a youth just passing out of his teens, became 
 the first organist of the parish church, beginning his 
 duties on Christmas day of that year. He officiated 
 at fifty Christmas services, and died in March, 1862, 
 when he was succeeded as organist by his son Henry, 
 who has played on' forty similar occasions, father 
 and son having officiated for ninety years without 
 a break. 
 
 Walter Parratt is the younger brother of Henry, 
 and displayed much precocity. At the age of seven 
 he was able to play the organ for the serx'ice in the 
 church, and at ten he played the whole of the forty- 
 eight preludes and fugues of Bach by heart. 
 
 At eleven years of age he was appointed organist 
 of Armitage Bridge Church, and not long afterward 
 he secured the position at St. Paul's Church, Hud- 
 dersfield, where he remained until 1861, when he 
 received the appointment of organist at Witley 
 Court, in Worcestershire, in the service of Lord 
 Dudley. Here he had opportunity for study, and 
 remained for seven years. In 1868 he became or- 
 ganist of the parish church at Wigan, Yorkshire. 
 In 1872 he went in a similar capacity to Magdalen
 
 THE ORGAN AND ITS MASTERS 219 
 
 College, Oxford, and in 1882 to St. George's Chapel, 
 Windsor, succeeding Sir George Elvey, He became 
 professor of organ at the Royal College of Music in 
 1883, was knighted in 1892, and the following year 
 was appointed master of music in ordinary to Queen 
 Victoria. 
 
 Sir Walter Parratt is gifted with a wonderful 
 memory, concerning which many remarkable feats 
 are recorded. Besides being an excellent musician 
 he is the possessor of much literary knowledge and 
 ability, has contributed articles to Grove's Dictionary, 
 and the chapter on music in Humphrey Ward's 
 "Reign of Queen Victoria." His musical composi- 
 tions include several organ pieces. 
 
 As a staunch upholder of the legitimate in organ- 
 playing he elicited a reply to one of his lectures a 
 few years ago from Mr. Best, who, as one of the 
 organists most active in the use of arrangements, 
 was perhaps better fitted than any one else to defend 
 the practice. As the question of popularising organ- 
 playing is still as actively open as ever, it may be 
 permissible to repeat such portions of the controversy 
 as may seem to have a general, and not too personal 
 bearing on the question. 
 
 In 1854 Mr. Chorley, the critic of The Athenceum 
 (London), made a fierce attack on "arrangements," in 
 the following paragraph : 
 
 "An organist who analyses an orchestra and its
 
 220 THE ORGAN AND ITS MASTERS 
 
 varieties with the view of representing them on the 
 organ, wastes his time, loses his way, and does not 
 know his duties and their hmits. The organ can 
 hardly be called *an orchestra in itself (even of 
 wind instruments), and the fancy of devoting it to 
 arranged music has brought it into low estimation. 
 How shall an orchestra, the basis of which is the 
 brisk and pungent stringed quartet, be represented 
 by its coarser and heavier tones, among which every 
 staccato becomes a 'quack,' and every rapid arpeggio 
 a yawn or scream, — according as the stops are of 
 wood or metal, — and every chromatic scale a con- 
 fusion, analogous to the blot of mixed tints on a 
 painter's palette ? " 
 
 This attack was answered at some length by Henry 
 Smart. We cannot follow out his argument in full 
 detail, but a few sentences here and there will give 
 the gist of his argument. 
 
 " About all this there is, doubtless, some truth ; 
 yet so overlaid with misrepresentation, or rather, non- 
 comprehension of the facts, as to become really value- 
 less. If an organist 'analyses an orchestra,' etc., 
 with the view of reproducing on his instrument pre- 
 cisely the effect of the score, for example one of 
 Beethoven's symphonies, he certainly 'loses his way' 
 and deserves all TJie AthencBiim may say of him. 
 And it is unfortunately true that a great many 
 organists, not thoroughly conversant either with the
 
 THE ORGAN AND ITS MASTERS 221 
 
 orchestra or their own mstrument, do commit this 
 very obvious blunder. If, however, it is intended 
 absolutely to prohibit all adaptations for the organ — 
 however artistically contrived — of modern orchestral 
 and vocal music, we must emphatically dissent from 
 the conclusion." Then follows a long argument of 
 which the following is the summing-up : 
 
 " In fine, without possessing the power of pre- 
 cisely copying (the orchestra, or mihtary band, or 
 chorus), the organ can render more closely a general 
 resemblance, or rather, perhaps, can suggest more 
 forcibly an idea of the effect of an orchestral score, 
 than any other instrument ; and whoever seeks more 
 from it than this, either ' loses his way ' in the pur- 
 suit, or was a bad judge of his means in the beginning." 
 
 In regard to the statement that the " fancy of 
 devoting it to arranged music has brought it into 
 low estimation," Mr. Smart says : '* To the players 
 it has opened a new vista of ideas ; without in the 
 least deteriorating their love for, or their capability 
 of executing, the music of Bach, it has increased 
 their mechanical accomplishment both in finger skill 
 and the management of their instrument, and has 
 refined and spiritualised their style ; while to its 
 urgent demands for improvement, the organ itself is 
 almost indebted for the immense ameliorations in 
 tone and mechanism it has of late years displayed." 
 
 In answer to the critic's concluding sentences, Mr.
 
 22 2 THE ORGAN AND ITS MASTERS 
 
 Smart considers them " very sharp writing, but very 
 flat nonsense." 
 
 Many years later, in fact about 1891 or 1892, an 
 article hostile to " arrangements " was written by Mr. 
 Walter Parratt, which was answered by Mr. Best, 
 whose arrangements were alluded to as " examples 
 of misapplied skill." 
 
 Mr. Best began his reply by asserting that on the 
 only occasion he heard Mr. Parratt perform upon 
 the organ he essayed a transcription of Mendels- 
 sohn's overture " Ruy Bias." He goes on to say 
 that it is necessary that all organ arrangements 
 should exhibit, in an artistic manner, every impor- 
 tant feature of the score, and never be debased for 
 performance on imperfectly constructed instruments 
 by players more or less in the state of pupilage. He 
 mentions Bach as the father of all arrangers, as he 
 accommodated Vivaldi's violin concertos to the 
 " expressionless German organ of his day with its 
 intractable pedal bass." Then follows a long list 
 of continental and English organists who have 
 "arranged" for the organ. This list includes such 
 names as F. Lux, F. Liszt, A. Guilmant, E. Prout, 
 E. J. Hopkins, J. Stainer, H. Smart, and F. Archer, 
 all of whom would hardly select music unsuited for 
 organ effect. 
 
 He continues thus: "Mr. Parratt urges 'that the 
 erection of large concert-hall organs and the neces-
 
 THE ORGAN AND ITS MASTERS 223 
 
 sity for pleasing Saturday-night audiences, has had a 
 disastrous influence over organ music, as in the ma- 
 jority of such programmes two-thirds at least are 
 arrangements of orchestral and choral works.' It 
 must be remembered, however, that in endeavouring 
 to raise the musical taste of the humbler classes, the 
 municipal authorities of our large towns did not in- 
 tend their concert organs to be restricted to the per- 
 formance of preludes, and fugues, and somewhat dry 
 sonatas. As is the case with orchestral concerts of 
 a popular character, the higher forms of composition 
 have to be introduced both warily and gradually. . . . 
 It is gratifying to note that a better state of things 
 exists now, and if we could obtain anything approach- 
 ing Mozart's great Fantasia in F-minor, all would be 
 well. Modern German composers are now timidly 
 adding crescendo and diminuendo to their organ 
 pieces, the builders being compelled to advance with 
 the times and provide their lifeless stacks of pipes 
 with the means of musical expression common to all 
 English and French organs. . . . The works of Mr. 
 Parratt's favourite composers, — Herren Merkel and 
 Rheinberger, — though in undeniable organ form, are 
 apt to pall upon cultivated ears. Their numerous 
 sonatas, in particular, bear a strong family likeness, 
 the chief themes being encumbered with a wearisome 
 technical development, too often proclaiming the 
 manufactured article rather than the presence of the
 
 224 ^-^^ ORGAN AND ITS MASTERS 
 
 creative impulse, while the enormous length of many 
 of the movements effectually prevents a frequent 
 performance." 
 
 Albert Lister Peace, a native of Huddersfield 
 (1844), exhibited a precocity almost equal to that of 
 Crotch or even Mozart. He could name with unerr- 
 ing accuracy individual notes and combinations of 
 notes when sounded, before he was five years old. 
 When only nine he was appointed organist of the 
 parish church of Holmfirth, and subsequently of 
 other churches in that neighbourhood. In 1866 he 
 became organist of Trinity Congregational Church, 
 Glasgow, and soon afterward he was appointed 
 organist to the university, besides filling other posi- 
 tions. He graduated at Oxford as Bachelor of Music 
 in 1870, and as Doctor in 1875. 
 
 As an organ-player Doctor Peace stands at the 
 head of his profession in England. He was ap- 
 pointed organist of Glasgow Cathedral in i ^^i, when 
 a new organ by Willis was erected, embracing all the 
 most recent improvements in organ construction, and 
 on this and the organ in Glasgow New Music Hall he 
 was frequently heard, as well as in all parts of Great 
 Britain. In 1897 he was elected organist of St. 
 George's Hall, Liverpool, to succeed Best in what is 
 considered the finest organ position in England, and 
 makes demands upon the virtuosity of the organist 
 as no other appointment does.
 
 THE ORGAN AND ITS MASTERS 22$ 
 
 Sir John Frederick Bridge, the present organist of 
 Westminster Abbey, is a native of Oldbury, Worces- 
 tershire (1844), and at the age of six became a chor- 
 ister at Rochester Cathedral, where he remained for 
 nine years. He was then articled to J. Hopkins 
 until 1864. After some further study under Sir 
 John Goss, he was appointed organist of Trinity 
 Church, Windsor. He took his degree of Bachelor 
 of Music at Oxford in 1868, and in the following year 
 became organist of Manchester Cathedral. He took 
 his doctor's degree in 1874, and shortly after was 
 appointed deputy organist at Westminster Abbey, 
 succeeding to the full position on the death of Mr. 
 Turle, in 1882. He was knighted in 1875. 
 
 Sir John Bridge is professor of harmony and 
 counterpoint at the Royal College of Music, and has 
 written some valuable text-books on counterpoint and 
 on organ accompaniment of the choral service. He 
 has been prominently connected with various festi- 
 vals, notably that of Queen Victoria's Jubilee in 
 1887, when he arranged all the music, and composed 
 a special anthem, for which he received the thanks 
 of her Majesty, and the Silver Jubilee Medal. He 
 also, as organist of Westminster Abbey, arranged the 
 music for the coronation of King Edward, in 1902. 
 
 Joseph Cox Bridge, the brother of Sir John F. 
 Bridge, is also an eminent organist holding the post 
 at Chester Cathedral, to which he was appointed in
 
 226 THE ORGAN AND ITS MASTERS 
 
 1877. He took a prominent part in resuscitating the 
 Chester Triennial Festivals, which had been dormant 
 for some fifty years. He is the conductor of several 
 musical societies in the north of England, and has 
 gained much reputation by giving free organ recitals 
 in Chester Cathedral on Sunday evenings. 
 
 Arthur Seymour Sullivan was born in London, 
 May 13, 1842. He was the son of an Irish band- 
 master and clarinet player. He began his own musi- 
 cal career as one of the children of the Chapel Royal, 
 where he was noted for his sweet voice and his sym- 
 pathetic style of singing. There, too, he began his 
 work as a composer, publishing, in 1855, "O Israel," 
 a sacred song. In July, 1856, he was the first Men- 
 delssohn scholar in the Royal Academy of Music, 
 where he studied under Goss and Sterndale Bennett 
 until he went to Leipzig in the fall of 1858. In that 
 institution he was a pupil in various departments of 
 Plaidy, Hauptmann, Richter, Rietz, and Moscheles. 
 He returned to London in 1861, bringing with him 
 his music to Shakespeare's " Tempest," which was 
 produced at the Crystal Palace the following year. 
 
 The biography of Sir Arthur Sullivan contains 
 slight reference to the organ, yet he, as well as 
 Mendelssohn, Sir Frederick Ouseley, and others who 
 were not by profession organists, was a remarkable 
 performer on the king of instruments. 
 
 On his return from Leipzig, or shortly afterward,
 
 THE ORGAN AND ITS MASTERS 22/ 
 
 Sullivan was appointed organist of St. Michael's, 
 Chester Square, London, and remained there until 
 1867. During his tenure of that office, he designed 
 an organ for a new church in the west of London, 
 of which his friend, Cranmer Byng, had been ap- 
 pointed vicar. He also undertook to find an organ- 
 ist, but when the day of consecration arrived, he 
 had not found his organist and volunteered to play 
 for two or three Sundays himself. The result was 
 that he remained there for two or three years. 
 
 An amusing feature of the consecration ceremony 
 was this : — The hour fixed for the consecration was 
 twelve o'clock, and all was ready, — the church full 
 and the choir and clergy waiting. But the bishop, 
 through some misunderstanding, did not arrive until 
 one o'clock. In order to occupy the attention of the 
 congregation, Sullivan began to play appropriate mu- 
 sic on the organ. First he played " I waited for the 
 Lord," and later he went on with a song of his own, 
 entitled "Will he come.?" The congregation fully 
 appreciated the appropriateness of the selections. 
 
 This little anecdote may well be followed by 
 another from a different part of the world, — San 
 Francisco. The organist (Doctor H. J. Stewart) had 
 invited a friend to sing after the sermon, during the 
 offertory. It had not occurred either to the organist 
 or his friend that the service, being a special one in 
 the cause of missions, would call for more than one
 
 228 THE ORGAN AND ITS MASTERS 
 
 sermon, so at the conclusion of the minister's dis- 
 course, they made themselves ready for their perfor- 
 mance. Another clergyman came forth and began 
 to preach, and following him another, and another. 
 In all six clergymen delivered themselves of their 
 ideas and experiences on the subject of missions, and 
 then the soloist gave his selection, " It is enough ! 
 Lord, now take away my life." 
 
 Arthur Sullivan was one of four organists to play 
 at the reopening of the beautiful organ of St. Michael's 
 Church, Tenbury, in 1869, when the other three 
 organists were Sir Frederick Ouseley, Doctor, after- 
 ward Sir John Stainer, and Langdon Colborne, later 
 organist of Hereford Cathedral. Although St. Mi- 
 chael's was two miles from the nearest village and rail- 
 road, the church attracted people from miles around, 
 and was crowded to suffocation, and there was a feast 
 of organ playing such as seldom falls to the lot of 
 man to hear.' 
 
 One of the most prominent English organists of 
 the present day is George Riseley, a native of Bristol 
 (1845), ^vho was educated as a chorister in the cathe- 
 dral of his native town, and became articled to the 
 organist, J. D. Corfe, at the age of seventeen. Dur- 
 ing the next ten years he was organist at various 
 churches in Bristol and Clifton, at the same time act- 
 
 * The writer was a chorister at St. Michael's at the time of this 
 inauguration.
 
 THE ORGAN AND ITS MASTERS 229 
 
 ing as deputy at the cathedral, and in 1876 he suc- 
 ceeded Mr. Corfe. In 1870 he was appointed organist 
 at Colston Hall, Bristol, where he commenced giving 
 weekly recitals of classical and popular music. 
 
 It was in these recitals at Colston Hall that Riseley 
 built up his reputation. He was a pioneer in recitals 
 in his native town. The organ at Colston Hall was 
 a very inadequate, limited instrument of two manuals, 
 yet Riseley laboured indefatigably to make his work 
 successful. The result of his efforts was shown by 
 the fact that the directors of the hall ordered an 
 instrument of four manuals, which was built by Willis 
 and cost ;^2,5oo. This instrument was opened by 
 W. T. Best in 1870, and Riseley was appointed 
 organist, a position which he held until the destruction 
 of the building by fire in 1898. In the following 
 year Mr. Riseley resigned his appointment at Bristol 
 Cathedral, with which he had been connected as 
 chorister and organist for forty-seven years, and 
 accepted the conductorship of the Queen's Hall 
 Choral Society and the Alexandra Palace, both 
 London appointments, his success with the Bristol 
 Society of Instrumentalists, and the Bristol Choral 
 Society having given him a reputation as a conductor. 
 
 Sir George Clement Martin, the present organist 
 of St. Paul's Cathedral, was not an infant prodigy. 
 In fact it is almost a pleasure to relate that he could 
 not play a note until he was sixteen years of age.
 
 230 THE ORGAN AMD ITS AfASTERS 
 
 Born at Lambourn, in Berkshire, in 1844, he was 
 not a musical boy, nor of a musical family, except 
 that his father sang tenor in the village church. He 
 was not particularly interested in music until Sir 
 Herbert Oakeley visited the church and played some 
 Bach fugues upon the organ, which was a fine instru- 
 ment. Then he set to work to teach himself, and in 
 a few months his opportunity arrived in the non- 
 appearance of the village organist one evening. Mar- 
 tin offered to play, and the result was that he was 
 allowed to officiate one evening a week. He now 
 took a course of twelve lessons, and shortly afterward 
 another visitor, noticing his earnestness and talent, 
 advised him to go to Sir John Stainer, then organist 
 at Magdalen College, Oxford. He became Stainer's 
 pupil, riding to Oxford, twenty-two miles, every week, 
 on horseback. 
 
 Martin now became the regular organist of the 
 church at Lambourn. He organised a choral society 
 and gave standard works. For this purpose he 
 enlisted the services of the village brass band, who 
 attended all rehearsals, a circumstance which led to 
 his writing, in later days, church music with accom- 
 paniment for military band instruments. 
 
 After taking his degree of Mus. Bac. at Oxford, 
 Martin was appointed organist at Dalkeith Palace, 
 and during his tenure of this office he was, for part 
 of the time, organist of St. Peter's Church, Edinburgh.
 
 THE ORGAN AND ITS MASTERS 23 1 
 
 In 1873 Sir John Stainer was appointed organist 
 of St. Paul's Cathedral, and he sent for his former 
 pupil to act as " master of song," a duty which was 
 occasionally varied by acting as deputy organist. In 
 1876, on the death of George Cooper, Martin became 
 sub-organist at St. Paul's, and when Sir John Stainer 
 resigned in 1888, Doctor Martin (who had received 
 his degree in 1883) became full organist. In this 
 capacity he had charge of the music for the Diamond 
 Jubilee of Queen Victoria, for which he received the 
 honour of knighthood. 
 
 Sir George Martin's contributions to church music 
 are valuable, dignified, and impressive, but he has not 
 yet pubhshed anything for the organ as a solo instru- 
 ment. 
 
 Mr. Edwin H. Lemare inherited his musical tend- 
 encies from his father, from whom he received his 
 first lessons. At the early age of eleven he won the 
 Sir John Goss Scholarship awarded by the College 
 of Organists. He then pursued his studies at the 
 Royal Academy of Music under Sir George Macfar- 
 ren, Walter Macfarren, Doctor Steggall, and Doctor 
 E. H. Turpin. 
 
 His first appointment was at the church of St. 
 John the Evangelist at Finsbury Park. Later he 
 was engaged as organist to the Park Hall, Cardiff, 
 the competition with one hundred and twenty appli- 
 cants being decided in his favour. He was soon
 
 232 THE ORGAN AND ITS MASTERS 
 
 offered the position of organist in the parish church, 
 Sheffield, where he remained six years, giving no less 
 than three hundred recitals in the north of England. 
 Returning to London, he was appointed organist and 
 choirmaster to Holy Trinity Church. 
 
 During five years he was organist and choirmaster 
 at St. Margaret's, making the music of that church 
 famous by his peculiar personality. Mr. Lemare is 
 a Fellow of the Royal College of Organists and an 
 Honourable Fellow of the Royal Academy of Music. 
 
 He has marked facility in command of the man- 
 uals and pedals, and he has an unusual sense of colour 
 effects. These effects are at times surprising and 
 often beautiful. He is distinctly an orchestral 
 player ; he considers the organ as an instrument that 
 may imitate the orchestra. 
 
 In 1 90 1 Mr. Lemare paid a visit to the United 
 States, giving a number of recitals in various cities. 
 He was shortly afterward offered the position of 
 organist at the Carnegie Institute, Pittsburg, Penn- 
 sylvania, then vacant through the death of Frederick 
 Archer. Mr. Lemare accepted the terms offered, 
 and assumed his duties in the spring of 1902. 
 
 The work of the majority of English organists has 
 been so closely connected with the music of the 
 church, that it is impossible to regard them simply 
 as organ-players. Those who held the most impor- 
 tant positions were undoubtedly appointed largely on
 
 THE ORGAN AND ITS MASTERS 233 
 
 account of their ability as performers, but holding 
 those positions, it was necessary for them to write 
 anthems and other music suitable for the service of 
 the church. 
 
 At the time of the sixtieth anniversary of Queen 
 Victoria's reign, an excellent survey of the music of 
 the Victorian era was written by Mr. Joseph Bennett, 
 the eminent English critic, and a few extracts from 
 his articles will enable us to sum up the respective 
 merits of some of the chief organists of that period. 
 
 Mr. Bennett begins by showing that at the com- 
 mencement of Queen Victoria's reign deep discon- 
 tent prevailed concerning the condition of church 
 music. Of the many quotations from periodicals of 
 the time we need repeat but one : " The choirs of 
 our cathedrals, with some few exceptions only, are in 
 a most crippled and enfeebled condition. They are 
 living skeletons of what were once vigorous and 
 effective bodies." 
 
 The Church as a whole was on the verge of an 
 immense reform. The old state of lifelessness, of 
 perfunctory labours and dead services, was about 
 to pass away, and all things were to become new at 
 the call of men who, once bitterly assailed and de- 
 nounced, have since been justified as the children 
 of wisdom. 
 
 "There were many contributories to the great 
 change in church music which took place at the
 
 234 ^-^^ ORGAN AND ITS MASTERS 
 
 beginning of the Victorian era, and all are entitled to 
 more or less recognition and praise ; but I shall not 
 be far wrong in attributing much of the moving influ- 
 ence to Mozart, acting through his pupil Attwood, 
 and continuing through Attwood's pupil, John Goss. 
 
 " Of Attwood a competent writer said, just after 
 his death : ' His Italian education and want of 
 intimacy with the great Protestant school of ecclesi- 
 astical music, as exhibited in the works of J. S. 
 Bach, led him to reject the energetic dissonances 
 derived from the organ ; hence his church vocal 
 music, although marked by a serene and elegant out- 
 line, is without that unction and raciness of spirit 
 which distinguishes the kindred effusions of his con- 
 temporaries Charles and Samuel Wesley. . . . His 
 strength lay in the elegance of his cantilena and the 
 pure orchestral construction of his harmonies. The 
 anthems "Be Thou my Judge, O God," "Grant, 
 we beseech Thee," "Bow down Thine ear," "Teach 
 me, O Lord," and the Cantate Domino, are severally 
 learned and elaborate compositions, while for cor- 
 rectness and chastity they are models which stand 
 unequalled in modern times.' 
 
 "Allowing for a certain measure of elegiac fer- 
 vour, the foregoing estimate of Attwood is cor- 
 rect, and we must recognise in his church music 
 a decided step toward the freedom, pliancy, and 
 grace, and, as regards structure, simplicity, which the
 
 THE ORGAN AND ITS MASTERS 235 
 
 sacred compositions of various masters displayed 
 later on. It is, however, as the master of Goss 
 that Attwood did, perhaps, the greater service. No 
 conjunction could have been more fit and fortunate 
 than that of this teacher and this pupil. The nature 
 of Goss might have been specially prepared for the 
 seed which Attwood dropped into it. . . , How 
 strange it seems that not till long after his appoint- 
 ment as organist of St. Paul's (1838) did the full 
 measure of his powers appear. ... His anthem, ' O 
 praise the Lord,' written for the enthronement of the 
 Bishop of London in 1856, was so favourably received 
 that Novello and Company gave Goss practically 
 carte blanche with regard to others. ' Christ our 
 Passover ' and ' Behold I bring you good tidings ' 
 speedily followed, and then the whole musical world 
 became alive to the fact that there was a great 
 genius in its midst — a genius whom circumstances 
 had kept silent until he had arrived at an age when 
 most men cease to speak. . . . From that time until 
 within a few years of his death he enriched the 
 stores of church music with works heard every day 
 in one or other of our cathedrals — works which 
 preach the truths of religion more forcibly than 
 many sermons." 
 
 " The source of another powerful influence in shap- 
 ing Victorian church music must now be dealt with. 
 . . . Samuel Sebastian Wesley. This remarkable
 
 236 THE ORGAN AND ITS MASTERS 
 
 musician, whose reward was infinitely smaller than 
 his deserts, made himself known as a gifted com- 
 poser long before Goss conspicuously took the field. 
 It may be doubted, nevertheless, whether Wesley 
 has exerted so great an influence upon church music 
 as the gentle and gracious organist of St. Paul's. 
 He stood nearer to the rank of genius than Goss ; 
 he was erratic, daring, and altogether a ' terrible 
 fellow ' to those who were at ease in the musical 
 Zion. Such characters often stand in their own 
 light, and Goss, who was not terrible at all, made 
 easier way, though coming later, than did the bold 
 spirit who went before. . . . His musical lineage 
 differed materially from that of his sometime rival. 
 If Mozart was Goss's grandfather, Sebastian Bach 
 stood in the same relation to Wesley ; but of course 
 these declarations of kinship must be taken with 
 many grains of salt. . . . From an early age Wes- 
 ley, as a matter of course, was grounded in Bach. 
 His father was the apostle of the great cantor in 
 England, and never ceased calling upon men to 
 believe his gospel. Bach, howeveri though an influ- 
 ence, and a precious one, with Wesley, was not the 
 determining influence. The bent of Wesley's mind, 
 though susceptible to the claims of antique grandeur 
 and profound scholasticism, was toward the then 
 modern in style and expression. . . . His influence 
 was thrown upon the side of Spohr and Mendelssohn,
 
 THE ORGAN AJVD ITS MASTERS 237 
 
 " A reviewer of 1 840 says of Wesley : ' That 
 Wesley and Mendelssohn should fall on similar 
 trains of ideas and similar modes of arranging and 
 working them out, is in no wise astonishing, if the 
 parity of their musical education and likings be con- 
 sidered. Both early imbibed a reverence for the 
 grandest kind of ecclesiastical music and the severest 
 style of organ performance ; into both was the wis- 
 dom of old Bach instilled at the earliest period of 
 their musical existence, and both prove by their writ- 
 ings that their love for his sublime compositions is, at 
 this day, in no degree diminished. Thus it is evident 
 that the striking similarities to which we have re- 
 ferred cannot be rightly viewed otherwise than as 
 kindred inspirations of like minds journeying toward 
 the same object and lighted by the same guide- 
 star." 
 
 " Apart from what are merely personal character- 
 istics," continues Mr. Bennett, "the church music of 
 the time now present offers a spectacle of well-nigh 
 complete agreement as regards determining features 
 and in respect of essential points. It appears to have 
 settled down upon lines prepared by former masters, 
 who, as we have seen, tempered the austerity and 
 scholasticism of a still earlier day with sentiment 
 and grace, the winning expression and subduing 
 influence derived mainly from illustrious foreign 
 sources."
 
 238 THE ORGAN AND ITS MASTERS 
 
 E. J. Hopkins, the late organist of the Temple 
 Church, is quoted as a safe guide to the younger 
 generation of his fellow workers. Sir John Stainer 
 inclines over much to sentimentahsm, but the power 
 which he wielded in shaping the ends of church 
 music was great. Sir George Martin draws more 
 liberally upon the technical resources of his art, his 
 utterances are strongly coloured, his devices are 
 sometimes very bold, he uses the organ as for or- 
 chestral effects in accompaniment, and he does not 
 shrink from presenting difBculties to the voices. 
 
 Sir Herbert Oakeley is mentioned as one who has 
 made worthy contributions to church music, and Sir 
 Joseph Barnby is bracketed for popularity with 
 Sir John Stainer, while Doctor Garrett is mentioned 
 as one whose manly straightforwardness, simplicity, 
 and expressiveness were remarkable. Many other 
 composers are touched upon, but in Mr. Bennett's 
 review there is no mention of organ music apart 
 from the general music of the church.
 
 CHAPTER X. 
 
 AMERICAN ORGANISTS 
 
 The progress of organs and organists in the 
 United States during the nineteenth century has 
 been remarkable. While it has no doubt been 
 greater than that of any other country, there is 
 no reason as yet to claim that America is on a 
 level with some of the older countries. But when 
 other nations were adults in art, North America was 
 still, for the greater part, a howling wilderness. In 
 1789 the population of Boston, for instance, was 
 eighteen thousand, and the settled portion of the 
 United States was confined to a comparatively nar- 
 row strip running along the Atlantic coast. The 
 majority of the great cities of to-day were not yet 
 thought of, or some existed as trading posts remote 
 from civilisation. 
 
 The history of the organ in America may be said 
 to commence with the importation of the old Brattle 
 organ, so called after Thomas Brattle, treasurer of 
 Harvard College, who left the said organ to the 
 Brattle Square Church when he died in 17 13. 
 
 239
 
 240 THE ORGAN AND ITS MASTERS 
 
 The good people of the church, however, voted 
 " that they did not think it proper to use said organ 
 in the public worship of God," so the rejected instru- 
 ment went, according to the terms of the will, to 
 King's Chapel, Boston. By the congregation of this 
 chapel the organ was accepted, not without some 
 hesitation, and was erected in 17 14, when an Eng- 
 lishman, Mr. Enstone, of Tower Hill, London, was 
 invited to become organist, at a salary of thirty 
 pounds a year. Further than this little or nothing 
 is recorded of Mr. Edward Enstone, the first organ- 
 ist in America. The old Brattle organ is, probably, 
 the only one of the imported instruments of the 
 eighteenth century that exists to-day in its original 
 form, and is, therefore, an admirable object-lesson. 
 He who views it at the present day cannot help won- 
 dering why this small, unostentatious box of whistles 
 should have created so much commotion in the col- 
 ony. It remained in use in King's Chapel until 
 1756, when it was sold to St. Paul's Church, New- 
 buryport, where it was in constant use for eighty 
 years. It was next sold to St. John's Church, Ports- 
 mouth, New Hampshire, and has, during recent 
 years, occupied a position near the chancel in the 
 chapel of that church. In 1901 this old instrument 
 was brought to Boston, and exhibited at the exhibition 
 of musical instruments held in the new Horticultu- 
 ral Hall.
 
 THE BRATTLE ORGAN
 
 THE ORGAN AND ITS MASTERS 24 1 
 
 In the course of seventy-seven years the congrega- 
 tion of the Brattle Square Church decided to surren- 
 der to the growing demand for music in the church, 
 and they bought an organ of two manuals and sixteen 
 stops. This instrument, also, was made abroad, and 
 before it was landed and installed there was much 
 bitterness of heart in the congregation. One wealthy 
 member was so disturbed by the idea of such an 
 innovation that he offered to pay the whole cost of 
 the instrument into the treasury, for the benefit of 
 the poor, if it should be thrown overboard in the 
 harbour. The old Brattle organ had six stops, and a 
 comparatively small number of pipes. 
 
 The next organ imported was larger (there were 
 several between the Brattle organ and the Brattle 
 Square Church organ), and it had thirteen stops and 
 four hundred and ninety-eight pipes. There was 
 tribulation also over this instrument, for it was 
 offered by Bishop Berkely to the town of Berkely, 
 which was named after him. But this organ was 
 also rejected, and was then presented to Trinity 
 Church, Newport, Rhode Island, where it was used 
 for one hundred and eleven years. The first organ- 
 ist of Trinity Church was Charles Theodore Par- 
 chebel, of Boston, who assisted in setting up the 
 instrument. After this period of service it was " re- 
 constructed " by Erben of New York. This pro- 
 cess consisted of retaining the case and two stops
 
 242 THE ORGAN AND ITS MASTERS 
 
 for the original instrument, while the other stops, 
 with the action and keyboard, were put into a pine 
 case, and the organ thus constructed was presented 
 to St. Mary's Church, Portsmouth, Rhode Island, 
 in 1850, by Miss Grace Gibbs. A few more years 
 rolled by, and in 1880 the interior of the organ in 
 Trinity Church, Newport, was removed and taken to 
 Kay Chapel, in the same city. This time the two 
 stops of the original organ went also. In the old 
 case a new organ was built. 
 
 It is unnecessary to record all the instruments im- 
 ported from abroad during the eighteenth century. 
 There were several, but in nearly all cases they were 
 comparatively insignificant instruments, judged by 
 the standard of the present day. Indeed, the major- 
 ity of the instruments in Europe were not to be 
 compared with those of to-day. 
 
 The first organ built in America is said to have 
 been that erected by John Clemm in Trinity Church, 
 New York, in 1737, and it contained three manuals 
 and twenty-six stops. Eight years later Edvv^ard 
 Brom field built an organ, in Boston, which had two 
 manuals and several hundred pipes. The intention 
 was to have twelve hundred pipes, but unfortunately 
 Bromfield died before the organ was complete. This 
 is said to be the first pipe organ built in New Eng- 
 land, and it is recorded, by one who saw it, that this 
 organ contained better workmanship, as to pipes and
 
 (Courtei^ of the builders, Hook-Hastings Co.) 
 
 THE ORGAN OF THE MUSIC HALL, CINCINNATI, O. 
 
 /
 
 THE ORGAN AND ITS MASTERS 243 
 
 keys, than anything of the kind imported from Eng- 
 land. But the most surprising part of the account is 
 that Bromfield built this organ, which contained such 
 superior workmanship, after having only a few times 
 looked into the inside of two or three organs that 
 came from England. 
 
 This instrument was placed in the Old South 
 Church, Boston, but during the siege of Boston it 
 was removed for safety to a store, — where it was 
 burned. 
 
 Organ-building was now started, and made good 
 progress, but no organ of great importance was built 
 until 1853, when Hook and Hastings built an instru- 
 ment of four manuals, seventy stops, and three thou- 
 sand and ninety-six pipes, which was installed in 
 Tremont Temple, Boston, and may be considered the 
 first instrument built on this continent which could 
 be considered a concert organ. Others followed, as 
 the Cincinnati Music Hall organ for instance, and 
 at the present day many beautiful instruments are 
 manufactured in America, which will stand compari- 
 son with the contemporary productions of the Old 
 World. This is as far as we need trace the organ- 
 building just now, and we must return to earlier days 
 and organists. 
 
 In the book on " Olden-Time Music," by Henry 
 M. Brooks, there are numerous references to early 
 organs and early organists, chiefly in New England.
 
 244 ^■^^ ORGAN AND ITS MASTERS 
 
 The earliest organs were placed in Episcopal, or 
 "Church of England" churches, but a reference to 
 Stiles's diary says that on the Sunday preceding July 
 10, 1770, an organ was played in the Congregational 
 Church at Providence, Rhode Island, and that was 
 the first instance of such music in any "dissenting 
 church " in all British America. 
 
 Among the notices of concerts we find one of 
 "Mr. Dipper's Publick Concert," on February 3, 
 1761 ; and Mr. Dipper was organist of King's Chapel. 
 On April 27, 1786, a concert complimentary to Mr. 
 Selby was given, and at a concert, given for chari- 
 table purposes on January 10 of the same year, Mr. 
 Selby played "the Second Organ Concerto of Mr. 
 Handel." The programme was long, and the nine- 
 teenth number was " Mr. Selby will then play a Solo, 
 Piano, on the Organ." 
 
 The twenty-first selection was, " Lastly the musi- 
 cal Band will perform a favourite Overture by Mr. 
 Bach." This latter is a slight digression, but quaint. 
 
 This Mr. William Selby had been organist of 
 Trinity Church, Newport, in which town he had also 
 taught dancing on Mondays and Thursdays at 4 P. m. 
 On August I, 1774, he was announced in the New- 
 port Mercury, as organist of Trinity Church, in con- 
 nection with a concert of vocal and instrumental 
 music to be given at the court-house, but on Septem- 
 ber 16 of the same year a concert was announced for
 
 THE ORGAN AND ITS MASTERS 245 
 
 the benefit of Mr. Knoetchel, organist of Trinity- 
 Church, so it may be surmised that the dancing 
 school was not regarded favourably by the church 
 people. In 1796 Mr. John L. Burkenhead, a blind 
 man, became organist of Trinity Church, Newport, 
 and held the position for eight years. 
 
 Mr. Selby's name is frequently mentioned, as organ- 
 ist of the Stone Chapel in Boston, and as a composer 
 of odes, anthems, etc. 
 
 In 1799 the Coliimbimi Centinel contains a long 
 announcement of Mrs. Von Hagen, a music-teacher, 
 who "at the age of eleven performed at the court of 
 The Hague, with universal applause ; she was for 
 several years Organist at the churches at Namur, 
 Middleburg, Vlissingen, and Bergen op den Zoom. 
 She also teaches on that instrument, as well Church 
 Music as Lessons Sonatis Concertos, and by theory, 
 the Fantasie." Truly a remarkable woman, — one 
 might say incomprehensible. Lessons were given by 
 this unusual person for the paltry sum of six dollars 
 for every eight lessons. In January, 1800, an an- 
 nouncement is made of " A Funeral Dirge on the 
 death of General Washington ; the music composed 
 by P. A. Von Hagen, Organist of the Stone Chapel." 
 
 Another organist whose name appears in this book 
 of olden-time music is Mr. Mallet, organist to the 
 Rev. Mr. Kirkland's congregation, who announced 
 a "spiritual concert," to be given at the New
 
 246 THE ORGAN AND ITS MASTERS 
 
 South Meeting-house, Summer Street on May 31, 
 
 1798. 
 
 One Hans Gram, a German musician, was organist 
 of the Brattle Church in 1793. 
 
 Rayner Taylor, a good organist, harpsichord-player, 
 singer, and composer, a native of England, brought 
 up in the Chapel Royal, came to America in 1792, 
 and after travelling considerably, settled down in 
 Philadelphia, where he became a recognised musical 
 authority. 
 
 Doctor G. F. Jackson followed his schoolmate 
 Rayner, and came to America in 1796. He was 
 also a schoolmate of Doctor Arnold, whose music 
 was at that time very popular. Doctor Jackson first 
 settled in Norfolk, Virginia, and gradually made his 
 way to Boston, stopping some time in Alexandria, 
 Baltimore, Philadelphia, and New York. He reached 
 Boston about 18 12, and became organist of the 
 Brattle Street Church. After the war, during which 
 he retired to Northampton, Massachusetts, he became 
 organist of King's Chapel, then of Trinity Church and 
 then of St. Paul's Church. In his day he was con- 
 sidered the leading teacher of Boston and was very 
 much respected. He gave concerts and oratorios, 
 and appears to have been a very energetic man, with 
 a very excellent opinion of himself, and a rampant 
 temper. 
 
 Edward Hodges was one of the numerous English
 
 THE ORGAN AND ITS MASTERS 247 
 
 organists who came to America in the first half of 
 the nineteenth century. Born at Bristol in 1 796, he 
 became organist of several churches in Bristol before 
 seeking his fortune in America. He took his degree 
 at Cambridge in 1825, and went to Toronto in 1838. 
 In the following year he was appointed organist of 
 St. John's Chapel, New York, where, in 1846, he 
 inaugurated the new organ in Trinity Church and 
 became its organist. In 1 863, he returned to England, 
 and died at Clifton four years later. 
 
 His daughter, who died in New York in 1896, was 
 organist of several churches in that city and Phila- 
 delphia, and his son, rector of St. Paul's church, 
 Baltimore, is also a fine organist. 
 
 While Boston seems to have been the first musical 
 city in the United States, notwithstanding the Puri- 
 tanical element, which opposed everything in the 
 nature of music or enjoyment. New York began to 
 advance during the first half of the nineteenth cen- 
 tury. Trinity Church, New York, possessed one 
 of the earliest organs imported into this country. 
 This was replaced in 1791, by an instrument built by 
 Holland of London, which contained three manuals 
 and eighteen stops. About 1825, several New York 
 churches had instruments of good size. That of St. 
 Paul's Church, built in London, had three manuals and 
 nineteen stops. St. George's church had an organ 
 built by Hall in 1821, which contained three manuals
 
 248 THE ORGAN- AND ITS MASTERS 
 
 and pedal keyboard, and twenty-eight speaking stops, 
 and was considered the largest and most complete in 
 the State. 
 
 The chief organists of New York at this time were 
 Moran, Blondell, and Taylor. 
 
 For some years Henry Christian Timm was a 
 prominent organist in New York. He held various 
 positions, but was organist of the Unitarian Church 
 on Broadway for eighteen years, and of All Soul's 
 Church for two years. Mr. Timm was a native of 
 Hamburg (181 1-92), and came to America in 1835. 
 He was a fine pianist, and gave concerts in numerous 
 cities. He was also connected with various operatic 
 enterprises, in which he did not meet with much 
 success. For a time he was organist and musical 
 director of Grace Church, at Charleston, South 
 Carolina. For many years he was president of the 
 New York Philharmonic Society, and was one of its 
 most ardent supporters, but his forte was that of ac- 
 companist to singers and instrumentalists. 
 
 The Handel and Haydn Society of Boston, being 
 almost the oldest, and certainly one of the most dig- 
 nified and successful of American musical societies, 
 brings us in touch, during its history, with several 
 interesting organists. Going back to' the year 181 5, 
 we find that at the first performance of oratorio, held 
 in the "Stone Chapel on School Street," Mr. Stock- 
 well sat at the organ. Not much is known in these
 
 THE ORGAN AXD ITS MASTERS 249 
 
 days about Mr. Stockwell, but he died in 18 17, when 
 Doctor Jackson was invited to become organist to 
 the society. Doctor Jackson did not accept the posi- 
 tion offered him by the Handel and Haydn Society. 
 On the contrary, he said he would have nothing to 
 do with the society unless he could have the whole 
 control. Doctor Rayner Taylor, of Philadelphia, was 
 therefore induced to play the organ at several per- 
 formances, but in 18 18 Samuel Cooper was elected 
 organist. The following year, S. P. Taylor, of New 
 York, was elected organist, but he resigned in 1820. 
 
 The society now offered the position to Miss 
 Hewitt, the daughter of a music publisher, organist, 
 etc. Miss Hewitt was regarded as a talented musi- 
 cian. She had been brought before the public at the 
 age of seven as a pianist. She married a man named 
 Ostinelli, and became the mother of a singer of whom 
 Boston was particularly proud, Signora Biscaccianti, 
 one of the first American singers to gather artistic 
 laurels in Europe. 
 
 Miss Hewitt remained as organist of the society 
 for ten years, when the need of one able to cope with 
 the difficulties of large works being felt, Mr. Zeuner 
 was elected. 
 
 Mr. Zeuner officiated at the organ until 1838, when 
 he was elected president of the society. He did not 
 retain this office long, for in 1839 he left Boston and 
 settled in Philadelphia, where he died about 1857,
 
 250 THE ORGAN AND ITS MASTERS 
 
 The next organist was A. W. Hayter, a native of 
 Gillingham, England, and a pupil of Doctor Corfe. 
 He was born in 1799, and was organist at Hereford 
 for some years previous to 1835, when he was called 
 to New York to become organist of Grace Church. 
 Two years later he was appointed organist of Trinity 
 Church, Boston, which post he held for twenty-five 
 years. Mr. Hayter was an English church organist 
 of the strictest kind, both as to creed and playing. 
 He devoted much time to drilling the chorus of the 
 Handel and Haydn Society, and he practically con- 
 ducted the performances from the organ bench. It 
 was the function of the president in those days to 
 wield the conductor's baton, and while this was still 
 done as a matter of form, Hayter was in fact the con- 
 ductor. It is related of Mr. Hayter that he consider- 
 ably astonished the people of Boston by actually 
 playing with his feet a figure of two notes (tonic and 
 dominant), in a chorus by Regini. This will give an 
 idea of the condition of organ-playing when Mr. Hay- 
 ter reached this country. 
 
 In 1857, his son, George F. Hayter, was appointed 
 organist to the society, and Mr. J. E. Goodson, an 
 accomplished English organist and musician, was 
 appointed conductor — the first regular conductor 
 of the society. 
 
 J. S. Dwight mentions Mr. Goodson as one of the 
 first to play Bach fugues in Boston, — at Tremont
 
 THE ORGAN AND ITS MASTERS 25 I 
 
 Temple. He remained in Boston only a few years 
 and then sought his fortune in the West. 
 
 In 1852 F. F. Mueller was elected organist of the 
 Handel and Haydn Society. Mr. Mueller was con- 
 sidered a very good organist, and he presided at the 
 instrument for five years. Mr. G. E. Whiting tells 
 of his playing the concerto in F of Rinck as an open- 
 ing piece at one of the Handel and Haydn Society's 
 concerts. It was a time-honoured custom to begin 
 with an organ piece. 
 
 In 1857 Mr. J. C. D. Parker was elected organist, 
 and he held the office for two years only, 
 
 James Cutler Dunn Parker, born in Boston in 
 1828, was one of the batch of young Americans who 
 went abroad about the middle of the last century, 
 and when they returned brought with them a leaven 
 of high ideals in music. Mr. Parker was educated 
 for the law, and was a graduate from Harvard Uni- 
 versity. In 1 85 1 he abandoned the law and went to 
 Leipzig to study music under Moscheles and Plaidy 
 for pianoforte, Hauptmann for harmony, and Richter 
 and Rietz composition. 
 
 On his return to Boston, in 1854, Mr. Parker at 
 once took a leading position amongst musicians. He 
 for;Tied the "Parker Club" in 1862, for the study of 
 vocal works. In 1864 he was appointed organist of 
 Trinity Church, a position which he held until 1891, 
 resigning soon after Doctor Phillips Brooks was made
 
 252 THE ORGAN AND ITS MASTERS 
 
 Bishop of Massachusetts. For many years Mr. 
 Parker was one of the most prominent teachers of 
 pianoforte in Boston. He became a member of the 
 faculty of the New England Conservatory of Music 
 when Doctor Tourjee was labouring to build up that 
 institution. For ten or more years Mr. Parker has 
 given up actual teaching and has been examiner for 
 that conservatory. He has written some excellent 
 music, chiefly choral works, but nothing especially 
 for the organ. 
 
 On Mr. Parker's resignation from the Handel 
 and Haydn Society, in 1859, Mr. B. J. Lang was 
 elected to the office of organist, and has been 
 one of the most prominent organists of Boston 
 during the past half century. Mr. Lang was bom in 
 Salem, Massachusetts, in 1837. He was appointed 
 organist of the Somerset Street Church (Doctor 
 Neale's), in 1852. Three years later he went to 
 Germany to study, and on his return at once took 
 a prominent position in Boston musical circles. He 
 was organist of the Old South Church for twenty 
 years, then of the South Congregational Church, and 
 for more than the past twenty years, of the historic 
 King's Chapel. He was organist of the Handel and 
 Haydn Society for twenty-five years. For many years 
 Mr. Lang's activities have been extensive, and he has 
 had more to do in the way of conducting choral 
 societies, etc., than in organ-playing, but in 1863, when
 
 THE ORGAN AND ITS MASTERS 253 
 
 the Music Hall organ was inaugurated, he was one 
 of the performers, and afterward gave recitals upon 
 the great instrument. 
 
 In 1898, Mr. Lang was elected conductor of the 
 Handel and Haydn Society, and his position as 
 organist was filled by Mr. Hiram G. Tucker, a native 
 of Cambridge, Massachusetts, and a pupil of Mr. 
 Lang. Mr. Tucker is organist of the Second Church, 
 Copley Square. He is noted particularly for the 
 excellence of his accompaniments. He is also con- 
 ductor of the Boston Singing Society, founded by 
 him in 1901, and is one of the most prominent musi- 
 cians of Boston. 
 
 The erection of the great organ in Boston Music 
 Hall, in 1863, was an event of great importance in 
 the musical history of the United States, for it not 
 only gave a great stimulus to organ-building, as may 
 be seen by the number of fine instruments built 
 shortly after this event, but it also gave a great im- 
 petus to legitimate organ-playing. 
 
 The great majority of organs, previous to this one 
 in Music Hall, were very defective instruments, with 
 pedal keyboard of an octave and a half ; a great many 
 of the stops were short, and there were many imper- 
 fections which robbed the organs of the qualities 
 which they were supposed to possess. Upon these 
 instruments the best playing was impossible. Mr. 
 George James Webb, well-known in Boston musical
 
 254 THE ORGAN AND ITS MASTERS 
 
 circles, in the first half of the last century, and presi- 
 dent of the Handel and Haydn Society in 1840, — 
 himself an organist, — is said to have declared that 
 previous to the building of the Boston Music Hall 
 organ, there was not an organist in Boston capable 
 of playing a first-class fugue by Bach, The only 
 instrument in Boston which could be called a con- 
 cert organ was that in Tremont Temple. 
 
 Mr. Webb's statement was rather sweeping, though, 
 in a general sense, true. But when the Music Hall 
 organ was installed a number of organists were found 
 who could play Bach fugues, even upon that great 
 unwieldy instrument, which was so slow of speech that, 
 as an organist once remarked, " You have to begin 
 playing a quarter of an hour before the recital com- 
 mences, in order to be on time." 
 
 The history of the Boston Music Hall organ may 
 be briefly told. The idea of placing in the Music Hall 
 an organ of the highest type was due to Doctor 
 George Baxter Upham (who died in New York early 
 in 1902), and he, being president of the Music Hall 
 Association, laboured earnestly to bring about the 
 fulfilment of his desire. In 1853, a committee, of 
 which Doctor Upham was chairman, went to Europe 
 to see the most noted organs and the leading organ- 
 builders. They were much impressed with the 
 qualities of the organ then being built by Walcker, 
 of Ludwigsburg, for Ulm Cathedral, and though no
 
 THE ORGAN OF THE OLD MUSIC HALL, BOSTON, MASS.
 
 THE ORGAN AND ITS MASTERS 255 
 
 definite action in the matter was taken until 1856, 
 the opinion of the committee was in favour of E. F, 
 Walcker and Son. 
 
 In 1856, the Music Hall corporation decided to 
 appropriate ten thousand dollars, if an additional sum 
 of fifteen thousand dollars could be raised by public 
 subscription, it being estimated that it would cost 
 twenty-five thousand dollars to import such an organ 
 as would " stand, it is to be hoped, not for decades 
 only, but for centuries of years." 
 
 Before the organ was ready for shipment the War 
 of the Rebellion had broken out, and only after many 
 difficulties and delays did the instrument reach its 
 destination. It was erected, but, owing to the cir- 
 cumstances into which the country had been 
 plunged by the war, the cost of the instrument, 
 when ready for inauguration, was nearly seventy 
 thousand dollars. 
 
 On October 31, 1863, a private test of the great 
 instrument took place in the presence of the stock- 
 holders and their friends. On this occasion the 
 organists who played were John H. Willcox and B. J. 
 Lang of Boston, and Eugene Thayer of Worcester, 
 Massachusetts. 
 
 On the following Monday (November 2), the 
 inauguration took place with solemn ceremony. In 
 order to show what could be played by organists 
 of that time, the following was the programme ;
 
 256 THE ORGAN AND ITS MASTERS 
 
 PART I. 
 
 1. Ode, recited by Miss Charlotte Cushman. 
 
 2. Opening of the organ by Herr Friedrich Walker. 
 
 3. a. Grand Toccata in F Bach 
 
 b. Trio Sonata in E-flat, for two manuals and pedal . Bach 
 
 John K. Paine, Organist of the West Church, Boston, and 
 Professor of Music at the Harvard University. 
 
 4. Grand Fugue in G-minor Bach 
 
 W. Eugene Thayer of Worcester. 
 
 PART II. 
 
 1. Grand Double Chorus, " He led them through the deep," 
 
 and Chorus, " But the waters overwhelmed their enemies," 
 from " Israel in Egypt." ..... Hdtidel 
 George W. Morgan, Organist of Christ Church, New York. 
 
 2. Grand Sonata in A, No. 3 . . . Mendelssohn 
 B. J. Lang, Organist of the Old South Church and of the 
 
 Handel and Haydn Society. 
 
 3. a. Lamentation in Parasceve .... Palestrina 
 
 b. Kyrie and Sanctus, from a Mass . . . Palestrina 
 
 c. Movement from the Anthem " O Give Thanks " 
 
 Ptircell 
 Dr. S. P. Tuckerman, Organist at St. Paul's Church. 
 
 4. Offertoire in G . . . . . . Lefcbiire-Wely 
 
 John H. Willcox, Organist at the Church of the Immaculate 
 
 Conception. 
 
 5. Hallelujah Chorus Handel 
 
 G. W. Morgan. 
 
 The Boston Music Hall organ immediately became 
 an object of interest to all visitors to the city. Re- 
 citals were frequently given upon it, and it helped 
 greatly to increase, or at least maintain, Boston's 
 reputation as a musical centre.
 
 THE ORGAN AND ITS MASTERS 2$/ 
 
 A few years rolled by, and other interests arose. 
 The Symphony Orchestra was founded, and it was 
 discovered that the great organ interfered seriously 
 with the acoustic properties of the hall. In order 
 to secure the best results from the orchestra it was 
 decided to sacrifice the organ, a decision which 
 was not reached without bitter opposition. In 1884 
 the organ was sold and removed. It was bought by 
 the Hon. William Grover, in the interest of Doctor 
 Eben Tourj^e, founder and director of the New Eng- 
 land Conservatory of Music. The intention was to 
 build a large hall and install the organ therein, and 
 keep it up to its former function of " Mecca," for 
 music students and visitors from all over the country. 
 
 There was some difficulty about securing the land 
 on which to build a hall, and the matter was obliged 
 to rest for a time, during which the organ was stored 
 away in a shed. In the meantime. Doctor Tourjee 
 fell into bad health, and died — in 1891. In 1896 
 Mr. Grover also died, and the executors decided to 
 sell the instrument. 
 
 The price realised was fifteen hundred dollars. 
 
 Thirty-four years after its installation, this great 
 and fine instrument, which was to stand not for 
 decades only, but for centuries of years, was sold 
 at auction, in the presence of about twenty people, 
 for the miserable, paltry sum of fifteen hundred 
 dollars.
 
 258 THE ORGAN AND ITS MASTERS 
 
 This seems to be one of the most painful instances 
 of the rapidity of progress in American life, — some- 
 thing of which the nation can be proud, perhaps, but 
 which has its sad moments. 
 
 Many old organs have been improved and re- 
 modelled from time to time, and thus kept up to 
 date, but the history of the- Boston Music Hall 
 instrument goes to show that when once an organ 
 is pulled down and removed, the progress of a few 
 years will render it hopelessly behind the times. 
 
 The organ in the Shawmut Congregational Church 
 in Boston is one which supports this theory, and is 
 besides an instrument of considerable interest, be- 
 cause of the fact that it was the first organ in 
 America in which the tubular-pneumatic action was 
 used, though only to a limited extent. This organ 
 was built in 1866 and had three manuals, sixty-three 
 stops, of which fifty-three were speaking stops, and 
 three thousand four hundred and eighty-five pipes. 
 It has been repaired from time to time, and in 1 899 
 was remodelled, and is quite likely to last as long 
 as the church, if proper care is taken of it. No such 
 dismal waste as that of the old Music Hall organ 
 is on record. 
 
 Samuel Parkman Tuckerman was one of the 
 prominent organists of America during the middle of 
 the nineteenth century. Born at Boston in 18 19, he 
 became a pupil of Carl Zeuner, and in 1 840 became
 
 THE ORGAN AND ITS MASTERS 2$g 
 
 organist and choirmaster of St. Paul's Church in his 
 native city. In 1849 he went abroad and spent 
 several years studying the organ in various English 
 cathedral towns, taking the degree of Mus. Doc, at 
 Lambeth, in 1853. When he returned to America 
 he gave many lectures of church music, and his name 
 is to be found frequei>tly in records of organ-playing 
 in and near Boston. For many years he resided in 
 Switzerland and in England. He wrote some church 
 music, and edited various collections of hymn and 
 other church music. His death occurred at Newport, 
 Rhode Island, in 1890. 
 
 George Washburn Morgan, who was born in Eng- 
 land, at Gloucester, in 1822, played an important 
 part in the development of organ-playing in the 
 United States. He was a precocious child, and is 
 said to have played an entire service in the cathe- 
 dral of his native town at the age of eight. He went 
 through the usual training, and held various positions. 
 In London he made some public appearances at 
 Exeter Hall and elsewhere. 
 
 Mr. Morgan arrived in New York in 1853, and 
 was appointed organist of St. Thomas's Church, where 
 he remained for one year, being then called to Grace 
 Church, where he remained for thirteen years. He 
 was next the organist at St. Ann's Church, and then 
 at Doctor Talmage's Brooklyn Tabernacle, where he 
 remained for fourteen years.
 
 26o THE ORGAN AND ITS MASTERS 
 
 Mr. Morgan's organ-playing was considered re- 
 markable, especially his pedalling ; in fact, he was 
 considered the first concert organist to settle in 
 America. In Boston he created a sensation by his 
 playing at Tremont Temple in 1859, ^^^ some years 
 later, when the great organ in Music Hall was opened, 
 Mr. Morgan was one of the organists who played at 
 the inauguration ceremony. In 1876 he was engaged 
 by Roosevelt and by Messrs. Hook, the organ-builders, 
 to display their instruments at the Philadelphia Cen- 
 tennial Exhibition. He is said to have been the first 
 organist to play the works of Bach and Mendelssohn 
 in concert performances in the United States, but he 
 did not adhere to the strictly classical in his concerts, 
 for he frequently played operatic overtures, adapted 
 from pianoforte scores. His "masterpiece" was the 
 overture to "William Tell." 
 
 From 1886 to 1888 Mr. Morgan was organist of 
 the Dutch Reformed Church in New York, and this 
 was the last position which he held. Four years 
 after leaving it he died at Tacoma, Washington. 
 
 John Henry Will cox, who was the great rival of 
 Morgan, was a native of Savannah, Georgia, born in 
 1827. He was educated at Trinity College, Hartford, 
 Connecticut, graduating in 1849. In the following 
 year he became organist of St. Paul's Church, Boston, 
 succeeding Doctor Tuckerman, and later became or- 
 ganist of the church of the Immaculate Conception,
 
 THE ORGAN AiVD ITS MASTERS 26 1 
 
 when a large instrument was erected there in 1863. 
 This position he held until 1874, and the following 
 year he died. 
 
 Doctor Willcox (his degree was conferred by 
 Georgetown College) was prominent as an organist 
 in New England for a number of years. He was 
 very clever at showing off a new organ, playing 
 pieces with soft and delicate effects, but he was not 
 technically equipped as an organist of the present 
 day should be, or as many of those who were his 
 contemporaries. He was, however, a pleasing and 
 popular player. 
 
 The first pubHc appearance of Doctor Willcox in 
 Boston was told by one who was present, in the 
 following words, and there is an additional reason for 
 quoting them, viz., that the affair took place at one 
 of the celebrated conventions of Lowell Mason. It 
 was at the closing session of the convention, and in 
 the afternoon. The time was being devoted to an 
 informal programme, to which the most distinguished 
 musicians present contributed their services. 
 
 "Mr. Silas A. Bancroft," says our historian, "then 
 organist at Doctor Kirk's, had just left the grand 
 piano, on the stage, leaving Doctor Mason standing 
 at the footlights alone. He (Doctor Mason) an- 
 nounced that Miss Bothamly would sing ' On Mighty 
 Pens,' and called for a volunteer accompanist. None 
 responded ; but just in the nick of time a door up the
 
 262 THE ORGAN AND ITS MASTERS 
 
 Stage opened, and there appeared a handsome young 
 fellow of some twenty summers, blonde, lithe, grace- 
 ful, and self-possessed. Closing the door gently, he 
 came down the stage and took a chair in a depreca- 
 tory way, just as there arose from the audience cries 
 of'Willcox.' 
 
 *' Doctor Mason appeared puzzled, and looked 
 helplessly over the hall. The other actors in the 
 little play continued calling, until Doctor Mason 
 asked : 
 
 " ' Will Mr. Willcox come forward } ' 
 
 " ' He's on the stage, sir,' was the reply. 
 
 " Doctor Mason turned ; Mr. Willcox arose, came 
 forward, and took the proffered hand, and, in reply to 
 the repeated request to accompany the singer, per- 
 mitted the usual conventional protestations of ina- 
 bility to be swept away and went to the instrument. 
 It was not a Herculean task, and it need not be said 
 that it was well done. It was a novelty in the way 
 of introductions, and gave the newcomer a substan- 
 tial position before the musical public. 
 
 " It was not until a later period that he was known 
 as an organist, nor did he display marked ability in 
 that role. But he was an aspiring student, and his 
 public performances, which were mostly at the exhi- 
 bitions of new organs, gave positive signs of continued 
 application. It was particularly noticeable after his 
 connection with the establishment of the Messrs,
 
 THE ORGAN AND ITS MASTERS 263 
 
 Hook, where he got a practical knowledge of the 
 organ and its resources. 
 
 " For a long time his organ repertoire consisted of 
 five or six overtures, and these were produced upon 
 every occasion, until habitual listeners began to descant 
 upon the apparent improvement since the last per- 
 formance. I am quite positive these overtures were 
 of the list described ; if there were six I cannot recall 
 the other, nor am I entirely confident as to the ' Tell ' 
 overture: ' Egmont,' 'Martha,' ' Zannetta,' ' Zanopa,' 
 ' William Tell.' 
 
 " With the mechanical knowledge of the instrument 
 acquired at the factory, there came a change of this 
 programme, and improvisation and trick-playing, of 
 which the ' Thunder Storm ' was a type, took the 
 place of the earlier, stereotyped performance. 
 
 " Doctor Willcox's extempore performances always 
 impressed me with a feeling that he was over-con- 
 scious of the fact that he was on trial, and that a 
 poetic imagination was held severely in check, in order 
 that he might not be led to overstep the most exact 
 requirements of musical form. When he played 
 from score, few instances of which came to my notice, 
 I received a very different impression, as if the player 
 felt a relief in having his boundaries marked out for 
 him in advance, and self-restraint became no longer a 
 necessity." 
 
 Storm effects seem to have been the most popular,
 
 264 THE ORGAN AND ITS MASTERS 
 
 or at least to have offered a fine opportunity for the 
 newspaper writer's powers of description. To show 
 that these exhibitions of "illegitimate" organ-playing 
 are not and have not been confined to America we 
 may be permitted to quote the following account of 
 an organ-recital given not very many years ago at 
 Freiburg. The first part of this description may be 
 omitted, as it refers to such commonplace matters 
 as choral selections and Bach fugues, and we will 
 commence at the part where "at last the organist 
 gathered himself up for his grand and final effort." 
 
 " By this time the shades of evening were gather- 
 ing in, and the cathedral was filled with a gradually 
 deepening gloom, to which the faint lights of three 
 lamps lent a picturesque effect. Overhead, in the 
 organ-loft, the tall metal pipes of the instrument 
 towered ghastly and grim, their apathetic stillness 
 contrasting strangely with the volume of sound they 
 poured forth, and a red light began to glow beneath 
 them, where the player sat amidst his curtains like 
 an enchanter in his cave. We are going to have 
 'The Storm.' Hark! a village choir singing vespers 
 in a church in the mountains. How beautifully that 
 stop comes in ! We hear the choristers ; one, two, 
 — then other voices joining, as the full anthem rises 
 and swells, and the service goes on. Presently the 
 regular beat of a bell. What is it .-* Is it a bell 
 calling to the service, or a bell announcing the ap-
 
 THE ORGAN AND ITS MASTERS 265 
 
 proach of the storm ? If the latter — here comes the 
 storm muttering in the distance, gathering strength 
 and rolUng on ; and at last, after a sudden crash, 
 which makes you fancy you can almost see the zig- 
 zag lightning plunging its sharp lance points into the 
 earth, we hear a terrible peal of thunder bursting 
 through the aisles of the cathedral, and shaking the 
 very walls, and making the lady who sits not far 
 from us clutch her husband's arm in most unaffected 
 terror. It is an absolutely perfect imitation. The 
 organist must have studied storms. Even two of us 
 who have dabbled considerably in organ-playing, 
 glance hastily to the windows to look for the storm- 
 clouds. Half ashamed of the involuntary movement, 
 we turn back and gaze at the tall, weird organ-pipes, 
 at the glow beneath, and listen. The storm rages as 
 storms do, and sometimes we hear through its bursts 
 the village choir, with its wonderful voices, singing 
 their hymns. The storm rolls and dies away in the 
 distance, as storms do, and the anthem grows clearer 
 and more triumphant. But it too dies away at last 
 and leaves nothing but stillness in your ear." 
 
 Only rain was wanting to make this storm a per- 
 fect imitation, and this, in these modem days, could 
 easily be provided by means of perforated water- 
 pipes, without great expense, and probably with the 
 effect of reducing the insurance premiums on concert 
 halls fitted up in this way.
 
 266 THE ORGAN AND ITS MASTERS 
 
 Stephen Austen Pearce is one of the many good 
 EngUsh organists who came to America and decided 
 to remain. 
 
 Born in London in 1836, he became a pupil of 
 J. L. Hopkins, and took his degree of Mus. Bac. at 
 Oxford in 1859, and that of Mus. Doc. in 1864. 
 Immediately afterward he made a trip to America, 
 visiting both the United States and Canada. On his 
 return he became organist at two churches in London, 
 where he remained until 1872, when he was ap- 
 pointed instructor of vocal music at Columbia Col- 
 lege in New York, and lecturer on various musical 
 subjects at the General Theological Seminary, Pea- 
 body Institute, and Johns Hopkins University of Bal- 
 timore. He was organist of the Collegiate Church, 
 Fifth Avenue and Forty-Eighth Street, New York, 
 from 1879 to 1885. 
 
 Doctor Pearce has written some music, chiefly 
 choral, and has been a contributor to several peri- 
 odicals and papers. 
 
 Eugene Whitney Thayer, born at Mendon, Mas- 
 sachusetts, in 1838, was a prominent organist for 
 several years. In 1862, he was one of the organists 
 who assisted at the opening of the Boston Music 
 Hall organ. In 1865, he went to Germany and 
 studied under Haupt, Wieprecht, and others for a 
 year. On his return to America he became organist 
 at Music Hall in Boston, where he gave many free
 
 THE ORGAN AND ITS MASTERS 26) 
 
 organ recitals. He also played in many of the large 
 cities both on this continent and in Europe. He was 
 conductor of several choral societies. In 1881 he 
 became organist of the Fifth Avenue Presbyterian 
 Church in New York, and held that position until 
 1888. He died at Burlington, Vermont, early in 
 1889. 
 
 George W. Warren was born in Albany, New York, 
 in 1828, and was educated at Racine University. 
 As a musician he was self-taught, but his ability and 
 talent were such that he was appointed organist of 
 St. Peter's Church, Albany, a position which he 
 held from 1846 till 1858. In i860 he went to 
 Brooklyn, to Holy Trinity Church, where he re- 
 mained ten years as organist, leaving to go to St. 
 Thomas's, in New York. In 1887 he was honoured 
 by a degree from the University of Leipzig, and on 
 the completion of his twenty-fifth year at St. 
 Thomas's, a special commemorative service was held 
 in his honour, and he retired at the end of thirty 
 years' service as "organist emeritus." He worked 
 hard up to the day of retirement. He died suddenly 
 early in 1902. One of his sons is Richard Henry 
 Warren, musical director of St. Bartholomew's 
 Church. 
 
 John Knowles Paine, professor of music at Har- 
 vard University since 1876, is one of the foremost 
 American composers and teachers, and was one of
 
 268 THE ORGAN AND ITS MASTERS 
 
 the first, if not the very first American concert 
 organist possessing the complete organ technique, 
 according to German standards. 
 
 Born in Portland, Maine, in 1839, he studied 
 music in his native city under Mr. Kotschmar, and 
 made his first appearance as an organist at Portland 
 in 1857. In the following year he went abroad to 
 study, and became a pupil of Haupt, Wieprecht, and 
 others. On his return to America in 1861, he soon 
 became noted as an excellent player, and on the 
 opening of the Boston Music Hall organ was one of 
 those who were invited to play at the inaugural cere- 
 monies. He was at that time organist of the West 
 Church, Boston, and teacher of music at Harvard, 
 the professorship being created in 1876. 
 
 During these later years J. K. Paine the organist 
 has been overshadowed by J. K. Paine the composer, 
 and in this broader and higher branch of the musical 
 art Professor Paine stands in the front rank, if not at 
 the head of his American brothers. 
 
 Amongst American musicians the name of Dudley 
 Buck is deservedly prominent, for he is not only 
 one of the foremost organists, but also was one of 
 the first American composers to obtain general 
 recognition. 
 
 Born at Hartford, Connecticut, in 1839, ^^ '^^^^ 
 intended for a mercantile life, but so great was his 
 desire for a musical career that he succeeded in
 
 THE ORGAN AND ITS MASTERS 269 
 
 acquiring sufficient knowledge and ability, without 
 instruction, to enable him to play the accompani- 
 ments to the masses of Haydn and Mozart. His 
 father now offered every possible assistance, and the 
 boy became a pupil of W. J. Babcock, at the age of 
 sixteen. He was occasionally employed as a substi- 
 tute for the regular organist at St. John's Church, 
 Hartford, and retained the position until he went to 
 Europe in 1858. Previous to his departure he had 
 been a student, for three years, at Trinity College, 
 Hartford. 
 
 Of the four years which he now spent in Europe, 
 eighteen months were at Leipzig, where he studied 
 theory and composition under Hauptmann and 
 Richter, orchestration and musical form under Rietz, 
 and the piano under Plaidy and Moscheles. Buck 
 then went to Dresden to study Bach under Schneider, 
 and at the same time he continued his studies with 
 Rietz, who had been appointed director of the Royal 
 Opera at Dresden. The next year was spent in 
 Paris, and in 1862 he returned to Hartford, where he 
 was appointed organist of the Park Church. In 
 1868, he went to Chicago, and was for three years 
 organist of the St. James's Church, where he ac- 
 quired an excellent reputation both as composer and 
 performer. Disaster overtook him in the great 
 fire, and his house, library, and several valuable 
 manuscripts were destroyed.
 
 2/0 THE ORGAN AND ITS MASTERS 
 
 Dudley Buck was now called to Boston, where he 
 became organist of St. Paul's Church and of the 
 Music Hall, and subsequently of the Shawmut Con- 
 gregational Church. But New York held out greater 
 prospects, and in 1874 he became assistant conduc- 
 tor of the Theodore Thomas Orchestra, and musical 
 director at St. Ann's Church, a position which he 
 held until 1877, when he was appointed organist of 
 Holy Trinity, Brooklyn. This position he held until 
 1902, when he became organist of the Brooklyn Tab- 
 ernacle. At Holy Trinity he was succeeded by 
 Samuel A. Baldwin, 
 
 Dudley Buck's compositions embrace nearly every 
 variety of music, but for the organ he has contributed 
 some valuable works, viz., Grand Sonata in E-fiat ; 
 Sonata No. 2 in G-minor ; " Triumphal March ; " 
 " Impromptu and Pastoral Rondo-Caprice ; " " Idylle, 
 At Evening;" "Four Tone Pictures;" various 
 transcriptions and sets of variations ; " Eighteen 
 Pedal-phrasing Studies ; " " Illustrations in Choir- 
 accompanying," with hints on registration. 
 
 Mr. Buck's compositions have been received with 
 great favour by musicians of all grades. He is a 
 master of the art of colouring as well as of form, and 
 in all his compositions, vocal or instrumental, there 
 is displayed a technical knowledge of the resources 
 of the means employed, combined with an artistic 
 treatment, which has earned the warmest praise from
 
 THE ORGAN AND ITS MASTERS 2/1 
 
 the most critical judges. The strictness of his early 
 training has not interfered with the play of his fancy 
 or the freedom of his invention. 
 
 Samuel Prowse Warren is a native of Montreal 
 (1841), the son of a Rhode Islander, who had moved 
 to Montreal to carry on his trade of organ-builder. 
 Brought up amidst the surroundings of the organ 
 factory, the boy naturally became familiar with the 
 instrument, and when quite young became organist 
 of the American church in his native city. In 1861, 
 having passed through college, he went to Europe to 
 complete his musical education. He studied for 
 three years in Berlin, under Haupt for organ, Wie- 
 precht for instrumentation, and Gustav Schumann for 
 pianoforte. 
 
 In 1864 he returned to Montreal, but shortly after- 
 ward went to New York, where he became organist 
 of All Souls' Church, where he remained for four 
 years. His next appointment was to Grace Church, 
 where he remained for many years, except from 
 1874-76, when he was at Trinity Church. 
 
 Mr. Warren's repertoire is extensive, and his tech- 
 nique admirable. For many years he has been one 
 of the most able concert organists in the country, 
 his recitals in New York City alone numbering sev- 
 eral hundred. 
 
 George Elbridge Whiting, a native of Holliston, 
 Massachusetts (1842), has been one of the foremost
 
 2/2 THE ORGAN AND ITS MASTERS 
 
 American organists for many years. He came of a 
 musical family, and commenced his own studies at 
 the age of five, appearing as organist in a concert at 
 Worcester at the age of thirteen. Two years later 
 he became organist of the North Congregational 
 Church at Hartford, Connecticut, where he succeeded 
 Dudley Buck. 
 
 In 1862 he moved to Boston, and became organist, 
 first in Doctor Kirk's church, and afterward at 
 Tremont Temple. He gave concerts on the organ 
 then recently installed in Music Hall, and on many 
 other large organs in various places, and was much 
 in demand as a concert organist. He carried on his 
 studies during this period with G. W. Morgan, of New 
 York. In 1863 Mr. Whiting went to England, where 
 he studied under W. T. Best, for whom he frequently 
 acted as deputy in his various churches. 
 
 On his return to America, Whiting was appointed 
 organist of St. Joseph's Church at Albany, where he 
 remained for three years. An interesting fact con- 
 nected with his Albany engagement was that Emma 
 Lajeunesse, who, a few years later, achieved world-wide 
 renown as an opera and oratorio singer, under the name 
 of Madame Albani, was a member of his choir. 
 
 Mr. Whiting once more moved to Boston, and held 
 the position of organist and choir director at the his- 
 toric King's Chapel for a period of five years, and 
 organist of Music Hall for one year.
 
 THE ORGAN AND ITS MASTERS 2/3 
 
 In 1874 Mr. Whiting went abroad and visited 
 Berlin, where he studied harmony with Haupt and 
 orchestration with Radecke, On his return to Bos- 
 ton he became principal organ teacher at the New 
 England Conservatory of Music, a position which he 
 held, with the exception of a short interval (during 
 which he was in Cincinnati), until 1898. In this posi- 
 tion he has had, as pupils, many young musicians who 
 have become noted in various parts of the United 
 States, and his influence as a teacher has thus been 
 felt throughout the country. 
 
 In 1879 Whiting received and accepted a call 
 from Theodore Thomas, who was director of the 
 Cincinnati Conservatory, to fill the position of profes- 
 sor of organ-playing in that institution. He ac- 
 cepted the call and remained in Cincinnati until 
 1882, during which time he opened the big Cincin- 
 nati organ, and gave many recitals. 
 
 On his return to Boston from Cincinnati, Mr. 
 Whiting accepted the appointment of organist and 
 choirmaster at the Church of the Immaculate Con- 
 ception, a position which he has held ever since. 
 
 The reputation of Mr. Whiting as a composer is 
 equal to that which he has earned as organist and 
 teacher. He has written two masses for voice, or- 
 chestra, and organ, and a number of organ pieces, 
 which are in constant use both in church and con- 
 cert.
 
 274 THE ORGAN AND ITS MASTERS 
 
 Samuel B. Whitney, who, since 1871, has been or- 
 ganist and choirmaster of the Church of the Advent in 
 Boston, is known as one of the most prominent direc- 
 tors of church music in America. He was born in 
 Woodstock, Vermont, in 1 842, studied under various 
 teachers, and was appointed organist of Christ 
 Church, Montpelier, Vermont. In 1870 he came to 
 Boston and studied under J. K. Paine, assisting him 
 also as organist of Appleton Chapel, until he was ap- 
 pointed to the Church of the Advent. 
 
 Mr. Whitney has been organiser and conductor of 
 many festivals, and one of the most prominent and 
 highly respected organ-teachers in America. 
 
 Isaac Van Vleck Flagler, a native of Albany, New 
 York (1844), has been well known for many years as 
 a concert and church organist, and teacher. He stud- 
 ied music first under H. W. A. Beale, at Albany, 
 and when he went abroad, became a pupil of the 
 celebrated organist Batiste, and others. On his re- 
 turn to America he became organist of the First 
 Presbyterian Church at Albany. He was for eight 
 years organist of the Plymouth Church at Chicago, 
 and then went to Auburn, New York, where he has 
 been organist of the First Presbyterian Church for 
 many years. 
 
 Mr. Flagler has also been professor of organ in 
 several noted educational institutions. As a per- 
 former he is noted for brilliant and facile technique.
 
 THE ORGAN AND ITS MASTERS 2/5 
 
 smooth pedalling, and good judgment in registra- 
 tion. He was one of the founders of the American 
 Guild of Organists, has been lecturer and organist at 
 the Chautauqua Assemblies for a number of years, 
 and has written and published a number of pieces for 
 the organ, chiefly of a popular kind. 
 
 Edward Morris Bowman, a native of Barnard, Ver- 
 mont, became a pupil of J. P. Morgan in New York. 
 In 1867 he went to St. Louis, where he occupied 
 various positions as organist until 1887, when he 
 received a call to the First Baptist Church of Brook- 
 lyn. During this period Mr. Bowman went abroad 
 for study several times. In 1872-73 he was in Berlin 
 and studied organ under Rohde and Haupt, and for 
 a short time in Paris with Batiste. In 1881 he went 
 abroad again and studied with Bridge, Turpin, and 
 Guilmant. He also passed the examination of the 
 Royal College of organists in London, being the first 
 American to do so. 
 
 Mr. Bowman was one of the founders and presi- 
 dent of the American College of Musicians. He was 
 professor of music at Vassar College from 1891 to 
 1895, and he was the organiser of the "Temple 
 Choir" in Brooklyn, besides which he is conductor 
 of various choral societies. 
 
 Louis Falk has been for many years one of the 
 prominent organists of Chicago. Born in Germany 
 in 1848, he came with his parents to America when
 
 2/6 THE ORGAN AND ITS MASTERS 
 
 two years of age. They eventually settled in Roch- 
 ester, New York, where the boy began his musical 
 education, and secured his first organist's appoint- 
 ment. In 1861 he moved to Chicago and became 
 organist of the Chutch of the Holy Name, a position 
 which he held for four years. He now went abroad 
 and studied at Homberg and Leipzig, graduating from 
 the conservatory after a two years' course. On his 
 return to Chicago Mr. Falk became organist of 
 the Church of the Unity and a member of the fac- 
 ulty of the Chicago Musical College, He was one 
 of the first to make organ recitals popular in Chi- 
 cago. 
 
 Nathan H. Allen, born at Marion, Massachusetts 
 (1848), has long been prominent as organist of the 
 Centre Church, at Hartford, Connecticut, where his 
 good influence has been felt. He studied under 
 Haupt for three years, returning to America in 1870, 
 and setthng in Hartford, where he has been ever 
 since. 
 
 Hervi D. Wilkins, born in Italy, New York, in 
 1848, began his musical career at the age of seven 
 as a choir boy, and continued as a chorister until, at 
 the age of eighteen, he became organist of a church 
 at Auburn, New York. He went to Germany and 
 studied under Haupt and other noted teachers, and 
 on his return to his native land gave many organ 
 recitals in various parts of the country. He has
 
 THE ORGAN AND ITS MASTERS 2// 
 
 been, for many years, organist in Rochester, New 
 York, where he also teaches piano and singing. 
 
 Horace Wadham Nichol was bom at Tipton, near 
 Birmingham, England, and held positions at Dudley 
 and at Stoke-on-Trent from 1867* to 1871, when he 
 was induced by an American gentleman to accom- 
 pany him to Pittsburg, Pennsylvania. Here he 
 became organist of St. Paul's Cathedral, and later 
 at the Third Presbyterian Church, during which 
 period he gave many recitals in that section of the 
 country. In 1878 he went to New York, where he 
 became organist of St. Mark's Church. He now 
 entered into journalistic work, and wrote many arti- 
 cles for the musical papers, besides which he estab- 
 lished himself as a teacher. 
 
 Mr. Nichol has written much music for the organ, 
 including a fantasia, preludes, and fugues and melodic 
 pieces. 
 
 He is spoken of as the most talented organist who 
 played on the St. Paul's organ at Pittsburg, and in 
 this connection the following account, consisting of 
 extracts from an article published in the Musical 
 Courier in 1901, will be interesting. The occasion 
 of the article was the removal of the old organ from 
 St. Paul's, preparatory to the erection of a still 
 finer instrument. This old organ was noted for its 
 carillons. 
 
 Almost all that is historical is associated with the
 
 2/8 THE ORGAN AND ITS MASTERS 
 
 older cities, — Boston, New York, etc., — therefore it 
 is interesting to have some historical account of the 
 progress of the organ in the younger cities, of which 
 Pittsburg is one of the most progressive. 
 
 " Beautiful and sorrowful memories attend the 
 dismantling of the old organ in St. Paul's Cathedral, 
 on Grant Street. In its day it was by far the great- 
 est and finest organ west of the mountains. It enjoys 
 the distinction of being the first one of its kind ever 
 built this side of the Alleghanies, and certainly was 
 the first one that had a chime of bells. 
 
 ** In the sixties and seventies the cathedral was the 
 Mecca for all lovers of fine organ music, and at times 
 the large auditorium could scarcely hold the thou- 
 sands that desired admittance. In those days Pitts- 
 burg presented few opportunities for hearing first-class 
 music of any kind. Engrossed in adding to their 
 stock of worldly goods, Pittsburgers thought little of 
 such unremunerative and ennobling things as music, 
 art, or literature. Repeated efforts to estabhsh musi- 
 cal organisations — orchestras, choral societies, etc. 
 — at this time either failed completely or met with 
 very indifferent success. When the St. Paul's organ 
 was placed in position, and a talented and accomplished 
 organist secured, Pittsburg lovers of what many con- 
 sider the grandest form of earthly music, hailed the 
 day with delight. Among the able organists and 
 choir leaders here were Horace Wadham Nichol,
 
 THE ORGAN AND ITS MASTERS 279 
 
 considered the greatest that ever occupied the posi- 
 tion ; John Schenuit, Wax Herman, Henry Kleber, 
 McCaffrey, Knake, Miss AUce Carter, and the present 
 organist, Joseph Otten. 
 
 "The organ in the cathedral stands in the loft 
 about twenty feet above the ground floor, and to the 
 right of the altars. For several years the instrument 
 was the only one of real pretensions in the two cities, 
 but about 1872, Trinity P. E. Church, on Sixth Ave- 
 nue, installed a fine organ in its new edifice (the 
 present one), just then completed. 
 
 " Since then some splendid organs have been built 
 in churches here, chief among which are the East 
 Liberty Presbyterian and Christ Church, East End. 
 The organ at Carnegie Music Hall, Schenley Park, 
 of course, ranks among the finest. During former 
 years the old organ was used considerably at concerts 
 in the cathedral. It is related of Nichol and some 
 others that they could render a storm scene on it that 
 was so vivid that people involuntarily reached for their 
 umbrellas. On one occasion an old woman rushed 
 out of the church in great excitement, saying she 
 had left the front door open, and she was afraid her 
 best carpet would get wet. 
 
 " Trinity Church, Sixth Avenue, the * mother ' 
 church of the Pittsburg diocese, has always been 
 famous for its fine organs. • The historic old house 
 of worship had probably the first pipe organ ever
 
 280 THE ORGAN AND ITS MASTERS 
 
 built in this city. In the ' Old Round Church,' on 
 the three-cornered plot at Liberty, Wood Street and 
 Seventh Avenue, the first erected by Trinity's con- 
 gregation, an organ was installed in 1804. It was 
 a small, insignificant affair, as compared with the 
 leviathan, complicated organs of the present day, but 
 at that time, when there were only about five thou- 
 sand people in Pittsburg and organs were a great 
 rarity in the ' Western country,' it was deemed a 
 marvellous thing. People walked miles to see and 
 hear it, and when Reverend John Henry Hopkins, 
 the organist, drew from it melodious chords, the 
 plain people of the city listened. Like the ' Old 
 Round Church,' so called because it was built to 
 conform to the church lot, the old organ has long 
 ago disappeared, and as far as is known is now no 
 more. In 1826, Trinity built a new church on the 
 present site, which was granted to the church corpo- 
 ration by the Penns in 1787. 
 
 "In 1835, a new and larger organ was bought. It 
 was transported over the mountains on the famous 
 Portage road that operated by a series of inclined 
 planes, on which cars were hoisted by steam power. 
 The cars formed the top part of the canal-boats on 
 the canal from Hollidaysburg to Pittsburg, and were 
 run off the boats into the incline flat cars or trucks. 
 The freight charges in those days were enormous, as 
 compared with the small ones now. To bring such a
 
 THE ORGAN AND ITS MASTERS 28 1 
 
 bulky thing as an organ from Philadelphia here was 
 an immense undertaking. 
 
 " Seventeen years later this instrument was replaced 
 by a still more elaborate one. When the present fine 
 edifice was built, in 1 870, another organ was installed. 
 When Mrs. Harry Darlington presented the church 
 with the present splendid instrument, in 1893, the 
 old one was taken out, and removed to Bellevue, 
 where it is now used by one of the churches 
 there. 
 
 "Among the accomplished masters of the organ 
 who served old Trinity, besides John Mellor, were 
 Thomas Bissell, C. C. Mellor, Charles Houghwart, 
 Simeon Bissell, Ethelbert Nevin, Doctor Beale, and 
 the present incumbent, Walter Hall. 
 
 " Christ Church, on Penn Avenue (the old building), 
 had a famous organ as early as 1855, about the time 
 the edifice was built. It was considered one of the 
 finest organs west of the metropolis. It was a re- 
 markable one, too, inasmuch as the console (keyboard) 
 was placed a long distance from the organ, a marvel 
 in organ-building. The organist sat thirty or forty 
 feet away from the organ when he played. In this 
 respect it was probably the only organ of its kind in 
 the United States. As its action was constructed 
 under the old-fashioned 'tracker' system, the long- 
 distance touch was very irregular. The cumbersome 
 affair was taken out of the church in 1882, and a
 
 2 82 THE ORGAN AND ITS MASTERS 
 
 modern organ installed, the former being now in the 
 Emory M. E. Church, East End. 
 
 "Among the organists in Christ Church were C. C. 
 Mellor, Simeon Bissell, James Giles, Henry Rohback, 
 and Victor De Haus. The present superb church 
 edifice, on Center Avenue, has one of the finest and 
 most costly organs in Pittsburg. 
 
 " The First Presbyterian Church and the Third have 
 had fine organs for many years. The same may also 
 be said of the Calvary M. E. Church, Allegheny. Space 
 forbids, however, to even enumerate the fine pipe organs 
 in the two cities. Some of the earliest organs in the 
 city were marvellous and curious contrivances," 
 
 Of American organists probably none is more 
 widely known than Clarence Eddy. Born at Green- 
 field, Massachusetts, in 185 1, his musical talent, 
 which was apparent in his early youth, was cultivated 
 by the best teachers of the neighbourhood until he 
 was sixteen years of age. He was then sent to 
 Hartford, Connecticut, to study under Dudley Buck, 
 and after a year he was appointed organist of the 
 Bethany Congregational Church at Montpelier, Ver- 
 mont. In 1 87 1, Mr. Eddy went to Germany, where 
 he studied under August Haupt, 
 
 Before returning to America Mr. Eddy made a 
 tour through the principal cities of Germany, Austria, 
 Switzerland, and Holland, giving recitals and building 
 up an enviable reputation.
 
 THE ORGAN AND ITS MASTERS 283 
 
 Soon after his arrival in America he was appointed 
 organist of the First Congregational Church in Chi- 
 cago, and in 1875-76 gave his first series of twenty- 
 five recitals. In 1878, he became organist of the 
 First Presbyterian Church. Since that time Mr. Eddy 
 has been very active, travelhng all over the United 
 States and Europe, and giving recitals innumerable. 
 
 He has undoubtedly dedicated more organs in this 
 country than any other organist ; among them may 
 be mentioned the great Auditorium organ in Chicago 
 and the noted organ in Trinity Church, Denver. In 
 1889, he was invited to give recitals at the Trocadero, 
 in Paris, and he also played at the World's Fair in 
 Vienna. 
 
 Mr. Eddy has composed and published some 
 fugues, canons, preludes, etc., for the organ, and has 
 also published two collections of organ music, viz., 
 "The Church and Concert Organist," and "The 
 Organ in Church." 
 
 Henry M. Dunham is one of the most prominent 
 of Boston organists, born in Brockton (1853), about 
 twenty miles from Boston, educated in Boston, and 
 associated with Boston during the whole of his hfe. 
 He is a member of a musical family, of which his 
 brother William is one of the best known tenor 
 singers of Boston, and his nephew George one of the 
 most promising of the rising generation of organists. 
 
 Mr. Dunham studied music at the New England
 
 284 THE ORGAN AND ITS MASTERS 
 
 Conservatory of Music, making organ and composi- 
 tion his specialties, and graduated from that insti- 
 tution and afterward from Boston University. In 
 1878 he became a member of the faculty of the New 
 England Conservatory, teaching organ-playing, and 
 has remained in that position ever since. During 
 his career he has been organist at the Ruggles Street 
 Baptist Church, where he remained for some ten or 
 eleven years, and since that time at the Shawmut 
 Congregational Church. 
 
 In the days of the Boston Music Hall organ, when 
 recitals were given frequently, Mr. Dunham officiated 
 during several years and built up a fine reputation. 
 Since that time he has given many recitals at the 
 conservatory, at the Shawmut Church, and away 
 from Boston, his programmes alwa}'s being remark- 
 able for refined tone and dignity. His compositions 
 for the organ are numerous and of high quality, and 
 he has made many excellent arrangements of well- 
 known works. 
 
 Charles Henry Morse, a native of Bradford, Massa- 
 chusetts (1853), was educated at Bradford and Boston, 
 being graduated from the New England Conserva- 
 tory of Music in 1873. He continued his studies in 
 Boston University College of Music and received his 
 degree of Mus. Bac. in 1877, being employed in the 
 meantime as a teacher of pianoforte in the New 
 England Conservatory.
 
 THE ORGAN AND ITS MASTERS 285 
 
 He was also professor of music at Wellesley 
 College from 1875 to 1884, when he went to the 
 West and founded the Northwestern Conservatory 
 of Music in Minneapolis, remaining there until 
 1891. 
 
 In Boston Mr. Morse was organist at Tremont 
 Temple and the Central Congregational Church ; in 
 St. Paul of the First Baptist, and in Minneapolis of 
 the First Congregational Church. Leaving the West, 
 he became organist and choirmaster of Plymouth 
 Church, Brooklyn, in 1891, remaining there for eight 
 years. In 190 1 he was appointed director of music 
 at Dartmouth College, Hanover, New Hampshire. 
 
 Hamilton Crawford MacDougall, born 1858, was 
 musically educated in Providence, Rhode Island, 
 under Robert Bonner, in Boston under S. B. Whit- 
 ney, J. C, D. Parker, and B. J. Lang, and took 
 lessons also under Wm. H. Sherwood of Chicago. 
 
 In 1883 he studied in London, becoming an Asso- 
 ciate of the Royal College of Organists, and again 
 in 1885-86 he was in London under Doctor E. H, 
 Turpin and William Shakespeare. From 1882 to 
 1895 he was organist of the Central Baptist Church of 
 Providence, Rhode Island, during which time he gave 
 many recitals in that church, and in other places. 
 
 In 1895 he became organist of the Harvard Church, 
 Brookline, Massachusetts, where also he gave a num- 
 ber of excellent recitals, resigning in 1900 to accept
 
 286 THE ORGAN AND ITS MASTERS 
 
 the position of professor of music and director of the 
 department of music at Wellesley College. 
 
 William Crane Carl, a native of Bloomfield, New 
 Jersey, is perhaps the most popular and widely 
 known concert organist in the United States, with 
 the exception of Clarence Eddy. He was a pupil of 
 S. P. Warren, and of Madame Schiller, in New York, 
 but in 1890 went abroad and studied under Alexandre 
 Guilmant. Previous to his going to Paris he was, for 
 eight years, organist of the First Presbyterian Church 
 of Newark, New Jersey, and on his return to America 
 in 1892 he was appointed to the Old First Presbyterian 
 Church in New York City. At the same time he began 
 an exceptionally active career as concert organist, and 
 he has given recitals in all parts of the United States. 
 He has a very large repertoire, and has written and 
 arranged considerable music for the organ. Mr. Carl 
 was one of the founders of the American Guild of 
 Organists, of which body he is one of the council. 
 
 One of the most noted concert organists of New 
 York is Gerrit Smith, a native of Hagerstown, Mary- 
 land (1859), ^^^""o was educated at Hobart College, 
 Geneva, New York, where he held his first position as 
 organist. He afterward studied music at Stuttgart 
 Conservatory, and then was a pupil of S. P. Warren 
 of New York, and later with Eugene Thayer. He 
 also spent a year in Berlin under Haupt and Rohde. 
 Mr. Smith began his regular professional career as
 
 THE ORGAN AND ITS MASTERS 28/ 
 
 organist and choirmaster of St. Paul's Church, Buffalo. 
 On his return from Berlin he went to St. Peter's, 
 Albany, whence he was called to New York, in 
 1 88 5, as organist and choirmaster of the South Church. 
 He has given a great many organ recitals in the chief 
 cities of America, and his programmes are those of 
 a musician of high standards. 
 
 Everett E. Truette, who has been one of the most 
 active organists of Boston for some years, is a native 
 of Rockland, Massachusetts (i86i), was educated at 
 Phillips Academy, Andover, Massachusetts, graduated 
 from the New England Conservatory in i88i, in or- 
 gan, piano, counterpoint, and conducting, and two 
 years later took the degree of Bachelor of Music in 
 Boston University. Going abroad immediately after- 
 ward, he spent two years under Haupt, Guilmant, 
 and Best, and spent much time in studying the 
 greatest European organs. 
 
 On his return to America he was engaged as or- 
 ganist in three prominent churches, and in 1896 was 
 appointed organist and choirmaster at the Eliot 
 Congregational Church, Newton. 
 
 Mr. Truette has given upwards of four hundred 
 organ recitals, of which some sixty were on the or- 
 gan in Mechanics' Hall, Boston, and ten in Tremont 
 Temple. He was also called to San Francisco in 
 1896 to give two inaugural recitals on the memorial 
 organ in Grace Church.
 
 288 THE ORGAN AND ITS MASTERS 
 
 In addition to his duties as organist and teacher, 
 Mr. Truette is conductor of the Newton Choral As- 
 sociation, editor of the organ department of the 
 Etude and president of the Alumni Association of 
 the New England Conservatory of Music. 
 
 Mr. Harrison M. Wild, one of the most successful 
 concert organists and teachers of Chicago, is a native 
 of Hoboken, New Jersey (1861), and after receiving 
 his education studied music under Arthur J. Cres- 
 wold. He then went to Leipzig and became a pupil 
 of Richter, Zwintscher, Maas, and Rust. On return- 
 ing to America, he took up his abode in Chicago, 
 where he continued his musical studies under the 
 best teachers available, at the same time officiating 
 as organist of the Ascension Church. Resigning 
 this position at the end of five years, he was for one 
 year organist of the Memorial Church, and then for 
 thirteen years at the Unity Church, during which 
 he gave more than two hundred recitals, and ac- 
 quired a good reputation as a concert organist. For 
 the past few years Mr. Wild has been organist of the 
 Grace Episcopal Church, in Chicago. He is also 
 conductor of the Mendelssohn Mannerchor, and 
 the Apollo Club, and an honorary vice president of 
 the American Guild of Organists. 
 
 J. Warren Andrews, organist of the Church of the 
 Divine Paternity, in New York, has given organ re- 
 citals in many cities, from the Atlantic to the Pacific
 
 THE ORGAN AND ITS MASTERS 289 
 
 seaboard. Born in Lynn, Massachusetts, he began 
 his career as an organist at a Httle church in Swamp- 
 scott, at the age of twelve. In due course he held 
 various positions in Lynn and Boston, until he be- 
 came organist of the historical Trinity Church, in 
 Newport, Rhode Island. Here he remained nine 
 years, going to the Pilgrim Church, in Cambridge. 
 Thence he went to Minneapolis, where he was or- 
 ganist of the Plymouth Church, and found a large 
 field for his musical activities. During his sojourn 
 in Minneapolis, Mr. Andrews gave a large number 
 of recitals, travelling as far as Portland, Oregon. 
 After several years in the West, he accepted a call 
 to the Church of the Divine Paternity, in New York. 
 
 Mr. Andrews has given more than two hundred 
 organ recitals, and his programmes show a prepon- 
 derance of legitimate organ music. 
 
 Wilhelm Middelschulte, organist of the Chicago 
 Orchestra and Auditorium, and of St. James' Roman 
 Catholic Church, is a native of Germany, and received 
 his musical education at the Royal Academy of Church 
 Music, at Berlin, where he was a pupil of August 
 Haupt in organ and theory, August Loeschhorn, piano, 
 Doctor Julius Alsleben, history and conducting, and 
 Franz Commer, editor of the Musica Sacra. He be- 
 came assistant organist of Haupt at the Parochial 
 Kirche, and his associate teacher at the Royal Acad- 
 emy, and was, in 1888, appointed organist and director
 
 290 THE ORGAN AND ITS MASTERS 
 
 of St. Lucas Church, in Berlin, which position he 
 held for three years, at the end of which he received 
 a call to Chicago to become musical director and or- 
 ganist of the Cathedral of the Holy Name. Before 
 leaving Berlin, Mr. Middelschulte was invited to play 
 the memorial service to the Emperor Friedrich III,, 
 at the church at Bornstedt, near Potsdam. 
 
 At the Columbian Exposition, Mr. Middelschulte 
 gave three organ recitals, and the following season 
 was invited to play with the Theodore Thomas Or- 
 chestra. With that organisation he has played the 
 following works : Guilmant's Concerto in D minor, 
 Saint-Saens's Symphonic in C minor, Rheinberger's 
 Concerto in F major, Handel's Concerto in G, Liszt- 
 Kann fantasie, and fugue, " Ad nos." To the last 
 three compositions he has written original cadenzas. 
 
 In 1900 Mr. Middelschulte was appointed organist 
 of the Cincinnati May Festival, on which occasion he 
 played the Bach Toccata in F major, and in 1902 at 
 the festival he played Bach's Prelude and Fugue in 
 B minor. 
 
 Of Mr. Middelschulte's compositions the most im- 
 portant is a passacaglia, published in Leipzig, which 
 has been received with much favour, 
 
 Frederick Maxson, a native of Beverly, New Jer- 
 sey, is one of the most prominent concert and church 
 organists of Philadelphia. He was a pupil of David 
 D, Wood in Philadelphia, passed the Associate Fel-
 
 THE ORGAN AND ITS MASTERS 29 1 
 
 lowship degrees in the American College of Musi- 
 cians, and later studied in Paris with Guilmant, after 
 which he took the Associate degree in the Royal 
 College of Organists in London. 
 
 He was for some time organist and choir director 
 at the Christ M, E. Church, West Philadelphia, after 
 which he held a similar position at the Central Con- 
 gregational Church, Philadelphia for eighteen years, 
 resigning in 1902 to go to the First Baptist Church in 
 the same city. As a concert organist Mr. Maxson 
 has been engaged to give recitals in a great many 
 places, chiefly in Pennsylvania, Maryland, and New 
 Jersey. He has composed some pieces for the organ, 
 of which his Grand Chorus in D deserves special 
 mention. 
 
 J. Wallace Goodrich is a native of Newton, Massa- 
 chusetts, in which city he held for several years the 
 position of organist at the Eliot Congregational 
 Church, studying music at the same time with the 
 best teachers of Boston. In 1894 he resigned his 
 position at Newton and went to Munich, where he 
 studied under Rheinberger, going later to Paris, 
 where he became a pupil of Widor. 
 
 Returning to America in 1897, he was appointed 
 professor of organ and harmony at the New' England 
 Conservatory of Music, and shortly afterward organ- 
 ist and choirmaster at the Church of the Messiah 
 in Boston, a position which he resigned in 1902,
 
 292 THE ORGAN AND ITS MASTERS 
 
 when, on the retirement of Doctor H. J. Stewart, he 
 received a call to Trinity Church. 
 
 Shortly after his return from abroad Mr. Goodrich 
 demonstrated his ability as a player of the best class 
 of organ music, and especially of Bach, by giving a 
 series of recitals at the Arlington St. Church in Bos- 
 ton. In October, 1901, he gave the first organ recital 
 in Symphony Hall, shortly after the opening of that 
 auditorium, and he may be said to have inaugurated 
 the organ on that occasion. He followed this recital 
 by two others, March 21 and 28, 1901. Mr. Good- 
 rich is the only organist who has played in the 
 Boston Symphony concerts, in the new Symphony 
 Hall. With that organisation he played the Handel 
 Concerto in D minor at the first concert given in 
 Symphony Hall, also the Symphony in C minor of 
 Saint-Saens on two occasions. At the Worcester 
 County Musical Association he played Rheinberger's 
 Concerto in F, with the orchestra, and in Boston, 
 with the New England Conservatory Orchestra, Han- 
 del's Concertos in B flat, No. 2 and No. 12. 
 
 Mr. Goodrich has always, both in his recitals and 
 written articles, been a strong champion of the cause 
 of legitimate organ music, especially of Bach and 
 C^sar Franck, in opposition to the so-called "ar- 
 rangement school." He has contributed valuable 
 articles to various musical journals, and has trans- 
 lated from the French " L'Orgue de Bach," by A,
 
 THE ORGAN AND ITS MASTERS 293 
 
 Pirro. He organised, in 1901, and conducts the 
 Choral Art Society, and is choral conductor of the 
 Worcester County Musical Association. 
 
 Gaston M. Dethier, who is considered at the pres- 
 ent day one of the most brilliant organists resident 
 in New York City, is a native of Liege, Belgium, 
 (1875), and is the son of a musician. 
 
 At the age of eleven he won his first organ ap- 
 pointment in open competition, and became organist 
 of the church of St. Jacques, Liege. When Alexan- 
 dre Guilmant was consulted regarding an organist 
 for the Church of St. Xavier, New York City, he 
 recommended Dethier, who came in response to the 
 call extended to him, in 1894. 
 
 Since his arrival M. Dethier has given many re- 
 citals, some of them being in Montreal, Buffalo, 
 Philadelphia, Pittsburg, and other large cities, his 
 artistic playing always being recognised. 
 
 As a composer he has already contributed several 
 pieces to organ literature, one of them, a " passaca- 
 glia," having won the prize at the Music Teachers' 
 National Convention in 1897. In all there are 
 twelve organ compositions, and they have met with 
 much success. 
 
 John Hermann Loud, a native of Weymouth, 
 Massachusetts (1873), is one of the most accom- 
 plished of the younger generation of concert organ- 
 ists. After early instruction under the care of his
 
 294 ^/^^ ORGAN AND ITS MASTERS 
 
 aunt, Miss Annie F. Loud, and Miss Cora Burns in 
 Boston, also with Henry M. Dunham at the New 
 England Conservatory, he went abroad in 1893 
 and studied organ and composition in Berlin with 
 Grunicke and Urban. The following year was spent 
 in Paris under Guilmant, and then he went to 
 Oxford and studied theory under Doctor J. Varley 
 Roberts. In 1895 Mr. Loud became an Associate of 
 the Royal College of Music in London, being the first 
 American to gain that distinction. 
 
 Returning to America, he shortly became organist 
 and choirmaster of the First Church at Springfield, 
 Massachusetts, and in 1900 was called to a similar 
 position at the Harvard Church, Brookline, Massa- 
 chusetts. 
 
 Here and at Springfield he has given a course of 
 more than seventy organ recitals, besides many re- 
 citals in other places. He is faithful to high ideals, 
 and never uses arrangements or piano scores, but 
 keeps to the original compositions of the most classic 
 authors. 
 
 At the Columbian Exposition held at Chicago in 
 1893, a noteworthy series of sixty-two organ recitals 
 was given, by the following players : Clarence Eddy 
 gave twenty-one; Alexandre Guilmant, four; R. Hunt- 
 ington Woodman, four ; Samuel A. Baldwin, Wm. C. 
 Carl, Walter E. Hall, Wm. Middelschulte, Frank 
 Taft, George E. Whiting, and Harrison M. Wild
 
 THE ORGAN AND ITS MASTERS 295 
 
 each gave three ; Fred. J. Wolle, two ; G. Andrews, 
 Louis A, Coerne, N. J. Corey, C. A, Rowland, B. J, 
 Lang, Otto Pfefferkorn, W. RadcHffe, W. S. Ster- 
 Hng, Henry Gordon Thunder, and A. S. Vogt gave 
 one each. 
 
 These organists were selected from all parts of the 
 United States, and Alexandre Guilmant was brought 
 over from Paris. The programmes show a very great 
 diversity of taste, and a noteworthy feature of them 
 was that only three organists, Alexandre Guilmant, B. 
 J. Lang, and W. S. Sterling, gave any improvisations. 
 
 An excellent series of recitals was also given at 
 the Pan-American Exposition in Buffalo in 190 1, 
 but lack of space prevents a detailed account of 
 them. 
 
 A remarkable series of organ recitals was given in 
 Boston during the two seasons of 1897 and 1898, 
 under the management of the Art Section of the 
 Twentieth Century Club. The organists were all 
 local with one exception, and the recitals were given 
 in a number of churches in which the organs were 
 suitable for the purpose. The programmes through- 
 out were of a very high standard, consisting almost 
 without one exception of legitimate organ music. 
 
 Those who played were : Edgar A. Barrell, two 
 recitals ; P. B. Brown, one ; Geo. A. Burdett, five ; 
 Geo. W. Chadwick, two (assisted in the second by 
 E. G. Booth) ; E. Cutter, Jr., two ; Ernest Douglas,
 
 296 THE ORGAN AND ITS MASTERS 
 
 one ; Henry M. Dunham, two ; Arthur Foote, one ; 
 J. Wallace Goodrich, four ; Philip Hale, one ; War- 
 ren A. Locke, two ; Hamilton C. MacDougall, three ; 
 Chas, H. Morse, one ; Homer A. Norris, one ; John 
 O'Shea, one; Horatio W. Parker, two; Chas. P. 
 Scott, two ; Chas. A. Safford, one ; Walter R. Spald- 
 ing, three ; Wm. Stanfield, one ; Allen W. Swan, two ; 
 Everett E. Truette, five; Benjamin L. Wlielpley, 
 three ; S. B. Whitney (assisted by H. E. Wry), two. 
 
 Returning once more to the European churches, 
 — one finds that the edifices in which organ-playing 
 has been developed are better suited to the instru- 
 ment than most American churches. They are 
 large, if not immense buildings, with high arched 
 roofs or vaulted domes. The style of architecture, 
 the dignity of the surroundings, the sacred character 
 of the buildings, all demand a classical purity and 
 elevated style of organ-playing, which, when trans- 
 ferred to the average American " meeting-house," 
 or the concert hall, loses much of its effect. 
 
 The concert hall leads to transcriptions of operatic 
 overtures and other orchestral works, which, however 
 much they may please the average public, and how- 
 ever much they may be necessary to "popularise" 
 the organ, cannot but be deplored by those who 
 love and reverence the king of instruments and its 
 traditions. 
 
 It is doubtful whether the "popularisation" of the
 
 THE ORGAN AND TTS MASTERS 297 
 
 organ, on which so many concert organists have 
 dwelt, has done anything at all toward inculcating 
 a love of organ music into the breast of what we are 
 accustomed to call the public. The average man 
 who likes music, but is not musically educated, will 
 doubtless prefer the overture to "William Tell" to 
 the "St. Anne Fugue" of Bach, but he would rather 
 hear it played by an orchestra or a military band 
 than on the organ. By playing such arrangements 
 on the organ the performer degrades his instrument 
 to the position of a makeshift, — an unsatisfactory 
 substitute. 
 
 The greatest art in organ-playing is the art of 
 improvisation, an,d this art, while it may be enjoyed 
 by many, can only be fully appreciated by the few. 
 It is to be regretted that there is little in the church 
 services of to-day to make the exercise of this art 
 necessary. That which should begin at the first 
 lesson in organ-playing, has been too long regarded 
 in this country as rather a superfluous accomplish- 
 ment, and while it has not been totally disregarded, 
 it has not received the attention due to its impor- 
 tance. The cultivation of the art of improvisation 
 should go hand in hand with technical development. 
 The result of this would not perhaps be evident in 
 more brilliant playing by concert organists, but 
 would be a much higher average of musicianship 
 amongst organists.
 
 298 THE ORGAN AND ITS MASTERS 
 
 The concert organist, who is a great deal before 
 the public, does not necessarily represent the highest 
 that is in the art of organ-playing. On the contrary, 
 because of the necessity of pleasing his public he is 
 strongly tempted to descend from the strict and high 
 level of organ music, and to try to tickle the ears of 
 his audience with "storm fantasias," and similar 
 meretricious concoctions. 
 
 Organ " arrangements " have been in use from the 
 time of Bach, or even earlier. The " transcription " 
 of orchestral music for the organ was brought into 
 popularity by W. T. Best, who was most artistic both 
 in his arrangements, and his performance of them. 
 But there was an excuse for them, inasmuch as 
 orchestras were extremely rare in those days, and by 
 means of the organ the public could be made familiar 
 with a great deal of orchestral music. These tran- 
 scriptions served to show the technical ability of the 
 organist, at the expense of the dignity of the organ. 
 To-day there is less excuse, if indeed there is any, for 
 the transcription, because orchestras are more nu- 
 merous and the opportunities for hearing orchestral 
 music are greater and better than they were twenty- 
 five or fifty years ago, besides which the range of 
 organ music is much wider. 
 
 Many of the best church organists in the large 
 cities are giving excellent recitals. Of their standard 
 one can only judge by examining the programmes.
 
 THE ORGAN AND ITS MASTERS 299 
 
 Large audiences are quite frequent at these recitals, 
 as no admission fee is charged, and it is only the 
 "concert organist" who is obliged to descend to the 
 sensational for the sake of the admission fee. 
 
 It is to be hoped that in a few years, in view of 
 the tremendous activity in organ-building and in edu- 
 cation of organists, the "storm fantasia" and the 
 orchestral transcription will be rolled back to the 
 woods and the plains, and serve to soothe the savage 
 Indian, and to please the bronco buster and cow- 
 puncher, who will thus be gradually prepared, as their 
 more Eastern forefathers have been, for the higher 
 forms of organ music.
 
 CHAPTER XI. 
 
 ORGAN - BUILDING 
 
 The following brief summary of organ-building in 
 England is taken from an article written by Doctor 
 C. MacLean and published in the ZeitscJirift der 
 inteniationalen Miisik-Gesellschaft, September, 1901. 
 It will serve to show the general progress of organ- 
 building throughout the world, and indicate the origin 
 of certain principles, some of which have taken years 
 to bring to perfection. 
 
 THE HISTORY OF ENGLISH ORGAN - BUILDING, — A 
 bird's-eye VIEW. 
 
 " Before the beginning of the seventeenth century 
 scarcely anything is known. About that time all 
 large organs were in two manuals, great and choir, and 
 no pedal. Th. Dallam (1602-65) built one at 
 York in 1633. Harris, grandfather of Rene, built 
 one at Magdalen, Oxford, in 1637. Then came the 
 great rebellion. Rob. Dallam built a two-manual 
 organ at New College, Oxford, in 166 1, after the 
 Restoration. Ralph Dallam (d. 1673) built a one- 
 
 300
 
 THE ORGAN AND ITS MASTERS 30I 
 
 manual organ at Windsor, with two ''shifting" or 
 reducing pedals (down to principal, and down to 
 diapasons, with return-spring on release of catch), 
 about the same year. J. Loosemore (161 3-81) built 
 a two-manual organ at Exeter in 1666, having double 
 diapason, fourteen notes on manual from tenor C down, 
 with short octaves, having GGG pipe of twenty feet 
 six inches speaking length, and one foot three inches 
 diameter. 
 
 "Bernard Schmidt (1630-1708) came from Wettin, 
 near Halle, to England in 1660, introduced mixtures 
 and reeds, and added a short echo manual ; but still 
 no pedal-board, though in Germany three hundred 
 years before. His firm made very many organs 
 throughout the country, including Westminster 
 Abbey (1662), Temple (1682), St. Paul's (1697), 
 etc. 
 
 "Rene Harris (d. 1715), Englishman naturahsed in 
 Paris, grandson of Harris above-named, came to Eng- 
 land likewise in 1660, and began in western counties 
 with his father ; they built Worcester, Salisbury, and 
 Gloucester organs, with many others, and also some 
 in London. They relied on reeds in French style ; 
 stops were made common to two manuals ; Salisbury 
 had a second great, making four manuals, the first 
 instance here. 
 
 "Abraham Jordan invented the first swell, a 
 *nag's-head' or 'window-sash,' in 171 2; copied
 
 302 THE ORGAN AND ITS MASTERS 
 
 at Hamburg in 1764. In 1726 Harris and Byfield 
 built an organ at St. Mary, Redcliffe, Bristol, with 
 a CCC great manual (many since in England), and a 
 sub-octave coupler great to great. R. Bridge's organ 
 at Christ Church, Spitalfields, in 1730, had thirty- 
 three speaking stops on three manuals, and yet no 
 pedal-board. 
 
 "Johann Snetzler, of Passau (b. 1710), introduced 
 the first dulciana, and the first real manual double 
 in this country, at Lynn Regis (1754); at Savoy 
 German Lutheran Chapel he introduced an octave of 
 pedal-board, first time in England, but without pipes, 
 acting only by permanent coupler. 
 
 "One Cummings, a watchmaker, invented in 1762 
 a flat accordion-reservoir laid on top of the ordinary 
 diagonally rising bellows. B. Plight (i 767-1 847) 
 mutually inverted the pair of ribs in Cummings's 
 reservoir, and others replaced single bellows by a 
 cuckoo-bellows or by a pair of bellows. John Avery 
 (d. 1808) put separate pipes on Westminster Abbey 
 pedal -board some time before 1793 ; and superseded 
 Jordan's window-sash swell by a Venetian swell, now 
 (except for the occasional ' gridiron ' and ' box ') the 
 only one used. 
 
 "J. C. Bishop (i 781-1854) in 1809 invented 
 * composition ' pedals, where there was no catch or 
 return-spring; in 1825 he introduced concussion or 
 floating bellows on the wind-trunks near pipe ; in
 
 THE ORGAN AND ITS MASTERS 303 
 
 1829 he built the organ at St. James's, Bermondsey, 
 three manuals, three stops on pedal, five couplers, 
 and a left hand side-manual acting on pedal organ. 
 
 "C. S. Barker, a chemist's assistant of Bath 
 (1806-79), invented while a young man (1832) the 
 pneumatic lever near the key, or small diagonally 
 rising leverage-bellows, worked on the principle of 
 the slide-valves of a steam-engine, which was refused 
 by Hill, and accepted by A. Cavaille-Coll (181 1-99) 
 for St. Denis near Paris in 1841 ; this has revolu- 
 tionised the whole art of organ- building, because no 
 limit thereafter to size of organ or pressure of wind. 
 There have been several modifications since of the 
 'lever' (averaging in size three inches by nine 
 inches), and it has been applied to do other work 
 besides pallet work, while still retaining the original 
 principle of mechanical construction each side of the 
 pneumatic lever or motor. Barker studied organ- 
 building under Bishop, went to Paris, 1837, patented 
 the lever for France in 1839, ^"^ was successively 
 voicer with Cavaill6, manager of Ducroquet (later 
 Merklin), and partner with Verschneider ; at the war 
 in 1870 he retired to Dublin, and died old and poor 
 at Maidstone. 
 
 "In 1827 Jos. Booth had at Sheffield applied 
 the same principle at the other end under the pallet, 
 but only to some bass pipes and with crude details ; 
 the leverage-bellows (' puff-valves ') here were acted
 
 304 THE ORGAN AND ITS MASTERS 
 
 on from key by heavy wind contained in conveyances. 
 This since worked up in conjunction with Barker's 
 lever ; the principle being now to place the main 
 motor close to the seat of work to be done (pallet, 
 slide, etc), to have a minor motor close to the operat- 
 ing agency (key, piston, etc.), and to connect these 
 two not mechanically but by heavy wind (say ten 
 inches) pressing or exhausting in a pliable leaden 
 tube, one-eighth inch to quarter inch interior diam- 
 eter. Moitessier, of Montpelier, patented such a 
 tubular-pneumatic in 1835, ^^^^ practically applied it 
 at La Dalbade in Toulouse in 1850. Willis here 
 took it up later, and applied it at St. Paul's in 
 1874. 
 
 **The dates here involved regarding Booth (1827), 
 Barker (1832), and Moitessier (1835), and the details 
 and circumstances of each invention, deserve careful 
 scrutiny. The original Barker principle, to apply 
 compressed air only at a fixed point of force, and not 
 diffused over a long connection, remains the soundest 
 as far as pneumatics are concerned ; there is a vena 
 contracta for gases, and the action is not immediate. 
 
 " H. J. Gauntlett, London, organist (1806-76), 
 patented in 1852 an electro-magnetic connection 
 between key and pallet ; key making an electrical 
 contact (by copper point entering mercury cup, later 
 copper pin thrust between copper bristles), close to 
 its tail-end, wire carrying a current, electro-magnet
 
 THE ORGAN AND ITS MASTERS 305 
 
 just below pallet, armature on underside of pallet 
 itself. Barker in 1867 applied the principle at St. 
 Augustin, Paris, interposing one of his pneumatic 
 levers near pallet. Both Bryceson and Willis devel- 
 oped electric action systematically, and severally 
 took out patents in 1868. Since then, many devices 
 for diminishing work of magnet, and increasing that 
 of wind ; chiefly by small secondary pneumatic 
 motors subordinate to the primary. In ' Hope-Jones ' 
 action of to-day, the magnet need only move a 
 small disc by less than one-hundredth of an inch. 
 Electro-pneumatics are better than tubular pneu- 
 matics, always provided the electricity can be relied 
 on. 
 
 " The same H. J. Gauntlett laboured with the organ- 
 builder, W. Hill, in mid nineteenth century, to intro- 
 duce the CC compass for manual and CCC compass 
 for pedal-board (in lieu of GG and GGG) ; herein 
 doing some good, no doubt, and also some mischief. 
 In spite of the passionate advocacy of those days, 
 the theoretical arguments against a G inferior com- 
 pass (the specialty of these islands, and nearly uni- 
 versal here 1650-1850), are very feeble. It might 
 be said that in well-disposed harmony the G manual 
 ran lower than necessary for the hands. But it could 
 not possibly be said that the G pedal-board, with its 
 extreme note of twenty-one feet, was not a judicious 
 compromise as to depth ; giving a fine foundation for
 
 306 THE ORGAN AND ITS MASTERS 
 
 the whole organ-sound, touching almost the limit of 
 available prime-tone (except to a fanatical imagination), 
 exactly tallying with the invariable vocal quartet 
 in accompaniments. In point of fact, G organs on a 
 choir-screen were ideally designed for effect in our 
 cathedrals, and to accompany their service ; and for 
 that they have never been equalled. It is noteworthy 
 that S. S. Wesley (the most gifted of modern Eng- 
 lish church composers) was Gauntlett's chief oppo- 
 nent, and that W. T. Best (the most expert of modern 
 English concert organists) would never allow the G 
 manuals of the great concert organ in St. George's 
 Hall, Liverpool, to be altered during his lifetime. 
 The real argument for the change was the practical 
 one that all the best music in the world for organ 
 solo (the German and the Dutch) had been written 
 for a CCC pedal-board. Feet are blind, and there 
 must be one pedal-range for one country. Hence it 
 had to be either one thing or the other, and the 
 German system, having the greater weight, carried 
 the day ; then manuals were contracted to CC for 
 economy and conformity with the pedal. So far the 
 practical arguments, as concerns the great majority 
 of new constructions, can scarcely be gainsaid. But 
 it is doubtful whether all existing GG manuals need 
 have been altered ; and most certainly there was a 
 strong prima facie case for leaving undisturbed those 
 monuments of English building, the CCC manuals
 
 THE ORGAN AND ITS MASTERS 307 
 
 (such as in Italy) of Bangor, Bath, Birmingham, 
 Bristol", Cambridge (Trinity College), Gloucester, 
 Leeds (St. Peter's Chapel), Newgate Street (Christ 
 Church), Westminster Abbey, etc. Indeed, even as 
 to new constructions, where cost is no object, there 
 can be no objection of any sort to CCC manuals 
 throughout an organ (as at Como), and such have 
 great advantages in providing varied basses, etc. ; 
 while again this is specially true when there is only 
 one manual. Finally, a compromise not to be de- 
 spised is to cut thirty-two feet pedal stops at the G 
 pedal, omitting the lowest seven notes, and to have 
 these stops more frequently. 
 
 " Wilhs, in his 185 1 Hyde Park Exhibition organ, 
 was the first to use heavy wind combination pistons 
 in lieu of foot pressed composition-pedals. Repre- 
 sentative of the many English latter-day devices for 
 controlling stops, especially pedal stops, are those of 
 Casson (a Denbigh banker now engaged in organ 
 manufacture). . . . There have also been numerous 
 soundboard and action devices under the heads of 
 borrowed pipes, highest note and lowest note en- 
 forcements, double touch, etc. The bellying purse 
 device (cf. Kegellade) occasionally used here. R. 
 Hope-Jones, electric engineer, has invented large 
 new class of pipes, diaphones ; really tremulant 
 applied to a pipe-body, with tone between flute and 
 reed.
 
 308 THE ORGAN AND ITS MASTERS 
 
 " Now the whole of the above survey shows the 
 following list of admitted important improvements, 
 of which the initiative is due to Englishmen : Hori- 
 zontal reservoir, Cummings, 1762 ; inverted ribs to 
 ditto, Flight, c. 1800; composition-pedals, Bishop, 
 1809; concussion bellows, Bishop, 1825; tubu- 
 lar pneumatic connection, Booth, 1827; pneumatic 
 lever. Barker, 1832 ; electric connection, Gaunt- 
 lett, 1850; combination pistons, Willis, 185 1. The 
 inventions of Cummings and Flight for the first 
 time put wind-supply on a proper footing ; that of 
 Barker, as before said, revolutionised organ-building. 
 The French and Italians followed quickly and practi- 
 cally regarding pneumatic and electric connections. 
 It remains to be seen whether these are not heresies, 
 and whether there is as yet anything better than 
 compact pneumatic levers at points of necessary force, 
 with carpenter's or other rigid push-and-pull between." 
 
 The electro-pneumatic principle is said to have 
 originated in Germany, but there is an account of an 
 organ in Drury Lane Theatre to which this principle 
 was applied in 1867, and this is said to have been 
 the first organ to contain the electric draw-stop 
 action and cable of insulated wires through which 
 the instrument was played. The keyboard was 
 placed fifty-five feet from the organ. 
 
 The development of this action into a practical 
 commercial possibility is due to innumerable small
 
 THE ORGAN AND ITS MASTERS 309 
 
 inventions affecting almost every detail of the 
 action. 
 
 In America the first electric-action organ is said 
 to have been one built by Roosevelt for the Centen- 
 nial Exhibition in Philadelphia in 1876. This organ 
 was afterward removed to the Mechanics' Building in 
 Boston, but little 01 nothing was done with the electric 
 action in this country from that time until about 1890, 
 when Hope-Jones, the English organ-builder, erected 
 an instrument at Taunton, Massachusetts, after which 
 American builders took up the idea in earnest. 
 
 In America the organ-builders, who have learned 
 their art, and built up their trade in little more than 
 a century, are cosmopolitan, availing themselves of 
 the best workmen and the best ideas from all parts 
 of Europe, and adding to the foundation thus secured 
 such ingenuity and invention as the American 
 mechanic is noted for. During the past fifty years 
 America has been importing men rather than instru- 
 ments, and at the present day American organs will 
 stand comparison with those now being built in 
 Europe, and are at the same time better adapted 
 to the climate of the country and to local conditions. 
 
 Much of the improvement in organ-building in 
 this country is undoubtedly due to Roosevelt, the 
 New York builder, who spent thousands of dollars 
 on experiments in electricity, and in the principle of 
 the individual valve, and at last went out of busi-
 
 3IO 
 
 THE ORGAN AND ITS MASTERS 
 
 ness. His ideas have since been worked upon by 
 other builders, and are being brought to perfection. 
 
 The " universal air-chest," by which the whole 
 inside of the organ practically becomes a reservoir 
 of wind, is a recent American invention, made by 
 John Turnell Austin in 1 894. In this system, which 
 represents the most radical change in organ-building, 
 the whole mechanism of the organ, except the key- 
 action, is included in the wind-chest. 
 
 As an example of modern American organ-building 
 perhaps none can be found better than the great 
 instrument erected in the Woolsey Hall auditorium at 
 Yale University in 1902 by the Hutchings-Votey Co. 
 
 SPECIFICATIONS. 
 
 
 Compass of Manuals from C to C, 61 notes 
 
 . 
 
 
 Compass of Pedals from C to G, 32 notes. 
 
 
 
 Great Organ. 
 
 
 I. 
 
 16 ft. Diapason . 
 
 metal 61 
 
 pipes 
 
 2. 
 
 16 ft. Quintaton . 
 
 
 wood 61 
 
 (1 
 
 3- 
 
 8 ft. Diapason . 
 
 
 metal 61 
 
 (( 
 
 4. 
 
 8 ft. Diapason . 
 
 
 " 61 
 
 (( 
 
 5- 
 
 8 ft. Diapason . 
 
 
 " 61 
 
 « 
 
 6. 
 
 8 ft. Doppel Flote 
 
 
 wood 61 
 
 (1 
 
 7- 
 
 8 ft. Principal Flute 
 
 
 " 61 
 
 (( 
 
 8. 
 
 8 ft. Gross Gamba 
 
 
 metal 61 
 
 (1 
 
 9- 
 
 8 ft. Viol d'Amour 
 
 
 " 61 
 
 (t 
 
 10. 
 
 8 ft. Gemshorn . 
 
 
 " 61 
 
 <( 
 
 II. 
 
 4 ft. Octave 
 
 
 metal 61 
 
 « 
 
 12. 
 
 4 ft. Wald Flute 
 
 
 wood 61 
 
 (1 
 
 13 
 
 4 ft. Gambette . 
 
 
 metal 61 
 
 ((
 
 THE ORGAN AND ITS MASTERS 
 
 311 
 
 14. 
 
 2 ft. Twelfth . 
 
 
 61 pipes 
 
 IS- 
 
 2 ft. Fifteenth . 
 
 
 61 " 
 
 16. 
 
 V. Rks. Mixture . 
 
 
 305 " 
 
 17- 
 
 16 ft. Trumpet 
 
 
 61 » 
 
 18. 
 
 8 ft. Trumpet 
 
 
 61 " 
 
 19- 
 
 4 ft. Clarion 
 
 
 61 " 
 
 
 Swell Organ. 
 
 
 20, 
 
 16 ft. Contra Gamba . 
 
 metal 61 pipes 
 
 21. 
 
 16 ft. Bourdon 
 
 wood 61 " 
 
 22. 
 
 8 ft. Stentorphone 
 
 metal 61 " 
 
 23- 
 
 8 ft. Diapason . 
 
 (( 
 
 61 " 
 
 24. 
 
 8 ft. Gamba 
 
 <i 
 
 61 " 
 
 25- 
 
 8 ft. Bourdon . 
 
 wood 61 " 
 
 26. 
 
 8 ft. Flauto Traverse 
 
 (1 
 
 61 " 
 
 27. 
 
 8 ft. Salicional . 
 
 metal 61 " 
 
 28. 
 
 8 ft. Quintadena 
 
 a 
 
 61 «' 
 
 29. 
 
 8 ft. Unda Maris 
 
 a 
 
 61 " 
 
 30- 
 
 8 ft. ^oline 
 
 (1 
 
 61 " 
 
 31- 
 
 8 ft. Vox Celestis 
 
 <t 
 
 61 " 
 
 32. 
 
 4 ft. Harmonic Flute 
 
 (( 
 
 61 " 
 
 33- 
 
 4 ft. Principal . 
 
 (( 
 
 61 « 
 
 34- 
 
 4 ft. Violina 
 
 (( 
 
 61 « 
 
 35- 
 
 2 ft. Flautino 
 
 u 
 
 61 " 
 
 36. 
 
 V. Rks. Dulce Cornet 
 
 (( 
 
 305 » 
 
 37. 
 
 16 ft. Posaune 
 
 (( 
 
 61 " 
 
 38. 
 
 8 ft. Cornopean . 
 
 (( 
 
 61 «' 
 
 39- 
 
 8 ft. Oboe . 
 
 (( 
 
 61 " 
 
 40. 
 
 8 ft. Vox Humana 
 Tremolo. 
 
 Choir Orgai 
 
 ST. 
 
 6i '• 
 
 
 (Enclosed in a swe' 
 
 1-box.) 
 
 
 41. 
 
 16 ft. Contra Dulciana 
 
 metal 61 pipes 
 
 42. 
 
 8 ft. Diapason . 
 
 (( 
 
 61 "
 
 312 
 
 THE ORGAN AND ITS MASTERS 
 
 43 
 
 8 ft. Melodia 
 
 wood 61 
 
 pipes 
 
 44 
 
 8 ft. Viol d'Orchestre 
 
 metal 61 
 
 
 45 
 
 8 ft. Lieblich Gedacht 
 
 wood 61 
 
 
 46 
 
 8 ft. Dulciana . 
 
 metal 61 
 
 
 47 
 
 8 ft. Viol Celeste (2 Ranks) 
 
 " 122 
 
 
 48 
 
 8 ft. Violoncello 
 
 wood 61 
 
 
 49 
 
 4 ft. Viola .... 
 
 metal 61 
 
 
 50 
 
 4 ft. Flauto Traverse . 
 
 wood 61 
 
 
 51 
 
 2 ft. Piccolo Harmonique . 
 
 metal 61 
 
 
 52 
 
 8 ft. Clarinet 
 
 " 61 
 
 
 S3 
 
 16 ft. Contra Fagotto . 
 Tremolo. 
 
 " 61 
 
 
 Solo Organ. 
 (In a swell-box.) 
 
 54- 
 
 8 ft. Tibia Plena 
 
 metal 61 
 
 pipes 
 
 55- 
 
 8 ft. Tuba Sonora 
 
 " 61 
 
 
 56. 
 
 8 ft. Gross Flute 
 
 " 61 
 
 
 57- 
 
 4 ft. Hohlpfeife . wood and 
 
 metal 61 
 
 
 58. 
 
 8 ft. Dolce 
 
 " 61 
 
 
 59- 
 
 8 ft. Orchestral Oboe 
 
 " 61 
 
 
 
 Pedal Organ (Augmented). 
 
 
 60. 
 
 64 ft. Gravissima (Resultant) 
 
 wood 32 
 
 notes 
 
 61. 
 
 32 ft. Diapason . 
 
 " 32 
 
 
 62. 
 
 32 ft. Contra Bourdon . 
 
 " 32 
 
 
 63- 
 
 32 ft. Contra Bass (Resultant) 
 
 " 32 
 
 
 64. 
 
 16 ft. Diapason . 
 
 " 32 
 
 
 65. 
 
 16 ft. Diapason . 
 
 metal 32 
 
 
 66. 
 
 16 ft. Violone 
 
 wood 32 
 
 
 67. 
 
 16 ft. Bourdon 
 
 " 32 
 
 
 68. 
 
 16 ft. Dulciana 
 
 metal 32 
 
 
 69. 
 
 16 ft. Lieblich Gedacht 
 
 wood 32 
 
 
 70. 
 
 16 ft. Bombarde . 
 
 metal 32 
 
 
 71- 
 
 16 ft. Contra Fagotto . 
 
 " 32 

 
 THE ORGAN AND ITS MASTERS 
 
 313 
 
 72 
 
 73 
 
 74 
 
 75 
 76 
 
 77 
 78 
 
 79- 
 
 80. 
 
 81. 
 82. 
 
 83- 
 84. 
 85. 
 86. 
 87. 
 
 88. 
 89. 
 90. 
 91. 
 92. 
 
 93- 
 94. 
 
 95- 
 96. 
 
 97- 
 98. 
 
 8 ft. Bass flute . 
 8 ft. Octave 
 8 ft. Violoncello 
 8 ft. Bourdon 
 8 ft. Tromba 
 4 ft. Super Octave 
 4 ft. Flute . 
 
 wood 32 notes 
 metal 32 '« 
 wood and metal 32 pipes 
 wood 32 " 
 metal 32 " 
 
 " 32 " 
 wood 32 *' 
 
 Couplers. 
 
 Great to Pedal, 
 Swell to Pedal, 
 Choir to Pedal, 
 Solo to Pedal, 
 
 Swell to Great, 
 Choir to Great, 
 Solo to Great, 
 Swell to Choir, 
 Swell to Solo, 
 
 Great to Great, 16 
 Swell to Swell, 16 
 Solo to Solo, 16 
 Swell to Great, 16 
 Choir to Great, 16 
 Solo to Great, 16 
 Great to Great, 4 
 Swell to Swell, 4 
 Solo to Solo, 4 
 Swell to Great, 4 
 Solo to Great, 4 
 
 Pedal. 
 
 Unison. 
 
 Sub 8vo. 
 
 Super 8vo. 
 
 Adjustable Combinations. 
 
 (Push buttons between manuals.) 
 
 i> 2, 3, 4, 5, o. Operating on Great and Pedal. 
 I, 2, 3, 4, 5, 6, o, « " Swell
 
 314 
 
 THE ORGAN AND ITS MASTERS 
 
 I. 2, 3, 4, o, 
 I. 2, 3, 4, o, 
 I, 2, 3, 4, 
 
 General Release. 
 Pedal Release. 
 
 Operating on Choir and Pedal. 
 " " Solo " 
 
 " " such stops as may be 
 
 desired. 
 
 Pedal. 
 
 I, 2, 3 
 
 4, 5> 6 
 
 7,8 
 
 9, lo 
 
 II 
 
 12 
 
 14 
 
 15 
 1 6 
 
 17 
 
 Combinations on Great. 
 Combinations on Swell. 
 Combinations on Choir. 
 Combinations on Solo. 
 Great to Pedal Reversible. 
 Swell to Pedal Reversible. 
 Sforzando (Full Organ). 
 Balanced Swell. 
 Balanced Choir. 
 Balanced Solo. 
 Balanced Crescendo. 
 Electro-pneumatic Action. 
 
 When M. Guilmant, the noted French organist, 
 had completed his tour of the United States and 
 Canada in 1898, his opinions were expressed in an 
 article published in the Music Magazine, and from 
 that article we may quote as follows : 
 
 " In America I have found many good organs. 
 They are especially effective in the softer stops, 
 such as the dulciana, flutes, and gamba. But the 
 full organ lacks resonance and does not thrill. I 
 do not think the mixtures and reeds of the great 
 organ should be included in the swell-box, as this 
 weakens the tone and destroys proper balance. The
 
 THE ORGAN AND ITS MASTERS 315 
 
 pedals in American organs are not so clear and dis- 
 tinct as they should be. They lack the eight-foot 
 and four-foot tone. The effect is the same as if 
 there were too many double basses in an orchestra 
 and not enough violoncellos. The sixteen-foot open 
 diapason in the great organ is so powerful that every 
 organ should have also the milder sixteen-foot bour- 
 don, which gives mellow quality to the foundation- 
 stops. But as a rule the softer sixteen-foot stops 
 are wholly lacking in American organs. 
 
 " Organ-builders should devote less time to me- 
 chanical improvements, and more time to improving 
 the voicing of their instruments. Mechanical appli- 
 ances are multiplying so fast that soon an organist 
 will be unable to occupy himself with anything ex- 
 cept the mechanism of his instrument. This is much 
 to be deplored. Organ-playing should be essentially 
 musical, and, as far as possible, in the pure style of 
 the organ. It should not involve constant changes 
 of registration. There is too great a tendency to use 
 vibrating stops — voix celeste, tremolo, and vox hu- 
 mana." 
 
 The opinion of M. Guilmant is valuable, being that 
 of one who is not only at the very head of his profes- 
 sion, but who has also visited many countries and 
 become acquainted with the conditions existing in 
 those countries. 
 
 There is great advance in organ-building in Amer-
 
 3l6 THE ORGAN AND ITS MASTERS 
 
 ica at the present day, and much of this is doubtless 
 due to the fact that our organ-builders have practi- 
 cally a clear field. The European countries are 
 much hampered by historical associations. Many of 
 the churches are extremely ancient, and very beauti- 
 ful. Their organs, too, are almost mediaeval, and 
 though repaired from time to time, do not possess 
 the mechanical advantages of modern instruments. 
 
 Here in America the whole country is growing. 
 New churches, new halls, and new organs are being 
 built constantly, and many magnificent instruments 
 are being erected annually, giving to organ-builders 
 every opportunity to make use of the most modern 
 devices and improvements. These, of course, do not 
 affect the tone and quality of the instrument, but 
 they give to the organist facilities which enable him 
 to accomplish feats of performance, and effects which 
 are impossible upon the old instruments. Lightness 
 of touch, quick response, and rapid combinations are 
 the means at the disposal of the modern organist, 
 and these improvements are due chiefly to the appli- 
 cation of electricity, a principle which has taken 
 many years for its development, and which cannot 
 yet be said to have reached perfection. 
 
 There appears to be no limit to invention, and 
 what the organ will become in the future no one can 
 foresee. 
 
 It would be interesting, indeed, if the good people
 
 THE ORGAN AND ITS MASTERS 31/ 
 
 of the Brattle Square Church, who rejected the little 
 innocent "box of whistles" which was left to them, 
 could come back to us and sit in judgment upon one 
 of the modern electric-action organs. Doubtless all 
 the light which we have received during the past 
 two centuries would be ascribed to the *' powers of 
 darkness." 
 
 THE END.
 
 CHRONOLOGICAL TABLE OF 
 FAMOUS ORGANISTS 
 
 " C " indicates that the date given is only approximate. 
 
 
 Place and Date of 1 
 
 Place and Date of 
 
 Name. 
 
 Birth. 
 
 
 Death. 
 
 
 Sandino, Francesco . 
 
 Florence 
 
 <ri325 
 
 Florence 
 
 1390 
 
 Pesaro, Francesco de 
 
 Venice 
 
 1333 
 
 Venice 
 
 ? 
 
 Circo, Francesco de 
 
 Florence 
 
 1390 
 
 Florence 
 
 ? 
 
 Paumann, Conrade . 
 
 Germany 
 
 1410 
 
 Munich 
 
 1473 
 
 Sguarcia, Lupo Antonio . 
 
 Rome 
 
 1430 
 
 ? 
 
 ? 
 
 Isaak, Heinrich 
 
 ? 
 
 £•1450 
 
 ? 
 
 ^1517 
 
 Hofheimer, Paulus von . 
 
 Radstad 
 
 1459 
 
 Salzburg 
 
 1537 
 
 Willaert, Adrian 
 
 Brugge 
 
 1480 
 
 Venice 
 
 1562 
 
 Redford, John . 
 
 London 
 
 1500 
 
 
 ? 
 
 Sheppard, John 
 
 Oxford 
 
 1500 
 
 
 1560 
 
 Taverner, John 
 
 Boston, Eng 
 
 1500 
 
 
 1570 
 
 Corteccio, Francesco 
 
 Florence 
 
 1500 
 
 
 1570 
 
 Van den Bosch, Jean 
 
 Antwerp 
 
 1500 
 
 ? 
 
 1550 
 
 Buus, Jacket . 
 
 Bruges 
 
 1510 
 
 ? 
 
 ? 
 
 Gabrieli, Andrea 
 
 Venice 
 
 <ri5io 
 
 Venice 
 
 1586 
 
 Salinas, Francesco . 
 
 Burgos 
 
 1512 
 
 Salamanca 
 
 1590 
 
 Blitheman, Win. 
 
 England 
 
 t:i^20 
 
 England 
 
 1591 
 
 Tallys, Thos. . 
 
 England 
 
 £-1520 
 
 London 
 
 1585 
 
 Tye, Christopher 
 
 Cam'ge, Eng 
 
 . 4:1520 
 
 London 
 
 1 591 
 
 Edwards, Richard . 
 
 Somersetshire 1523 
 
 ? 
 
 1566 
 
 Merbecke, John 
 
 ? 
 
 1523 
 
 ? 
 
 1585 
 
 Farrant, Richard 
 
 London 
 
 ^1526 
 
 Windsor 
 
 1580 
 
 Merulo, Claudius 
 
 Correggio 
 
 1533 
 
 Parma 
 
 1604 
 
 Parsons, Robert 
 
 Exeter 
 
 ^^1535 
 
 Newark 
 
 1569 
 
 Amerbach, Elias N. 
 
 Milan 
 
 ^1540 
 
 Leipzig 
 
 1597 
 
 Bariola, Ottavio 
 
 Milan 
 
 1540 
 
 ? 
 
 ? 
 
 Milleville, Alessandro 
 
 Ferrara 
 
 1540 
 
 ? 
 
 ? 
 
 Byrd, William . 
 
 London 
 
 1546 
 
 London 
 
 1623 
 
 Antegnati, Costanzo 
 
 Brescia 
 
 ^1550 
 
 Brescia 
 
 (ri620 
 
 Eremita, Giulio 
 
 Ferrara 
 
 <^i55o 
 
 ? 
 
 ? 
 
 Giles, Nathaniel 
 
 Worcester, 
 
 
 
 
 
 Eng. 
 
 ^1550 
 
 Windsor 
 
 1623 
 
 319
 
 320 
 
 CHRONOLOGICAL TABLE 
 
 Name. 
 
 Place and Date of 
 Birth. 
 
 Place and Date of 
 Death. 
 
 Luzzasco, Luzzaschi 
 
 Ferrara 
 
 <ri550 
 
 ? 
 
 ? 
 
 Paix, Jacob 
 
 Augsburg 
 
 1550 
 
 Lauingen 
 
 1590 
 
 Gabrieli, Giovanni . 
 
 Venice 
 
 1557 
 
 Venice 
 
 1612 
 
 Ballioni, Jeronimo 
 
 .? 
 
 ? 
 
 ? 
 
 ? 
 
 Diruta, Girolamo 
 
 Perugia 
 
 ^1560 
 
 ? 
 
 ? 
 
 Erbach, Christian . 
 
 Algesheim 
 
 CI 560 
 
 Augsburg 
 
 1682 
 
 Holmes, Thomas 
 
 ? 
 
 1560 
 
 Salisbury 
 
 ?i663 
 
 Philipps, Peters 
 
 ? 
 
 1560 
 
 .? 
 
 1625 
 
 Praetorius, Hieronymus . 
 
 Hamburg 
 
 1560 
 
 Hamburg 
 
 1629 
 
 SweeHnck, Jan 
 
 Amsterdam 
 
 I !;62 
 
 Amsterdam 
 
 1621 
 
 Bull, John 
 
 Somersetshire 1563 
 
 Antwerp 
 
 1628 
 
 Morley, Thomas 
 
 ? 
 
 1563 
 
 Eondon 
 
 1604 
 
 Hasler, Hans Leo von 
 
 Nuremberg 
 
 1564 
 
 Frankfort-on- 
 Main 
 
 1612 
 
 Aichinger, Gregor . 
 
 Augsburg 
 
 1565 
 
 ? 
 
 1612 
 
 Hasler, Jacob . 
 
 Nuremberg 
 
 1565 
 
 Ilechingen ? 
 
 1601 
 
 Milleville, P'rancesco 
 
 Ferrara 
 
 CI 565 
 
 ? 
 
 ? 
 
 Banchieri, Don Andriano 
 
 Bologna 
 
 1567 
 
 '? 
 
 1634 
 
 Tomkins, John 
 
 England 
 
 1569 
 
 London 
 
 1638 
 
 Arnone, Guglielmo . 
 
 Italy 
 
 <ri570 
 
 Italy 
 
 ? 
 
 Bevin, Ehvay . 
 
 England 
 
 1570 
 
 Bristol 
 
 CI 640 
 
 Cima, Giovanni 
 
 Milan 
 
 CI 570 
 
 ? 
 
 ? 
 
 Hasler, Casper 
 
 Nuremberg 
 
 1570 
 
 Nuremberg 
 
 1618 
 
 Tomkins, Thomas . 
 
 England 
 
 1574 
 
 Worcester 
 
 1656 
 
 Bateson, Thomas • 
 
 England 
 
 ^1575 
 
 Bristol 1 599 
 
 -1611 
 
 Ala, Giovanni B. 
 
 Italy 
 
 <riS76 
 
 Italy 
 
 1612 
 
 Weelkes, Thomas . 
 
 England 
 
 1578 
 
 Chichester 
 
 1640 
 
 Staden, Johann 
 
 Nuremberg 
 
 CI579 
 
 Nuremberg 
 
 1634 
 
 Gibbons, Ellis 
 
 Cambridge 
 
 1580 
 
 ? 
 
 1650 
 
 Patavino, Annibale . 
 
 Padua 
 
 C1580 
 
 \ 
 
 1660 
 
 Frescobaldi, Girolamo 
 
 Ferrara 
 
 1583 
 
 Rome 
 
 1644 
 
 Gibbons, Orlando . 
 
 Cambridge 
 
 1583 
 
 Canterbury 
 
 1625 
 
 Batten, Adrian 
 
 England 
 
 CI 585 
 
 London 
 
 C1637 
 
 Schiitz, Heinrich 
 
 Saxony 
 
 1585 
 
 Dresden 
 
 1672 
 
 Schein, Johann H. . 
 
 Saxony 
 
 1586 
 
 Leipzig 
 
 1630 
 
 Scheldt, Samuel 
 
 Halle-on- 
 
 
 
 
 
 Saale 
 
 1587 
 
 Halle-on-Salle 
 
 1654 
 
 Amner, John . 
 
 ? (late in i6th 
 
 
 
 
 century) 
 
 
 ? 
 
 1641 
 
 Agostini, Paolo 
 
 Valleraro 
 
 1593 
 
 Rome 
 
 1629 
 
 Quagliati, Paolo 
 
 .? 
 
 159s 
 
 Rome 
 
 CI 660 
 
 Scheidemann, Heinrich . 
 
 Hamburg 
 
 1596 
 
 Hamburg 
 
 1663 
 
 Cavalli, Francesco . 
 
 Crema 
 
 1600 
 
 Venice 
 
 1676 
 
 Chambonniers, Champion 
 
 
 
 
 
 de .... 
 
 ? 
 
 1600 
 
 Venice 
 
 1670 
 
 Rovetta, Giovanni . 
 
 Venice 
 
 1600 
 
 Venice 
 
 1668
 
 CHRONOLOGICAL TABLE 
 
 321 
 
 Name. 
 
 Bach, Johann . 
 
 Aylward, Richard 
 
 Schop, Johann 
 
 Child, William 
 
 Dumont, Henri 
 
 Lowe, Edward 
 
 Hammerschmidt, 
 Andreas 
 
 Bach, Christoph 
 
 Rogers, Dr. Benj. . 
 
 Bach, Heinrich 
 
 Gibbons, Cluistopher 
 
 Nivers, Guillaume Ga- 
 briel .... 
 
 Reinken, Johann Adam . 
 
 Ahle, John Rudolph 
 
 Legrenzi, Giovanni 
 
 Liberati, Antoine . 
 
 Brie gel, Wolfgang Carl . 
 
 Kerl, Johann Kaspar 
 
 Couperin, Louis 
 
 Albrici, Vincenzo 
 
 Couperin, Francis . 
 
 Locke, Matthew 
 
 Fabricius, Werner . 
 
 Froberger, Johann J. 
 
 Pasquini, Bernardo . 
 
 Couperin, Charles . 
 
 Buxtehude, Dietrich 
 
 Strungk, Nicolas Adam . 
 
 Alberti, Joh. Frederick . 
 Bach, Joh. Christoph 
 Bach, Joh. Egidius . 
 Bach, Joh. Ambrosius 
 Reading, John . 
 Werckmeister, Andreas . 
 Bach, Joh. Michael . 
 Blow (Dr.) John 
 
 Krieger, Johann Philipp . 
 Ahle, Johann G. 
 Pachelbel, Johann . 
 Blankenburg, Quirin von 
 Liibeck, Vincentius . 
 MuflEatt, George 
 
 Place and Date of 
 Birth. 
 
 Place and Date of 
 Death. 
 
 Wechmar 1604 
 
 Winchester ? 
 
 Germany 1605 
 
 Bristol 1606 
 
 Liege 1610 
 
 Salisbury 1610 
 
 Brux, Boh. 161 1 
 
 Wechmar 161 3 
 
 Windsor 1614 
 
 Weimar 161 5 
 
 Westminster 161 5 
 
 near Melun 161 7 
 Deventer 1623 
 Miihlhausen 1625 
 Clusone 1625 
 Foligno 1625 
 Darmstadt 1626 
 Ligoldstadt 1628 
 Chaume 1630 
 Rome 1 63 1 
 Chaume 1631 
 Exeter, Eng. 1632 
 Ttzehoe 1633 
 Halle 1635 
 Tuscany 1637 
 Chaume 1638 
 Helsingfors 1639 
 Celle, Hano- 
 ver 1640 
 Tonning 1642 
 Arnstadt 1642 
 Erfurt 1645 
 Erfurt 1645 
 England 1645 
 Ben eckenstein 1645 
 Arnstadt 1648 
 N. Colhng- 
 
 ham 164S 
 
 Nuremberg 1649 
 
 Miihlhausen 1650 
 
 Nuremberg 1653 
 
 Gouda 1654 
 Paddingbiittel 1654 
 
 Bremen ? 1654 
 
 Erfurt 
 
 Norwich 
 
 Hamburg 
 
 Windsor 
 
 Paris 
 
 Oxford 
 
 Zittau 
 
 Arnstadt 
 
 Oxford 
 
 Arnstadt 
 
 Westminster 
 
 1673 
 1669 
 
 1640 
 
 1697 
 
 1684 
 
 1682 
 
 1675 
 1661 
 1698 
 1692 
 1676 
 
 .'' living in 
 
 i70t 
 
 Hamburg 
 
 1722 
 
 Miihlhausen 
 
 1673 
 
 Venice 
 
 1690 
 
 ? 
 
 1690 
 
 Darmstadt 
 
 171C 
 
 Munich 
 
 1693 
 
 Paris 
 
 1665 
 
 Prague 
 
 1696 
 
 Paris 
 
 1698 
 
 London 
 
 1677 
 
 Leipzig 
 
 1679 
 
 Hericourt 
 
 1695 
 
 Rome 
 
 1710 
 
 St. Gervais 
 
 1669 
 
 Liibeck 
 
 1707 
 
 Leipzig 
 
 1700 
 
 Merseburg 
 
 1710 
 
 Eisenach 
 
 1703 
 
 Erfurt 
 
 1717 
 
 Eisenach 
 
 1695 
 
 W^inchester? 
 
 1692 
 
 Halberstadt 
 
 1706 
 
 Gehren 
 
 1694 
 
 Westminster 
 
 1708 
 
 W eissenfels 
 
 1725 
 
 Miihlhausen 
 
 1706 
 
 Nuremberg 
 
 1706 
 
 Hague 
 
 1739 
 
 Hamburg 
 
 1740 
 
 Passau 
 
 1704
 
 '322 
 
 CHRONOLOGICAL TABLE 
 
 
 Place and Date of 
 
 Place and Date 
 
 of 
 
 Name. 
 
 Hirth. 
 
 
 Death. 
 
 
 Lalande, Michael Richard 
 
 Paris 
 
 1657 
 
 Paris 
 
 1726 
 
 Purceli, Henry 
 
 Westminster 
 
 165S 
 
 Westminster 
 
 1695 
 
 Scarlatti, Alessandro 
 
 Trapani 
 
 1659 
 
 Naples 
 
 1725 
 
 Fux, Johann Joseph 
 
 Hirtenfield 
 
 i66q 
 
 Vienna 
 
 1741 
 
 Purceli, Daniel 
 
 London 
 
 1660 
 
 London 
 
 1718 
 
 Bohm, Georg 
 
 Goldbach 
 
 1661 
 
 Luneburg 
 
 1734 
 
 Zachau, Frederick W. 
 
 Leipzig 
 
 1663 
 
 Halle 
 
 1712 
 
 Bishop, John . 
 
 England 
 
 1665 
 
 Winchester 
 
 1737 
 
 Bruhns, Nicolaus . 
 
 Schaabstadt 
 
 1666 
 
 Hiisum 
 
 1697 
 
 Buttstedt, Johann H. 
 
 Bindeuleben 
 
 1666 
 
 p:rfurt 
 
 1727 
 
 Kuhnau, Johann 
 
 Geysing 
 
 1667 
 
 Leijjzig 
 
 1722 
 
 Lotti, Antonio 
 
 Venice 
 
 1667 
 
 Venice 
 
 1740 
 
 Couperin, Fran9ois . 
 
 Paris 
 
 1668 
 
 Paris 
 
 1733 
 
 March and, L. . 
 
 Lyons 
 
 1669 
 
 Paris 
 
 173- 
 
 Bach, Joh. Nikolaus 
 
 Eisenach 
 
 1669 
 
 Eisenach 
 
 1753 
 
 Clarke, Jeremiah 
 
 England 
 
 1669 
 
 London 
 
 1707 
 
 Murschauser, F. X. A. . 
 
 Alsace 
 
 1670 
 
 Munich 
 
 1735 
 
 Richardson, Vaughan 
 
 England 
 
 1670 
 
 Winchester 
 
 1729 
 
 Bach, Joh. Christoph 
 
 Erfurt 
 
 1 67 1 
 
 Ohrdruff 
 
 1721 
 
 Casini, Giovanni . . 
 
 Florence 
 
 1675 
 
 ? 
 
 ? 
 
 Bach, Joh. Bernhard 
 
 Erfurt 
 
 1676 
 
 Eisenach 
 
 1749 
 
 Clairembault, Louis N. . 
 
 England 
 
 1676 
 
 ? 
 
 1749 
 
 Weldon, John 
 
 Chichester 
 
 1676 
 
 London 
 
 1736 
 
 Reading, John . 
 
 England 
 
 1677 
 
 London 
 
 1764 
 
 Croft, Wm. . 
 
 Nether-Eat- 
 
 
 
 
 
 ington 
 
 1678 
 
 Bath 
 
 1727 
 
 Couperin, Nicolas . 
 
 Paris 
 
 16S0 
 
 Paris 
 
 174S 
 
 Czernhorski, Bohu.slaw . 
 
 Bohemia 
 
 1680 
 
 liohemia 
 
 1740 
 
 Eckelt, Johann Valentin . 
 
 Wernings- 
 
 
 
 
 
 hausen 
 
 CI 680 
 
 Sondershausen 
 
 1734 
 
 Greco, Gaetano 
 
 Naples 
 
 1680 
 
 ? 
 
 ? 
 
 Mattheson, Johann . 
 
 Hamburg 
 
 1681 
 
 Hamburg 
 
 1764 
 
 Telemann, Georg Phillip 
 
 Magdeburg 
 
 i68t 
 
 Hamburg 
 
 1767 
 
 Robinson, John 
 
 P^ngland 
 
 1682 
 
 Westminster 
 
 1762 
 
 Ileinrich, Johann D. 
 
 Weissenfels 
 
 1683 
 
 Dresden 
 
 1729 
 
 Rameau, Jean P. 
 
 Dijon 
 
 1683 
 
 Paris 
 
 1764 
 
 Scarlatti, Domenico 
 
 Naples 
 
 1683 
 
 Naples 
 
 1757 
 
 Walther, John Gottfried . 
 
 Erfurt 
 
 1684 
 
 Weimar 
 
 1748 
 
 Bach, Joh. Sebastian 
 
 Eisenach 
 
 1685 
 
 Leipzig 
 
 1750 
 
 Gebel, Georg . 
 
 Breslau 
 
 1685 
 
 Breslau 
 
 1750 
 
 Handel, Georg Friedrich 
 
 Halle 
 
 1685 
 
 London 
 
 1759 
 
 Hine, Wm. 
 
 Oxford 
 
 1687 
 
 Gloucester 
 
 1730 
 
 Purceli, Edward 
 
 Westminster 
 
 1689 
 
 T-ondon 
 
 1740 
 
 Muffat, August G. . 
 
 ? 
 
 1690 
 
 Vienna 
 
 1770 
 
 Roseingrave, Thomas 
 
 Dublin 
 
 1690 
 
 London.? 
 
 1750 
 
 Barrett, John . 
 
 England 
 
 1691 
 
 London 
 
 1740
 
 CHRONOLOGICAL TABLE 
 
 323 
 
 Namb. 
 
 Place and Date 
 
 of 
 
 Place and Date of 
 
 Birth. 
 
 
 Death. 
 
 
 Bachofen, Johann Caspar 
 
 Zurich ] 
 
 692 
 
 Zurich 
 
 1755 
 
 Daquin, Louis Claude 
 
 Paris 
 
 1694 
 
 Paris 
 
 1772 
 
 Leo, Leonardo 
 
 Bnndisi 
 
 1694 
 
 Naples 
 
 1746 
 
 Greene, Maurice 
 
 London 
 
 [696 
 
 London 
 
 1755 
 
 Kunzen, Joliann Paul 
 
 Leisnig 
 
 1696 
 
 Liibeck 
 
 1770 
 
 Hurlebusch, Conrad F. . 
 
 Brannschweig 
 
 1696 
 
 Amsterdam 
 
 176? 
 
 Petrali, Vincenzo A. 
 
 Crema 
 
 1697 
 
 ? 
 
 1780 
 
 Valotti, F. Antonio 
 
 Vercelli 
 
 1697 
 
 Padua 
 
 1780 
 
 Wagner, Georg G. 
 
 Miihlberg 
 
 169S 
 
 Plauen 
 
 1760 
 
 Adling, Jacob . 
 
 Erfurt 
 
 [699 
 
 Erfurt 
 
 1762 
 
 Schroter, Christopher G. 
 
 Hohenstein 
 
 [699 
 
 Nordhauser 
 
 1782 
 
 Eberlein, J. E. 
 
 Jettcrbach 
 
 17CO 
 
 Salzburg 
 
 1762 
 
 Kehvay, Thomas 
 
 England 
 
 [700 
 
 England 
 
 1749 
 
 Tansur, William 
 
 Dunchurch c\ 
 
 700 
 
 St. Neots 
 
 1783 
 
 Gerber, Heinrich N. 
 
 Sonders- 
 
 
 
 
 
 hausen 
 
 [702 
 
 Sondershausen 1775 
 
 Kelway, Joseph 
 
 England 
 
 [702 
 
 England 
 
 1782 
 
 Sorge, Andreas 
 
 Mellenbach 
 
 1703 
 
 Lobenstein 
 
 1778 
 
 James, John 
 
 England 
 
 [704 
 
 England 
 
 1745 
 
 Pescetto, Giovanni B. 
 
 Venice 
 
 [704 
 
 Venice 
 
 1766 
 
 Sammartini, Giovanni B. 
 
 Milan c 
 
 [705 
 
 ? 
 
 ^1775 
 
 Zach, Johann . 
 
 Czelakowicz 
 
 [705 
 
 Bruschal 
 
 1773 
 
 Hayes, Wm. . 
 
 Hanbury 
 
 1706 
 
 Oxford 
 
 1777 
 
 Martini, Padre Giambat- 
 
 
 
 
 
 tista .... 
 
 Bologna 
 
 [706 
 
 Bologna 
 
 1784 
 
 Travers, John . 
 
 England 
 
 [706 
 
 England 
 
 1758 
 
 Avison, Charles 
 
 New Castle 
 
 1710 
 
 New Castle 
 
 1770 
 
 Bach, Wilhelm F . . 
 
 Weimar 
 
 [710 
 
 Berlin 
 
 1784 
 
 Berlin, Johann D. . 
 
 Memel i 
 
 710 
 
 Drontheim 
 
 1775 
 
 Boyce, William 
 
 London 1 
 
 710 
 
 Kensington 
 
 1779 
 
 Howard, Samuel 
 
 London 1 
 
 710 
 
 London 
 
 1782 
 
 Santarelli, A. G. 
 
 Forti ] 
 
 710 
 
 Rome 
 
 1770 
 
 Keeble, John . 
 
 Chiche;ter i 
 
 711 
 
 London 
 
 1786 
 
 Venturelli, G. . 
 
 Nubreil i 
 
 711 
 
 Modena 
 
 1775 
 
 Krebs, Johann L. . 
 
 Buttelstadt 1 
 
 [713 
 
 Altenburg 
 
 1780 
 
 Stanley, Chas. John 
 
 London 
 
 713 
 
 London 
 
 1786 
 
 Homilius, Gottfried A. . 
 
 Rosenthal i 
 
 [714 
 
 Dresden 
 
 1785 
 
 Alcock, John . 
 
 London 
 
 [715 
 
 Lichfield 
 
 1806 
 
 Doles, Johann F. 
 
 Stein bach ] 
 
 1715 
 
 Leipzig 
 
 1797 
 
 Nares, James . 
 
 Stanwell 1 
 
 715 
 
 London 
 
 1783 
 
 Worgan, John . 
 
 England ] 
 
 1715 
 
 London 
 
 1790 
 
 Segert, Joseph 
 
 Repin, Boh. 
 
 716 
 
 Prague 
 
 1782 
 
 Agricola, Johann F. 
 
 Quedlinburg 1 
 
 7.8 
 
 Matjdeburg 
 
 1785 
 
 Marpurg, F. W. 
 
 Seehausen 1 
 
 718 
 
 Berlin 
 
 1795 
 
 Rolle, Johann Heinrich . 
 
 Quedlin'iurg i 
 
 718 
 
 Magdeburg 
 
 1785 
 
 Kunzen, Adolf Carl 
 
 Wittenberg 1 
 
 720 
 
 Liibeck 
 
 1781
 
 324 
 
 CHRONOLOGICAL TABLE 
 
 Name. 
 
 Place and Date 
 
 of 
 
 Place and Date of 
 
 Birth. 
 
 
 Death. 
 
 
 Couperin, Armand Louis 
 
 Paris 1 
 
 721 
 
 Paris 
 
 1789 
 
 Gheyn, Matthias van den 
 
 Tirlemont i 
 
 721 
 
 Lou vain 
 
 1785 
 
 Kirnberger, Johann 
 
 Saalfield i 
 
 721 
 
 Berlin 
 
 1783 
 
 Bach, Joh. Ernst 
 
 Eisenach i 
 
 722 
 
 Eisenach 
 
 fi777 
 
 Jones, John 
 
 London i 
 
 725 
 
 London 
 
 1796 
 
 Becker, Johann 
 
 Helsa ] 
 
 726 
 
 .' 
 
 1803 
 
 Barney, Chas. . 
 
 Shrewsbury 
 
 726 
 
 Chelsea 
 
 1814 
 
 Schmiigel, Johann Ch. 
 
 Hanover i 
 
 726 
 
 Mollen 
 
 1796 
 
 Richter, John Christian C. 
 
 Neustadt ) 
 
 727 
 
 Schwarzen 
 
 1779 
 
 Aldgasser, Anton 
 
 
 
 
 
 Cajetan 
 
 Innzell i 
 
 728 
 
 Salzburg 
 
 1777 
 
 Richter, Carl G. 
 
 Berhn i 
 
 728 
 
 Konigsberg 
 
 i<So9 
 
 Langdon, Richard . 
 
 Exeter, Eng. i 
 
 729 
 
 Exeter 
 
 1803 
 
 Sarti, Giuseppe 
 
 Faenza i 
 
 729 
 
 Berhn 
 
 1802 
 
 Aylward, Theodore . 
 
 England i 
 
 730 
 
 London 
 
 1801 
 
 Charpentier, Jean J. B. . 
 
 Abbeville 
 
 [730 
 
 ? 
 
 ? 
 
 Goldberg, Johann Gott- 
 
 
 
 
 
 lieb .... 
 
 Konigsberg 
 
 1730 
 
 Dresden 
 
 1760 
 
 Jackson, William 
 
 f^xeter 
 
 ^ll"^ 
 
 Exeter 
 
 1803 
 
 Pasterwitz, Georg von 
 
 Passau 
 
 1730 
 
 Kremsmiinster 1803 
 
 Albrecht, Johann L. 
 
 Goimar 
 
 ^IZ'2- 
 
 Miihlhausen 
 
 1773 
 
 Haydn, Josef . 
 
 Rohrau, 
 
 
 
 
 
 Austria 
 
 1732 
 
 Vienna 
 
 1809 
 
 Kittel, Johann Christian . 
 
 Erfurt l 
 
 [732 
 
 Erfurt 
 
 i8oq 
 
 Dupuis, Thomas S. 
 
 England 
 
 '733 
 
 London 
 
 1796 
 
 Nicolai, David T. . 
 
 (^.5rlitz 
 
 ^733 
 
 Gijrlitz 
 
 1799 
 
 Zang, Johann lleinrich . 
 
 Zella 
 
 1733 
 
 Mainstockheim 181 1 
 
 Ayrton, Edmund 
 
 Yorkshire 
 
 1734 
 
 Westminster 
 
 1 80S 
 
 Cooke, Benjamin 
 
 London 
 
 1734 
 
 London 
 
 1793 
 
 Bach, Joh. Christian 
 
 Leipzig 
 
 '735 
 
 London 
 
 .1782 
 
 Bond, Hugh . 
 
 Exeter 
 
 '735 
 
 Exeter 
 
 1792 
 
 Langdon, Richard . 
 
 Exeter 
 
 1735 
 
 Exeter 
 
 1803 
 
 Miller, Edward 
 
 Norwich 
 
 '735 
 
 Doncaster 
 
 1S07 
 
 Albrechtsberger, Jo- 
 
 
 
 
 
 hann G. . . . 
 
 Vienna 
 
 [736 
 
 Vienna 
 
 1809 
 
 Beckmann, J. F. Gottlieb 
 
 1 
 
 '737 
 
 Celle 
 
 1792 
 
 Haydn, John Michael 
 
 Rohrau i 
 
 1737 
 
 Salzburg 
 
 1806 
 
 Battishill, Jonathan 
 
 London i 
 
 [738 
 
 Lslington 
 
 1801 
 
 Buroni, Antonio 
 
 Rome 
 
 '738 
 
 Rome 
 
 1797 
 
 Furlanetto, Bonaventura. 
 
 Venice i 
 
 '738 
 
 Venice 
 
 1817 
 
 Hayes, Philip 
 
 Oxford 1 
 
 '738 
 
 Oxford 
 
 1797 
 
 Herschel, Friedrich W. . 
 
 Hanover l 
 
 '738 
 
 Slough 
 
 1822 
 
 Corfe, Joseph . 
 
 Salisbury 
 
 1740 
 
 Salisbury 
 
 1820 
 
 Frick, Philipp Joseph 
 
 Wiirzburg 
 
 [740 
 
 London 
 
 1798 
 
 Webbe, Samuel 
 
 Minorca 
 
 [740 
 
 London 
 
 1816 
 
 Arnold, Samuel 
 
 London 
 
 '743 
 
 London 
 
 1802
 
 CHRONOLOGICAL TABLE 
 
 325 
 
 Name. 
 
 Weinlig, Christian Elire- 
 gott . . . . 
 
 Sejan, Nicolas 
 
 Hook, James . 
 
 Hassler, Johann W. 
 
 Wainwright, Robert 
 
 Neefe, Christian G. 
 
 Stadler, Al)be Max . 
 
 Forkel, Johann N. . 
 
 Percy, John 
 
 Rembt, Johann E. . 
 
 Vogler, Geotg Joseph 
 
 Beckw-ith, John Christian 
 
 Franz, Joachim L. . 
 
 Sterkel, Abbe Johann 
 F. X 
 
 Vierling, Johann Gott- 
 fried . . . . 
 
 Fischer, Johann G. 
 
 Kucharz, Johann Baptist 
 
 Bianchi, Francesco . 
 
 Clementi, Muzio 
 
 Knecht, Justus H. . 
 
 Knyvett. Charles 
 
 Schicht, Johann Gottfried 
 
 Bachmann, Pater Sixtus 
 
 Banmgarten, Carl F. 
 Becvarovsky, Anton 
 
 Felix . . . . 
 Martin y Solar, Vincente 
 Bittoni, Bernardo 
 Busby, Thomas 
 Mozart, J. C. W. C. 
 Turck, Daniel Gottlob . 
 
 Cogan, Philip . 
 Danby, John . 
 Reeve, Wm. . 
 Calegari, Antonio . 
 Gelinek, Abbe Joseph 
 Greatorex, Thomas . 
 Jackson, William . 
 Beckwith, John C. . 
 Krommer, Franz 
 Schlirabach, Georg . 
 
 Place and Date of 
 Birth. 
 
 Dresden 
 
 Paris 
 
 Norwich 
 
 Erfurt 
 
 Liverpool 
 
 Chemnitz 
 
 Molk 
 
 Co burg 
 
 England 
 
 Suhl 
 
 Wiirzburg 
 
 Norwich 
 
 Havelberg 
 
 1743 
 
 1745 
 1746 
 
 1747 
 1747 
 1748 
 
 1748 
 1749 
 1749 
 1749 
 
 1749 
 
 1750 
 
 1750 
 
 Wiirzburg 1750 
 
 Metzels 1750 
 
 Freiburg r75i 
 
 Chotecz, Boh. 1751 
 
 1752 
 
 1752 
 
 1752 
 1752 
 
 1753 
 
 1754 
 1754 
 
 1754 
 1754 
 1755 
 1755 
 1756 
 
 1756 
 1757 
 1757 
 1757 
 1758 
 1758 
 1758 
 1758 
 
 1759 
 1760 
 1760 
 
 Cremona 
 Rome 
 Biberach 
 ? 
 
 Reichenau 
 Kettershausen 
 
 Jungbunzlau 
 Valencia 
 Fabriano 
 Westminster 
 Salzburg 
 Claussitz, 
 Saxony 
 Doncaster 
 England 
 London 
 Padua 
 Selcz 
 Derby 
 Exeter 
 Norwich 
 Kamenitz 
 Ohrdruff 
 
 Place and Date of 
 Death. 
 
 Dresden 
 
 Paris 
 
 Boulogne 
 
 Moscow 
 
 Liverpool 
 
 Dessau 
 
 Vienna 
 
 GOttingen 
 
 Liverpool 
 
 Suhl 
 
 Darmstadt 
 
 Norwich 
 
 Kyritz 
 
 Mayence 
 
 Schmalkalden 
 
 Freiburg 
 
 Prague 
 
 Bologna 
 
 Evesham, Eng. 
 
 Biberach 
 
 London 
 
 Leipzig 
 
 Marchthal 
 London 
 
 Berlin 
 
 St. Petersburg 
 
 London 
 Vienna 
 
 Halle 
 
 > 
 
 London 
 
 London 
 
 Padua 
 
 Vienna 
 
 Hampton 
 
 Exeter, 
 
 Norwich 
 
 Vienna 
 
 813 
 
 819 
 827 
 822 
 
 782 
 798 
 
 833 
 818 
 
 797 
 810 
 
 814 
 809 
 
 789 
 817 
 
 «i3 
 821 
 829 
 811 
 832 
 817 
 
 818 
 824 
 
 823 
 810 
 829 
 838 
 791 
 
 813 
 
 828 
 
 789 
 
 815 
 828 
 
 825 
 
 831 
 803 
 809 
 
 831 
 8?
 
 326 
 
 CHRONOLOGICAL TABLE 
 
 
 Place and Date of 
 
 Place and Date of 
 
 Name. 
 
 Birtli. 
 
 
 Death. 
 
 
 Abeille, Johann Christian 
 
 Bayreuth 
 
 1761 
 
 Stuttgart 1 
 
 838 
 
 Diissek, Joh. Ladislaus . 
 
 Caslav, Boh. 
 
 1761 
 
 Saint-Germain 1 
 
 812 
 
 Giirrlicli, Joseph Augus- 
 
 
 
 
 
 tine .... 
 
 Miinsterberg 
 
 1761 
 
 Berlin 1 
 
 817 
 
 Agthe, Carl Christian 
 
 Hettstadt 
 
 1762 
 
 Ballenstadt 
 
 t797 
 
 Ahlstrohm, A. J. R. 
 
 Stockholm 
 
 1762 
 
 .? c 
 
 [827 
 
 Bachmann, Gottlob 
 
 Bornitz 
 
 ^l^Z 
 
 Zeitz 
 
 [840 
 
 Umbreit, Karl Gottlieb . 
 
 Rehstedt 
 
 1763 
 
 Rehstedt 
 
 [829 
 
 Holder, Joseph \Vm. 
 
 London 
 
 1764 
 
 London 
 
 1832 
 
 Attwood, Thomas . 
 
 London 
 
 1765 
 
 Chelsea 
 
 1838 
 
 Chard, George W. . 
 
 England 
 
 1765 
 
 Winchester 
 
 ■849 
 
 Callcott, John Wall 
 
 Kensington 
 
 1766 
 
 Kensington 
 
 [821 
 
 Kaufmann, Carl 
 
 Berlin 
 
 1766 
 
 Vienna 
 
 1808 
 
 Ladurner, Ignas A. F. X. 
 
 Aldein, Tyrol 
 
 1766 
 
 Villain 
 
 1839 
 
 Reefe, John . 
 
 Greenwich 
 
 1766 
 
 ? 
 
 1837 
 
 Wesley, Samuel 
 
 Bristol 
 
 1766 
 
 London 
 
 1837 
 
 Muller, August Eberhard 
 
 Nordheim 
 
 1767 
 
 Weimar 
 
 [817 
 
 Cabo, Francesco Xavier . 
 
 Valencia 
 
 1768 
 
 Spain 
 
 1832 
 
 Rimbault, Stephen F. 
 
 London 
 
 1768 
 
 London 
 
 1837 
 
 Clark-Whitfield, John . 
 
 Gloucester 
 
 1770 
 
 Hereford 
 
 1836 
 
 Grazioli, Giambattista 
 
 Venice 
 
 1770 
 
 Venice 
 
 1S20 
 
 Rinck, John Christian H. 
 
 Elgersburg 
 
 1770 
 
 Darmstadt 
 
 1846 
 
 W^ebbe, Samuel 
 
 London 
 
 1770 
 
 Hammersmith 
 
 1843 
 
 Rieder, Ambrosius . 
 
 Near Vienna 
 
 1771 
 
 Vienna 
 
 18 ^9 
 
 Bergt, Christian Gottlob . 
 
 Oderan 
 
 1772 
 
 Bantzen 
 
 1837 
 
 Carnaby, Wm. 
 
 London 
 
 1772 
 
 London 
 
 ■839 
 
 Corfe, Arthur T. . 
 
 Salisbury 
 
 1772 
 
 Salisbury 
 
 1863 
 
 Baker, George 
 
 Exeter 
 
 -i-lll) 
 
 Rugeley 
 
 [847 
 
 Fischer, Michael Gott- 
 
 
 
 
 
 hard .... 
 
 Alack 
 
 "^111 
 
 Erfurt 
 
 1829 
 
 Horsley, Wm. 
 
 London 
 
 1774 
 
 London 
 
 [858 
 
 Linley, Frances 
 
 Doncaster 
 
 1774 
 
 Doncaster 
 
 t8oo 
 
 Thomaschek, Johann W. 
 
 Skutsch 
 
 1774 
 
 Prague 
 
 1850 
 
 Chappie, vSamuel 
 
 Crediton 
 
 1775 
 
 Ashburton 
 
 1847 
 
 Crotch, William 
 
 Norwich 
 
 1775 
 
 Taunton 
 
 1847 
 
 Barthel, Joh. Christian . 
 
 Plauden 
 
 1776 
 
 Altenburg 
 
 1831 
 
 Smart, George (Sir) 
 
 London 
 
 1776 
 
 London 
 
 1867 
 
 Werner, John Gottlob . 
 
 Grossenhain 
 
 1777 
 
 Merseburg 
 
 [822 
 
 Russell, Wm. 
 
 London 
 
 1777 
 
 London 
 
 1813 
 
 Gansbacher, J. B. . 
 
 Sterzing 
 
 1778 
 
 \jenna 
 
 1844 
 
 Jacob, Benjamin 
 
 London 
 
 1778 
 
 London 
 
 r829 
 
 Kemp, Joseph . 
 
 Exeter 
 
 1778 
 
 London 
 
 1824 
 
 Neukomm, Sigismund 
 
 Salzburg 
 
 177S 
 
 Paris 
 
 1858 
 
 Riem, Friedrich Wilhelm 
 
 Kolleda 
 
 1779 
 
 Bremen 
 
 1S57 
 
 Taskin, Henri Joseph 
 
 Versailles 
 
 1779 
 
 Paris 
 
 ■ 
 
 1852
 
 CHRONOLOGICAL TABLE 
 
 327 
 
 Name. 
 
 Place and Date of 
 
 Place and Date of 
 
 Birth. 
 
 
 Death. 
 
 
 Berner, Friedrich W. 
 
 Breslau 
 
 1780 
 
 Breslau 
 
 1827 
 
 Novello, Vincent 
 
 London 
 
 1781 
 
 Nice 
 
 1861 
 
 Piazza, Pietro . 
 
 Milan 
 
 1781 
 
 Milan 
 
 1855 
 
 Purkis, John . 
 
 London 
 
 1781 
 
 London 
 
 1849 
 
 Blewitt, Jonathan . 
 
 London 
 
 1782 
 
 London 
 
 1853 
 
 Dreschler, Joseph . 
 
 Wallisch-Boi- 
 
 
 
 
 
 ken. Boh. 
 
 1782 
 
 Vienna 
 
 1852 
 
 Schneider, Wilhelm 
 
 Neudorf, Sax 
 
 1783 
 
 Merseburg 
 
 1843 
 
 Walmisley, Thomas 
 
 London 
 
 1783 
 
 London 
 
 1866 
 
 Fetis, Fran9ois Joseph . 
 
 Mons, Bel. 
 
 1784 
 
 Brussels 
 
 1871 
 
 Klengel, August A. 
 
 Dresden 
 
 1784 
 
 Dresden 
 
 1852 
 
 Adams, Thomas 
 
 London 
 
 1785 
 
 London 
 
 1858 
 
 Boely, Alexandre P. 
 
 Versailles 
 
 1785 
 
 Paris 
 
 1858 
 
 Blum, Karl Ludwig . 
 
 Berlin 
 
 1786 
 
 Berlin 
 
 1844 
 
 Hamel, Marie-Pierre 
 
 Auneuil 
 
 1786 
 
 Beauvais 
 
 1870 
 
 Schneider, Joh. Christian 
 
 Alt-Walters- 
 
 
 
 
 
 dorf 
 
 1786 
 
 Dessau 
 
 1853 
 
 Bohner Johann L. . 
 
 near Gotha 
 
 1787 
 
 Gotha 
 
 1869 
 
 Burrowes, John F. . 
 
 London 
 
 1787 
 
 London 
 
 1852 
 
 Beckwith, John C. . 
 
 Norwich 
 
 1788 
 
 Norwich 
 
 1819 
 
 Ett, Kaspar 
 
 "Erringen 
 
 1788 
 
 Munich 
 
 1847 
 
 Sechter, Simon 
 
 Friedburg 
 
 1788 
 
 Vienna 
 
 1867 
 
 Schneider, Joh. (Gottlob) 
 
 Alt-Gersdorf 
 
 1789 
 
 Dresden 
 
 1864 
 
 Antony, Franz Joseph 
 
 Miinster 
 
 1790 
 
 Miinster 
 
 1837 
 
 Assmayer, Ignaz 
 
 Salzburg 
 
 1790 
 
 Vienna 
 
 1862 
 
 Pohlenz, Christian A. 
 
 -Saalgart 
 
 1790 
 
 Leipzig 
 
 1843 
 
 Topper, Johann G. . 
 
 Neiderrossla 
 
 1791 
 
 Weimar 
 
 1870 
 
 Worischek, Johann G. . 
 
 Vamberk, 
 
 
 
 
 
 Boh. 
 
 1791 
 
 Vienna 
 
 1825 
 
 Kellner, Ernst August 
 
 Windsor 
 
 1792 
 
 London 
 
 1839 
 
 Zollner, Carl H. 
 
 Ols 
 
 1792 
 
 Hamburg 
 
 1836 
 
 Perry, George . 
 
 Norwich 
 
 1793 
 
 Norwich 
 
 1862 
 
 Benoist, Fran5ois 
 
 Nantes 
 
 1794 
 
 Paris 
 
 1878 
 
 Jolly, John 
 
 Cheshire 
 
 1794 
 
 London 
 
 1830 
 
 Albeniz, Pedro 
 
 Legroiio 
 
 1795 
 
 Madrid 
 
 1855 
 
 Bach, August Wilhelm . 
 
 Berlin 
 
 1796 
 
 Berlin 
 
 1896 
 
 Hodges, Edward 
 
 Bristol 
 
 1796 
 
 Clifton 
 
 1867 
 
 Nixon, Henri G. 
 
 Winchester 
 
 1796 
 
 London 
 
 1849 
 
 Bibl, Andreas . 
 
 Vienna 
 
 1797 
 
 Vienna 
 
 1878 
 
 Freudenberg . 
 
 Sipta 
 
 1797 
 
 Breslau 
 
 1869 
 
 Lambillotte, Pere Louis . 
 
 Charleroi 
 
 1797 
 
 Vaugirard 
 
 1855 
 
 Enckhausen, Heinrich F. 
 
 Celle 
 
 T799 
 
 Hanover 
 
 1885 
 
 Hayter, A. W . 
 
 Gillingham, 
 
 
 
 
 
 Eng. 
 
 1799 
 
 Boston, Mass. 
 
 ^1870 
 
 Kbhler, Ernst . 
 
 Langenbielau 
 
 1799 
 
 Breslau 
 
 1847 
 
 Goss, John 
 
 Fareham 
 
 1800 
 
 Brixton 
 
 1880
 
 323 
 
 CHRONOLOGICAL TABLE 
 
 Namb. 
 
 Grell, Eduard August 
 Oliver, Henry Kemble 
 
 Turle, Jas. 
 
 Webb, George Jas. . 
 
 Becker, Karl Ferdinand . 
 Forbes, Henry 
 Elvey, Stephen 
 Schneider (Johann Julius) 
 Weber, Franz . 
 Gauntlett, Henry John . 
 May, Edward Collett 
 Wendt, Ernst A. 
 Callcott, Wm. Henry 
 Eslava, Don Miguel H. . 
 Fiihrer, Robert 
 Mattheson-Hansen, Hans 
 Preyer, Gottfried 
 Saldoni, Don Baltasar 
 Vogel, Friedrich Wilhelm 
 Andre, Julius. . 
 Gauthier, Gabriel . 
 
 Richter, Ernst F. E. 
 
 Hesse, Adolf (Friedrich) . 
 
 Kiihnstedt, Frit-drich 
 
 Jimmerthal, Hermann 
 
 Mendelssohn, Felix . 
 
 Bayley, Wm. . 
 
 Concone, Giuseppe . 
 
 Haiipt, Karl August 
 
 Kiicken, Friedrich Wil- 
 helm . . . . 
 
 Nicolai, Otto . 
 
 Rotter, Ludwig 
 
 Wesley, Samuel Sebas- 
 tian 
 
 Beckel, James Cox . 
 
 Capocci, Gaetano 
 
 Flowers, Geo. F. 
 
 Lachner, Vincenz 
 
 Ritter, August G. . 
 
 Timm, Henry Christian . 
 
 Bastians, J. G. 
 
 Place and Date of 
 
 Place and Date of 
 
 Birth. 
 
 
 Death. 
 
 
 Berlin 
 
 1800 
 
 Steglitz 
 
 1886 
 
 Beverly, 
 
 
 
 
 Mass. 
 
 1800 
 
 Boston 
 
 1885 
 
 Taunton, Eng 
 
 .1801 
 
 London 
 
 1882 
 
 Rushmore 
 
 
 
 
 Lodge 
 
 1803 
 
 Orange, N. J. 
 
 1887 
 
 Leipzig 
 
 1804 
 
 Leipzig 
 
 1877 
 
 London 
 
 1804 
 
 London 
 
 1859 
 
 Canterbury 
 
 1805 
 
 ( )xford 
 
 i860 
 
 Berlin 
 
 1805 
 
 Berlin 
 
 1885 
 
 Cologne 
 
 1805 
 
 Cologne 
 
 1876 
 
 Wellington 
 
 1806 
 
 Kensington 
 
 1876 
 
 Greenwich 
 
 1806 
 
 London 
 
 1887 
 
 Schweibus 
 
 1806 
 
 Neuweid 
 
 1850 
 
 Kensington 
 
 1807 
 
 London 
 
 1882 
 
 Pamplona 
 
 1807 
 
 Madrid 
 
 1878 
 
 Prague 
 
 1807 
 
 Vienna 
 
 1861 
 
 Fleusburg 
 
 1807 
 
 Roeskilde 
 
 1890 
 
 Hausbrunn 
 
 1807 
 
 > 
 
 _? 
 
 Barcelona 
 
 1807 
 
 ? 
 
 1890 
 
 Havelberg 
 
 1807 
 
 ? 
 
 ? 
 
 Offenbach 
 
 1808 
 
 Frankfort 
 
 1880 
 
 Saone-et- 
 
 
 
 
 Loire 
 
 1808 
 
 ? 
 
 ? 
 
 Gross, Schb- 
 
 
 
 
 nau 
 
 1808 
 
 Leipzig 
 
 1879 
 
 Breslau 
 
 1809 
 
 Breslau 
 
 1863 
 
 Oldisleben 
 
 1809 
 
 Eisenach 
 
 1858 
 
 Liibeck 
 
 1809 
 
 Liibeck 
 
 1886 
 
 Hamburg 
 
 1809 
 
 Leipzig 
 
 1847 
 
 London 
 
 1810 
 
 London 
 
 1858 
 
 Turin 
 
 1810 
 
 Turin 
 
 1861 
 
 Kunern 
 
 1810 
 
 Berlin 
 
 1891 
 
 Bleckede 
 
 1810 
 
 Schwerin 
 
 1882 
 
 Kbnigsberg 
 
 1810 
 
 Berlin 
 
 1849 
 
 Vienna 
 
 1810 
 
 Vienna 
 
 1895 
 
 I-ondon 
 
 1810 
 
 Gloucester 
 
 1876 
 
 Philadelphia 
 
 1811 
 
 ? 
 
 ? 
 
 Rome 
 
 1811 
 
 Rome 
 
 1898 
 
 Boston, Eng. 
 
 1811 
 
 London 
 
 1872 
 
 Rain 
 
 1811 
 
 Karlsruhe 
 
 1892 
 
 Erfurt 
 
 1811 
 
 Magdeburg 
 
 1885 
 
 Hamburg 
 
 1811 
 
 New York 
 
 1892 
 
 Welp 
 
 1812 
 
 Haarlem 
 
 1875
 
 CHRONOLOGICAL TABLE 
 
 329 
 
 Name. 
 
 Place and Date 
 Birth. 
 
 of 
 
 Place and Date 
 Death. 
 
 of 
 
 Fliigel, Gustav. 
 
 Nienburg on 
 
 
 
 
 
 Saale 1 
 
 812 
 
 Stettin 
 
 1900 
 
 Hanisch, Joseph 
 
 Ratisbon ] 
 
 812 
 
 Ratisbon 
 
 1892 
 
 Nisard, Theodore . 
 
 Quaregnon ] 
 
 812 
 
 
 
 Volckmar, Wilhelm 
 
 Hersfeld 1 
 
 812 
 
 Homberg 
 
 1887 
 
 Commer, Franz 
 
 Cologne ] 
 
 813 
 
 Berlin 
 
 1887 
 
 Corfe, Chas. Wm. . 
 
 Salisbury 1 
 
 813 
 
 Oxford 
 
 1883 
 
 Meluzzi, Salvatore . 
 
 Rome 1 
 
 813 
 
 Rome 
 
 1897 
 
 Moniuszko, Stanislaw 
 
 Ubiel, Lithua- 
 
 
 
 
 
 nia I 
 
 813 
 
 Warsaw 
 
 1872 
 
 Pentenrieder, Franz X. . 
 
 Kaufbeuren, 
 
 
 
 
 
 Bav. 1 
 
 813 
 
 Munich 
 
 1867 
 
 Smart, Henry . 
 
 London 1 
 
 813 
 
 London 
 
 1879 
 
 Abela, Don Placido 
 
 Syracuse i 
 
 814 
 
 Monte Cassino 
 
 1876 
 
 WaJmisley, Thomas A. . 
 
 London 1 
 
 814 
 
 Hastings 
 
 1856 
 
 Berthold, K. F. Th. . 
 
 Dresden ] 
 
 815 
 
 Dresden 
 
 1882 
 
 Brosig, Moritz 
 
 Furchswinkel 
 
 [815 
 
 Breslau 
 
 1887 
 
 Done, Wm. 
 
 Worcester, 
 
 
 
 
 
 Eng. 1 
 
 815 
 
 Worcester 
 
 1895 
 
 Grosjean, Jean-Romary . 
 
 Rochesson 1 
 
 8IS 
 
 St. Die 
 
 1888 
 
 Franz, Robert . 
 
 Halle 1 
 
 815 
 
 Halle 
 
 1892 
 
 Jackson, Wm. 
 
 Masham 1 
 
 815 
 
 Bradford 
 
 1866 
 
 Elvey, Sir George J. 
 
 Canterbury i 
 
 816 
 
 Windlesham 
 
 1893 
 
 Engel, David Hermann . 
 
 Neuruppin 1 
 
 [816 
 
 Merseburg 
 
 1877 
 
 Krenn, Franz . 
 
 Dross 
 
 [816 
 
 St. Andra vom 
 
 
 
 
 Hagenthal 
 
 1897 
 
 MarkuU, Friedrich . 
 
 Reichenbach 
 
 [816 
 
 Danzig 
 
 1887 
 
 Pittman, Josiah 
 
 London 
 
 [816 
 
 
 
 Rimbault, Edward F. 
 
 London 
 
 [816 
 
 London 
 
 1876 
 
 Schellenberg, Hermann . 
 
 Leipzig ] 
 
 816 
 
 Plagwitz 
 
 1862 
 
 Thiele, Carl Ludwig 
 
 Harzegerode 
 
 [816 
 
 Berlin 
 
 1848 
 
 Gade, Niels Wilhelm 
 
 Copenhagen 
 
 [817 
 
 Copenhagen 
 
 1890 
 
 Lefebure-Wely, Louis 
 
 
 
 
 
 J- A 
 
 Paris 
 
 I8I7 
 
 Paris 
 
 1869 
 
 Leybach, Ignace 
 
 Gambsheim 
 
 I8I7 
 
 Toulouse 
 
 1891 
 
 Kuntze, Carl . 
 
 Trier 
 
 I8I7 
 
 Delitzsch 
 
 1883 
 
 Stade, Friedrich W. 
 
 Halle 
 
 I8I7 
 
 Altenburg 
 
 1902 
 
 Battman, Jacques L. 
 
 Alsace 
 
 I8I8 
 
 Dijon 
 
 1886 
 
 Hopkins, Edward John . 
 
 Westminster 
 
 I8I8 
 
 Rochester 
 
 1900 
 
 Jackson, Samuel P. 
 
 Manchester 
 
 I8I8 
 
 Brooklyn 
 
 1885 
 
 Kufferath, Hubert . 
 
 Muhlheim 
 
 [8:8 
 
 Brussels 
 
 1896 
 
 Cavallo, Peter 
 
 Munich 
 
 [819 
 
 Paris 
 
 1892 
 
 Farmer, Henry 
 
 Nottingham 
 
 [819 
 
 Nottingham 
 
 1891 
 
 Langer, Herman 
 
 Hockendorf 
 
 1819 
 
 Dresden 
 
 1819 
 
 Longhurst, Wm. H. 
 
 Lambeth i 
 
 819 
 
 
 
 Monk, Edwin George 
 
 Frome 1 
 
 819 
 
 England 
 
 1900
 
 330 
 
 CHRONOLOGICAL TABLE 
 
 Namb. 
 
 Place and Date of 
 
 Place and Date 
 
 of 
 
 Birth. 
 
 
 Death. 
 
 
 Stirling, Elizabeth . 
 
 Greenwich i 
 
 1819 
 
 London 
 
 1895 
 
 Sturges, Edmund 
 
 London 
 
 [819 
 
 London 
 
 1849 
 
 Tuckerman, Samuel P. . 
 
 Boston, Mass. 
 
 819 
 
 Newport, R. L 
 
 1890 
 
 Batiste, Antoine E. 
 
 Paris 1 
 
 820 
 
 Paris 
 
 1870 
 
 Cooper, George 
 
 Lambeth i 
 
 820 
 
 London 
 
 1876 
 
 Franck, Joseph 
 
 Liege 
 
 1820 
 
 
 
 Gurlitt, Cornelius . 
 
 Altona 
 
 [820 
 
 Altona 
 
 1901 
 
 Hopkins, John L. . 
 
 Westminster 
 
 820 
 
 Ventnor 
 
 1873 
 
 Lux, Friedrich 
 
 Ruhla 
 
 [820 
 
 Mayence 
 
 1895 
 
 Redhead, Richard . 
 
 Harrow, Eng. 
 
 [820 
 
 
 
 Root, George Frederick . 
 
 Sheffield 
 
 [820 
 
 Barley's Island 
 
 [189s 
 
 Stimpson, James 
 
 Lincoln 
 
 [82c 
 
 
 
 Vierling, Georg 
 
 Frankenthal 
 
 [820 
 
 
 
 Bonicke, Hermann . 
 
 Endorf 
 
 1821 
 
 Hermannstadt 
 
 1879 
 
 Calcott, John G. 
 
 l-ondon 
 
 1821 
 
 London 
 
 1895 
 
 Harraden, Samuel . 
 
 Cambridge 
 
 1821 
 
 Hampstead 
 
 1897 
 
 Rebling, Gustav 
 
 Barby 
 
 1821 
 
 Magdeburg 
 
 1902 
 
 Stephens, Chas. Edward . 
 
 London 
 
 1821 
 
 London 
 
 1892 
 
 Conradi, August 
 
 Berlin 
 
 1821 
 
 Berlin 
 
 1887 
 
 Clement, Felix 
 
 Paris 
 
 t822 
 
 Paris 
 
 1885 
 
 Franck, Cesar Auguste . 
 
 Liege i 
 
 [822 
 
 Paris 
 
 1890 
 
 Herzog, Johann Georg . 
 
 Schmolz 1 
 
 [822 
 
 
 
 Lambeth, Henry A. 
 
 Gosport J 
 
 822 
 
 
 
 Litzavv, Johannes . 
 
 Rotterdam i 
 
 822 
 
 Rotterdam 
 
 1893 
 
 Nightingale, Joseph C. . 
 
 Liverpool i 
 
 822 
 
 
 
 Reinthaler, Carl M. 
 
 Erfurt ] 
 
 822 
 
 Bremen 
 
 1896 
 
 Rust, Wilhelm 
 
 Dessau ] 
 
 822 
 
 Leipzig 
 
 1892 
 
 Young, John M. W. 
 
 Durham i 
 
 822 
 
 Norwood 
 
 1897 
 
 Chipp, Edmund Thomas . 
 
 London 
 
 [823 
 
 Nice 
 
 1886 
 
 Eycken, Jan A. von 
 
 Amersfoort 
 
 [823 
 
 Elberfeld 
 
 1864 
 
 Faisst, Immanuel G. F. . 
 
 Esslingen 
 
 1823 
 
 Stuttgart 
 
 1894 
 
 Lemmens, Jacques- 
 
 
 
 
 
 Nicolas 
 
 Zoerle-Parwys 
 
 [823 
 
 M alines 
 
 1881 
 
 Lijtzel, Johann Heinrich . 
 
 Iggleheim 
 
 823 
 
 Zweibriicken 
 
 1899 
 
 Monk, W. Henry . 
 
 London 
 
 [823 
 
 Stoke-Newing- 
 ton 
 
 1889 
 
 Schwencke, Friedrich G. . 
 
 Hamburg ] 
 
 1823 
 
 Hamburg 
 
 1896 
 
 Spark, Dr. William 
 
 Exeter, Eng. i 
 
 823 
 
 Leeds 
 
 1897 
 
 Witt, Theodor de . 
 
 Wesel I 
 
 823 
 
 Rome 
 
 1855 
 
 Zellner, Leopold 
 
 A gram i 
 
 823 
 
 Vienna 
 
 1894 
 
 Bexfield, W. Richard 
 
 Norwich i 
 
 824 
 
 London 
 
 1853 
 
 Bruckner, Anton 
 
 Ansfelden i 
 
 824 
 
 Vienna 
 
 1896 
 
 Coward, James 
 
 London i 
 
 824 
 
 London 
 
 1880 
 
 Ferrari, Serafino A. de . 
 
 Genoa i 
 
 824 
 
 Genoa 
 
 1885 
 
 Fawcett, John 
 
 Bolton-le- 
 
 
 
 
 
 Moors 1 
 
 824 
 
 Farnworth 
 
 1857
 
 CHRONOLOGICAL TABLE 
 
 331 
 
 
 Place and Date of 
 
 Place and Date of 
 
 Name. 
 
 Birth. 
 
 
 Death. 
 
 
 Kirchner, Th. 
 
 Neukirchen 
 
 [824 
 
 
 
 Bristow, George Fred- 
 
 
 
 
 
 erick .... 
 
 Brooklyn 
 
 1825 
 
 N. Y. 
 
 1898 
 
 Hoi, Richard . 
 
 Amsterdam 
 
 [825 
 
 
 
 Ouseley, Sir Frederick 
 
 
 
 
 
 A. G 
 
 London i 
 
 825 
 
 Hereford 
 
 1889 
 
 Stewart, Robert P. . 
 
 Dublin 1 
 
 1825 
 
 Dublin 
 
 1894 
 
 Walter, Wm. Henry 
 
 Newark i 
 
 825 
 
 
 
 Best, Wm. Thos. . 
 
 Carlisle 
 
 [826 
 
 Liverpool 
 
 1897 
 
 Coccon, Nicolo 
 
 Venice l 
 
 [826 
 
 
 
 Hiles, Henry . 
 
 Shrewsbury 
 
 [826 
 
 
 
 Martin, Geo. W. 
 
 London i 
 
 826 
 
 New York ? 
 
 
 Papperitz, Benjamin R. . 
 
 Pirna, Sax. i 
 
 826 
 
 
 
 Steggall, Chas. 
 
 London 
 
 1826 
 
 
 
 Belcher, Wm. T. . 
 
 Birmingham 
 
 1827 
 
 
 
 Calkin, John Baptiste 
 
 London 
 
 [827 
 
 
 
 Fischer, Adolf 
 
 Uckermlinde 
 
 [827 
 
 Breslau 
 
 1893 
 
 Gottschalg, Alexander 
 
 Mechelrode 
 
 [827 
 
 
 
 Hagemann, Fran9ois W. . 
 
 Zutphen 
 
 [827 
 
 
 
 Lake, Geo. H. 
 
 Uxbridge 
 
 [827 
 
 London 
 
 1865 
 
 Merkel, Gustav (Adolf) . 
 
 Oberoderwitz 
 
 [827 
 
 Dresden 
 
 1885 
 
 Nunn, John H. 
 
 Bury St. 
 Edmunds 
 
 1827 
 
 
 
 Phelps, Ellsworth C. 
 
 Middletown, 
 Conn. 
 
 1827 
 
 
 
 Rea, Wm. 
 
 London 
 
 1827 
 
 
 
 Cornell, John Henry 
 
 New York 
 
 1828 
 
 New York 
 
 1894 
 
 Dommer, A. von 
 
 Danzig 
 
 1828 
 
 
 
 Fischer, Carl August 
 
 Ebersdorf 
 
 1828 
 
 Dresden 
 
 1892 
 
 Gevaert, Frangois 
 
 
 
 
 
 Auguste 
 
 Huysse 
 
 1828 
 
 
 
 Parker, Jas. Cutler Dunn. 
 
 Boston, Mass. 
 
 1828 
 
 
 
 Reay, Samuel . 
 
 Hexham 
 
 1828 
 
 
 
 Warren, George W. 
 
 Racine, Wis. 
 
 1828 
 
 New York 
 
 1902 
 
 Brown, Obadiah Bruen . 
 
 Washington 
 
 1829 
 
 Boston 
 
 1901 
 
 Lichner, Heinrich . 
 
 Harpersdorf 
 
 [829 
 
 Breslau 
 
 1898 
 
 Nicolai, Wilhelm Fred- 
 
 
 
 
 
 erick .... 
 
 Leyden 
 
 1829 
 
 The Hague 
 
 1896 
 
 Papier, Ludwig 
 
 Leipzig 
 
 1829 
 
 Leipzig 
 
 1878 
 
 Stiehl, Heinrich Franz 
 
 Liibeck, 
 
 1829 
 
 Reval 
 
 1886 
 
 Vilbac, Alphonse-Charles 
 
 MontpeUer, 
 
 
 
 
 
 Fr. 
 
 1829 
 
 Paris 
 
 1884 
 
 Barry, Chas. Ainslie 
 
 London 
 
 1830 
 
 
 
 Durand, Marie Auguste . 
 
 Paris 
 
 1830 
 
 
 
 Fumagalli, Polibio . 
 
 Inzago 
 
 1830 
 
 Milan 
 
 1893 
 
 Oakeley, Sir Herbert 
 
 Ealing 
 
 1830 
 

 
 332 
 
 CHRONOLOGICAL TABLE 
 
 Name. 
 
 Radecke, Albert Martin 
 
 Skuhersky, Franz Z. 
 Tilborghs, Joseph 
 Jansen, F. Gustav 
 Fink, Christian 
 Palloni, Gaetano 
 Westljrooke, Wm. J. 
 Bibl, Rudolph . 
 Matthison-Hansen, Got- 
 
 fred 
 Naumann, Karl Ernst 
 Allen, Geo. B. 
 Bache, Francis E. . 
 Cross, Michael Hurley 
 Cusins, Sir Wm. Geo. 
 Elliott, James Wm. 
 Forster, Joseph . 
 Habert, Johannes E. 
 Hermesdorf, Michael 
 Mailly, J. E. . 
 Bunnett, Edw. 
 
 Garrett, Geo. Mursell 
 Thorne, Edward Henry . 
 Cohen, Jules Emile-David 
 Dearnaley, Irvine 
 Fromm, Emil . 
 Prout, EJjenezer 
 Saint-Saens, Charles C. . 
 Torrance, Rev. George 
 
 Wil 
 
 Ward, John Chas. . 
 
 Young, Wm. J. 
 Armes, Phillip 
 Dornton, Chas. 
 Farmer, John . 
 Hartmann, Emil (Jr.) 
 Hopkins, Edw. Jerome . 
 
 Irgang, Friederich Wil- 
 
 helm . . . . 
 Lott, Edwin Matthew 
 
 Pearce, Stephen Austen . 
 
 Place and Date of 
 Birth. 
 
 Dittmanns- 
 
 dorf 
 Bohemia 
 Nieuwmoer 
 Jever 
 Dettingen 
 Camerino 
 London 
 Vienna 
 
 Roeskilde 
 
 Freiberg 
 
 London 
 
 Birmingham 
 
 Philadelphia 
 
 London 
 
 Warwick 
 
 Osojnitz 
 
 Oberplau 
 
 Trier 
 
 Brussels 
 
 Shipham, 
 
 Eng. 
 Winchester 
 Cranborne 
 Marseilles 
 England 
 Spremberg 
 Oundle 
 Paris 
 
 1830 
 1830 
 1830 
 183 1 
 1831 
 1831 
 1831 
 1832 
 
 1832 
 1832 
 
 1833 
 1833 
 1833 
 1833 
 1833 
 1833 
 1833 
 1833 
 1833 
 
 1834 
 1834 
 1834 
 1835 
 1835 
 1835 
 1835 
 1835 
 
 Rathmines 
 
 183 s 
 
 Upper Clap- 
 
 
 ton 
 
 1835 
 
 Durham 
 
 1835 
 
 Norwich 
 
 1836 
 
 London 
 
 1836 
 
 Nottingham 
 
 1836 
 
 Copenhagen 
 
 1836 
 
 Burlington, 
 
 
 Vt. 
 
 1836 
 
 Hirschberg 
 
 1836 
 
 St. Helier, 
 
 
 Jersey 
 
 1836 
 
 London 
 
 1836 
 
 Place and Date of 
 Death. 
 
 Budweis 
 
 1892 
 
 Sydenham 1894 
 
 Brisbane 1897 
 
 Birmingham 1858 
 Philadelphia 1897 
 Remonchamps 1893 
 
 Gmunden 
 Trier 
 
 Cambridge 
 England 
 
 1896 
 1885 
 
 1897 
 189s 
 
 Oxford 1 90 1 
 
 Copenhagen 1898 
 
 Athenia, N. J. 1898 
 
 1902
 
 CHRONOLOGICAL TABLE 
 
 333 
 
 
 Place and Date of 
 
 Place and Date of 
 
 Name. 
 
 Birth. 
 
 
 Death. 
 
 
 Bergner, Wilhelm . 
 
 Riga 
 
 1837 
 
 
 
 Carter, Henry . 
 
 London 
 
 1837 
 
 
 
 Chauvet, Chas. Alexis . 
 
 Marnes 
 
 1837 
 
 Argentan 
 
 1871 
 
 Dubois, Clement-Fran9ois 
 
 Rosnay 
 
 1837 
 
 
 
 Fairlamb, Jas. Remington 
 
 Phila. 
 
 1837 
 
 
 
 Gaul, Alfred Robert 
 
 Norwich 
 
 1837 
 
 
 
 Guilmant, Alexandre- 
 
 
 
 
 
 Felix 
 
 Boulogne 
 
 1837 
 
 
 
 Lang, Benjamin Johnson 
 
 Salem, Mass. 
 
 1837 
 
 
 
 Rheinberger, Joseph G. . 
 
 Vaduz 
 
 1837 
 
 Munich 
 
 1901 
 
 Succo, Reinhold 
 
 Gorhtz 
 
 1837 
 
 Breslau 
 
 1897 
 
 Torrington, Frederick 
 
 Dudley, Eng. 
 
 1837 
 
 
 
 Turpin, Edmund H. 
 
 Nottingham 
 
 1837 
 
 
 
 Archer, Frederick . 
 
 Oxford 
 
 1838 
 
 Pittsburg, Pa. 
 
 1901 
 
 Barnby', Sir Joseph . 
 
 York 
 
 1838 
 
 London 
 
 1896 
 
 Fuchs, Karl Dorius J. 
 
 Potsdam 
 
 1838 
 
 
 
 Naylor, John . 
 
 Stanningley 
 
 1838 
 
 At sea 
 
 1897 
 
 Thayer, Eugene Whitney 
 
 Mendon, 
 
 
 
 
 
 Mass. 
 
 1838 
 
 Burlington, Vt 
 
 1889 
 
 Bohn, Emil 
 
 Bielan 
 
 i!-j9 
 
 
 
 Buck, Dudley . 
 
 Hartford, 
 Conn. 
 
 1839 
 
 
 
 Callaerts, Joseph . 
 
 Antwerp 
 
 1839 
 
 
 
 Clarke, Hugh Archibald . 
 
 Toronto, Ont 
 
 .1839 
 
 
 
 Dienel, Otto . 
 
 Silesia 
 
 1839 
 
 
 
 Paine, John Knowles 
 
 Portland, Me 
 
 .1839 
 
 
 
 Amadei, Roberto . 
 
 Loreto 
 
 1840 
 
 
 
 Andreoli, Carlo 
 
 Mirandola 
 
 1840 
 
 
 
 Capocci, Filippo 
 
 Rome 
 
 1840 
 
 
 
 Clark, Rev. Fred Scotson 
 
 London 
 
 1840 
 
 London 
 
 1883 
 
 Clarke, Wil. Horatio 
 
 Newton, 
 
 
 
 
 r 
 
 Mass. 
 
 1840 
 
 
 
 Hill, Junius Welch 
 
 Hingham, 
 Mass. 
 
 1840 
 
 
 
 Jackson, Robert 
 
 Oldham 
 
 1840 
 
 
 
 Lange, Samuel de 
 
 Rotterdam 
 
 1840 
 
 
 
 Schiedermayer, Joseph . 
 
 Ling on 
 Danube 
 
 1840 
 
 
 
 Stainer, Sir John 
 
 London 
 
 1840 
 
 London 
 
 1901 
 
 Wermann, Frederick 
 
 
 
 
 
 Oskar .... 
 
 Nerchen, 
 Saxony 
 
 1840 
 
 
 
 Clarke, Jas. Hamilton S. . 
 
 Birmingham, 
 Eng. 
 
 1840 
 
 
 
 Bohm, Joseph . 
 
 Kiihnitz 
 
 1841 
 
 Vienna 
 
 1893 
 
 Crow, Edwin John . 
 
 Sittingboume 1841 
 

 
 334 
 
 CHRONOLOGICAL TABLE 
 
 
 Place and Date of 
 
 Place and Date of 
 
 Name. 
 
 Birth. 
 
 
 Death. 
 
 
 Lange, Daniel de 
 
 Rotterdam 
 
 1841 
 
 
 
 Naylor, Sydney 
 
 London 
 
 1841 
 
 London 
 
 1893 
 
 Parratt, Sir Walter . 
 
 Huddersfield 
 
 1841 
 
 
 
 Warren, Samuel Prowse . 
 
 Montreal 
 
 1841 
 
 
 
 Caldicott, Alfred James . 
 
 Worcester 
 
 1842 
 
 near Glouces- 
 ter 
 
 1897 
 
 Fleischer, Reinhold 
 
 Dahsau, 
 Silesia 
 
 1842 
 
 
 
 Gadsby, Henry Robert . 
 
 Hackney 
 
 1842 
 
 
 
 Sullivan, Sir Arthur S. . 
 
 London 
 
 1842 
 
 London 
 
 1900 
 
 Thomas, G. A. 
 
 Reich enbach 
 
 1842 
 
 St. Petersburg 
 
 1870 
 
 Whiting, George Elbridge 
 
 Holliston, 
 Mass. 
 
 1842 
 
 
 
 Whitney, Sam. Brenton . 
 
 Woodstock, 
 Vt. 
 
 1842 
 
 
 
 Blumenthal, Paul . 
 
 Steinau-on- 
 Oder 
 
 1843 
 
 
 
 Diemer, Louis 
 
 Paris 
 
 1843 
 
 
 
 Dyer, Arthur E. 
 
 Frome, Eng. 
 
 1843 
 
 England 
 
 1902 
 
 Florio, Caryl . 
 
 Tavistock 
 
 1843 
 
 
 
 Bridge, Sir John Fred. 
 
 Oldbury, Eng 
 
 1844 
 
 
 
 De Mol, Fran9ois-Marie . 
 
 Brussels 
 
 1844 
 
 Ostend 
 
 1883 
 
 Flagler, Isaac Van Vleek 
 
 Albany 
 
 1844 
 
 
 
 Fliigel, Ernest Paul 
 
 Stettin 
 
 1844 
 
 
 
 Gigout, Eugene 
 
 Nancy 
 
 1844 
 
 
 
 Gradener, Hermann, Th. 
 
 
 
 
 
 Otto .... 
 
 Kiel 
 
 1844 
 
 
 
 Martin, Sir Geo. C. 
 
 Lambourne, 
 Eng. 
 
 1844 
 
 
 
 Peace, Albert Lister 
 
 Huddersfield 
 
 1844 
 
 
 
 Vasseur, Leon 
 
 Bapaume 
 
 1844 
 
 
 
 Gladstone, P' ranees, Edw. 
 
 Summertown, 
 Eng. 
 
 1844 
 
 
 
 Bartlett, Homer Newton 
 
 Olive, N. Y. 
 
 1S45 
 
 
 
 Bernard, Emile 
 
 Marseilles 
 
 1845 
 
 
 
 Boise, Otis Bardwell 
 
 Oberlin, O. 
 
 1845 
 
 
 
 Crament, John Maude 
 
 Yorkshire 
 
 1845 
 
 
 
 Hewlett, Thomas . 
 
 ? 
 
 1845 
 
 ? 
 
 1874 
 
 Riseley, George 
 
 Bristol 
 
 1845 
 
 
 
 Widor, Charles Marie 
 
 Lyons 
 
 1845 
 
 
 
 Piutti, Karl 
 
 Elgersburg 
 
 1846 
 
 Leipzig 
 
 1902 
 
 Root, Frederick Wood- 
 
 
 
 
 
 man 
 
 Boston, Mass 
 
 .1846 
 
 
 
 Wingham, Thomas . 
 
 London 
 
 1846 
 
 London 
 
 1893 
 
 Blake, Chas. Dupee 
 
 Walpole, 
 Mass. 
 
 1847 
 

 
 CHRONOLOGICAL TABLE 
 
 335 
 
 
 Place and Date of 
 
 Place and Date of 
 
 Name. 
 
 Birlh. 
 
 
 Death. 
 
 
 Forchhammer, Theodor . 
 
 Schiers 
 
 1847 
 
 
 
 Ihffe, Frederick 
 
 Leicester, 
 Eng. 
 
 1847 
 
 
 
 Keeton, Haydn 
 
 Derbyshire 
 
 1847 
 
 
 
 Rogers, Roland 
 
 W. Bromwich 
 
 1847 
 
 
 
 Allen, Nathan H. . 
 
 Marion, Mass. 
 
 1848 
 
 
 
 Attrup, Karl . 
 
 Copenhagen 
 
 1848 
 
 
 
 Bowman, Edw. Morris 
 
 Barnard, Vt. 
 
 1848 
 
 
 
 Falk, Louis 
 
 Germany 
 
 1848 
 
 
 
 Frost, Chas. Joseph 
 
 Westbury on 
 Trym 
 
 1848 
 
 
 
 Frost, Henry Frederick . 
 
 London 
 
 1848 
 
 
 
 Gleason, Fred Grant 
 
 Middletown, 
 Conn. 
 
 1848 
 
 
 
 Kniese, Julius . 
 
 Roda, nr. Jena 1848 
 
 
 
 Kretzschmar, August 
 
 
 
 
 
 F. H. ... 
 
 Olbernham, 
 Sax. 
 
 1848 
 
 
 
 Nicholl, Horace Wadham 
 
 Tipton, Eng. 
 
 1848 
 
 
 
 Parry, Sir Chas. Hubert 
 
 
 
 
 
 Hastings 
 
 Bournemouth 
 Eng. 
 
 1848 
 
 
 
 Shepard, Thomas Griffin 
 
 Madison, 
 Conn. 
 
 1848 
 
 
 
 Wangemenn, Otto . 
 
 Loritz-on-the- 
 Peene 
 
 1848 
 
 
 
 Wilkins, Hervi D. . 
 
 Italy, N. Y. 
 
 1848 
 
 
 
 Armbrust, Karl F. . 
 
 Hamburg 
 
 1849 
 
 Hanover 
 
 1896 
 
 Biedermann, Edw. Julius 
 
 Milwaukee, 
 Wis. 
 
 1849 
 
 
 
 Lloyd, Chas. Harford 
 
 Thornbury, 
 Eng. 
 
 1849 
 
 
 
 Wiegand, August . 
 
 Liege 
 
 1849 
 
 
 
 Bonvin, Ludwig 
 
 Siders, Swit- 
 zerland 
 
 1850 
 
 
 
 Claussman, Aloys . 
 
 Uffholz, 
 Alsace 
 
 1850 
 
 
 
 Mann, Arthur Henry 
 
 Norwich, Eng 
 
 .1850 
 
 
 
 Marchant, Arthur, Wil. . 
 
 London 
 
 1850 
 
 
 
 Crowest, Frederick J. 
 
 London 
 
 1850 
 
 
 
 Eddy, Clarence H. . 
 
 Greenfield, 
 Mass. 
 
 1851 
 
 
 
 Foster, Miles Birket 
 
 London 
 
 1851 
 
 
 
 Walter, Geo. Wm. 
 
 New York 
 
 1851 
 
 
 
 Batchelder, J. C. . 
 
 Topsham, Vt 
 
 1852 
 
 
 
 Pyne, James K. 
 
 Bath 
 
 1852 
 

 
 336 
 
 CHRONOLOGICAL TABLE 
 
 M > «>n 
 
 Place and Date of 
 
 Place and Date of 
 
 rVAME. 
 
 Birth. 
 
 
 Death. 
 
 Spinney, Walter S. 
 
 Salisbury 
 
 1852 
 
 ? 1894 
 
 Stanford, Chas. V. . 
 
 DubUn 
 
 1852 
 
 
 Vincent, Chas. John 
 
 Houghton - le 
 
 - 
 
 
 
 Spring, Dur 
 
 - 
 
 
 
 ham 
 
 1852 
 
 
 Eyre, Alfred James 
 
 London 
 
 1853 
 
 
 Bridge, Joseph Cox 
 
 Rochester 
 
 1853 
 
 
 Dunham, Henry Morton 
 
 Brockton, 
 
 
 
 
 Mass. 
 
 1853 
 
 
 Goetschius, Percy . 
 
 Paterson,N.J. 
 
 1853 
 
 
 Homeyer, Paul Joseph . 
 
 Osterode 
 
 1853 
 
 
 Rousseau, Samuel . 
 
 Paris 
 
 1853 
 
 
 Selby, Bertram Luard 
 
 Kent, Eng. 
 
 1853 
 
 
 Chadwick, Geo. Whitfield 
 
 Lowell, Mass 
 
 1854 
 
 
 Hale, Philip . 
 
 Norwich, Vt. 
 
 1854 
 
 
 Ochs, Traugott 
 
 Altenfeld 
 
 1854 
 
 
 Russell, Louis Arthur 
 
 Newark, N. J 
 
 1854 
 
 
 King, Oliver A. 
 
 London 
 
 1855 
 
 
 Messager, Andre Chas. 
 
 
 
 
 Prosper 
 
 Montlucon 
 
 
 
 
 'allier 
 
 1855 
 
 
 Renaud, Albert 
 
 Paris 
 
 i8s5 
 
 
 White, John . 
 
 W. Springfield, 
 
 
 
 Mass. 
 
 1855 
 
 
 Bird, Arthur . 
 
 Cambridge, 
 
 
 
 
 Mass. 
 
 1856 
 
 
 Brewer, John Hyatt 
 
 Brooklyn, 
 
 
 
 
 N. Y. 
 
 1856 
 
 
 Elgar, Edw. Wil. . 
 
 Broadheath, 
 Worcester, 
 
 
 
 
 England 
 
 1857 
 
 
 Pasmore, Henry Bickford 
 
 Jackson, Wis 
 
 1857 
 
 
 Spinney, Rev. T. Her- 
 
 
 
 
 bert S. . . . 
 
 Salisbury 
 
 1857 
 
 
 Kohout, Franz 
 
 Hostin, Boh. 
 
 1858 
 
 
 Shelley, Harry Rowe 
 
 New Haven, 
 
 
 
 
 Conn. 
 
 1858 
 
 
 Coombs, Chas. Whitney . 
 
 Bucksport, 
 
 
 
 
 Me. 
 
 x8S9 
 
 
 Smith, Gerrit . 
 
 Hagerstown, 
 
 
 
 
 Md. 
 
 1859 
 
 
 Haynes, Walter Battison . 
 
 Kemprey, 
 
 
 
 
 Eng. 
 
 1859 
 
 
 Erb, Maria Joseph . 
 
 Strassburg 
 
 i860 
 
 
 Woyrsch, Felix von 
 
 Troppau, 
 
 
 
 
 Silesia 
 
 i860 

 
 CHRONOLOGICAL TABLE 
 
 337 
 
 XT . ..w^ 
 
 Place and Date of i 
 
 Place and Date of 
 
 JN AME. 
 
 Birth. 
 
 
 Death. 
 
 Bossi, Marco Enrico 
 
 Salo, Italy 
 
 1861 
 
 
 Truette, Everett E. . 
 
 Rockland, 
 
 
 
 
 Mass. 
 
 1861 
 
 
 Owst, Wilberfoss Geo. . 
 
 London 
 
 1861 
 
 
 Wild, Harrison M. 
 
 Hoboken, 
 
 
 
 
 N.J. 
 
 1861 
 
 
 Woodman, Raymond 
 
 
 
 
 Huntington 
 
 Brooklyn, 
 
 
 
 
 N. Y. 
 
 1861 
 
 
 Boellmann, Leon 
 
 Ensisheim 
 
 1862 
 
 Paris 1897 
 
 Chapius, Augusti-Paul- . 
 
 
 
 
 Jean Baptiste 
 
 Dampierre- 
 
 
 
 
 sur-Salon 
 
 1862 
 
 
 Harris, Charles Albert 
 
 
 
 
 Edwin 
 
 London 
 
 1862 
 
 
 Mirande, Hippolyte 
 
 Lyons 
 
 1862 
 
 
 Walter, Cari . 
 
 Cransberg, 
 
 
 
 
 Taunus 
 
 1862 
 
 
 Bennett, George John 
 
 Andover, Eng 
 
 1863 
 
 
 Combs, Gilbert Raynolds 
 
 Philadelphia, 
 
 
 
 
 Pa. 
 
 1863 
 
 
 Noszler, Karl Eduard 
 
 Reichenbach 
 
 1863 
 
 
 Parker, Horatio Wil. 
 
 Auburn dale. 
 
 
 
 
 Mass. 
 
 1863 
 
 
 Pierne, Henri-Constant- . 
 
 
 
 
 Gabriel 
 
 Metz 
 
 1863 
 
 
 Sinclair, George R. 
 
 Croydon, Eng 
 
 1863 
 
 
 Shepard, Frank Hartson . 
 
 Bethel, Conn 
 
 1863 
 
 
 Tonking, Henry C. 
 
 Camborne 
 
 1863 
 
 
 West, John Ebenezer 
 
 So. Hackney, 
 
 
 
 
 London 
 
 1863 
 
 
 Tebaldini, Giovanni 
 
 Brescia 
 
 1864 
 
 
 Cari, WU. Crane . 
 
 Bloomfield, 
 
 
 
 
 N.J. 
 
 1865 
 
 
 HolUns, Alfred 
 
 Hull, Eng. 
 
 1865 
 
 
 Lemare, Edwin H. . 
 
 Ventnor, Eng 
 
 .1865 
 
 
 Donizetti, Alfredo . 
 
 Smyrna 
 
 1867 
 
 
 Davies, Henry Walford 
 
 Owestry 
 
 1869 
 
 
 Dunkley, Ferdinand 
 
 London 
 
 1869 
 
 
 Goodrich, Wallace . 
 
 Newton, 
 
 
 
 
 Mass. 
 
 1871 
 
 
 BQsser, Henri-Paul . 
 
 Toulouse 
 
 1872 
 
 
 Loud, John Hermann 
 
 Weymouth, 
 
 
 
 
 Mass. 
 
 1873 
 
 
 Dethier, Gaston M. 
 
 Liege 
 
 1875 

 
 INDEX 
 
 Abeille, Joh. Chr. Ludwig, 109. 
 Adam, Adolphe, 161. 
 Adams, Thomas, 137, 147, 203. 
 Adlung, Jacob, 106. 
 Aichinger, Gregor, 10. 
 Albrechtsberger, Joh. Georg, 107, 
 
 108, no. 
 Alcock, John, 125. 
 Allen, Nathan H., 276. 
 Alraschid, Haroun, 3. 
 Amner, John, 39. 
 Andrews, G., 295. 
 Andrews, J. Warren, 288, 289. 
 Archer, Frederick, 212-215, 222. 
 Armstroff, Andreas, loi. 
 Arne, Doctor, 126. 
 Arnold, Samuel, 39, 127, 128. 
 Aspull, 112. 
 Attwood, Thomas, 128-130, 186, 
 
 192, 234, 235. 
 Austin, J. T., 310. 
 
 Babcock, W. J., 269. 
 
 Bach (other than J. S.), 74-76, 
 79, 98, 99, 103, 105, 106, 115, 
 148. 
 
 Bach, J. S., 6, 9, 10, 12, 16, 20, 
 22, 70, 74, 76-98, 100, 102, 
 103, 104, 105, 106, 107, III, 
 131, 132, 138, 139, 140, 142, 
 143, 146, 147, 149, 151, 153, 
 155. 157. 158, 173. 202, 203, 
 221, 222, 234, 236, 237, 250, 
 254, 260, 292, 297, 298. 
 
 Baldwin, Samuel A., 270, 294. 
 Bancroft, Silas A., 261. 
 Bannister, John, 67. 
 Barcroft, George, 39. 
 Barker, C. S., 303, 304, 305, 309. 
 Barnard, Rev. John, 41. 
 Barnby, Sir Joseph, 238. 
 Barrel!, Edgar P., 295. 
 Barrett, Wm. A., 29, 60, 216. 
 Batiste, Antoine E., 162-166, 
 
 199, 274, 275. 
 Batten, Adrian, 39. 
 Battishill, Jonathan, 127. 
 Beale, H. W., 274, 281. 
 Beckwith, 128. 
 Beethoven, L. von, 19, 107, 108, 
 
 no, 155. 
 Bennett, Joseph, 233, 237, 238. 
 Bennett, Sir W. Sterndale, 25, 
 
 226. 
 Benoist, Francois, 161, 167, 181. 
 Berkely, Bishop, 241. 
 Bernhard, 5, 23. 
 Best, W. T., 193, 199-205, 219, 
 
 222, 224, 229, 272, 287, 298, 
 
 306. 
 Bevin, Elway, 36. 
 Bird, Arthur, 150. 
 Bishop, Sir Henry, 134. 
 Bishop, J. C, 302, 303. 309. 
 Bissell, Simeon, 281, 282. 
 Bissell, Thomas, 281. 
 Blitheman, William, 33. 
 Blondell, 249. 
 
 339
 
 340 
 
 INDEX 
 
 Blow, John, 47, 48, 50, 52, 56, 
 
 57, 5^' 60. 
 
 Boely, Alexandre, 158. 
 Booth, Jos., 303, 304, 309. 
 Bossi, Enrico, 184, 185. 
 Bowman, Edward Morris, 275. 
 Boyce, Dr. William, 39, 46, 48, 
 
 58, 62, 121, 122, 124, 126, 127, 
 128. 
 
 Brattle, Thomas, 239. 
 Bridge, Joseph Cox, 225. 
 Bridge, Sir John, 225, 275. 
 Bridge, R., 302. 
 Brind, Richard, 61. 
 Britton, Thomas, 66. 
 Bromfield, Edward, 242, 243. 
 Brooks, Henry M., 243. 
 Brown, P. B., 295. 
 Bruhns, Nikolaus, 22. 
 Bryceson, 305. 
 Buck, Dudley, 268-271, 272. 
 Bull, Dr. John, 33-36. 
 Buononcini, 61. 
 Burdette, George A., 295. 
 Burkenhead, John L., 245. 
 Burney, Doctor, 5, 60, 70, 125, 
 
 126. 
 Busby, Doctor, 128, 129. 
 Biisser, Henry Paul, 182. 
 Buttstedt, J. H., loi. 
 Buxteiiude, Dietrich, 20-22, 65, 
 
 77, 78, 120. 
 Byiield, 302. 
 Byrd, William, 31, 32, 33, 37. 
 
 Callcott, John Wall, 128, 129. 
 Callaerts, Joseph, 183. 
 Calvisius, Seth, 11. 
 Camidge, John, 128. 
 Caniidge, Matthew, 129. 
 Camidge. Jr., John, 129. 
 Capocci, Gaetano, 184. 
 Capocci, Filippo, 184, 185. 
 Carl, William C, 286-294. 
 Carter, Ahce, 279. 
 Carulli, Gustavo, 171. 
 Casson, 307. 
 
 Cavaille-Coll, 173, 178, 303. 
 Cavalli, Pietro F., 27. 
 
 Chadwick, George W., 154, 295. 
 
 Charlemagne, 2. 
 
 Chauvet, Charles Alexis, 159, 
 
 170, I73' 
 Childe, William, 36, 39, 40. 
 Chipp, Dr. Edward, 193, 194. 
 Chorley, Henry F., 141, 144, 
 
 219. 
 Chouquet, Gustave, 168. 
 Clarke, Jeremiah, 48, 50, 57, 58, 
 
 61. 
 Clarke, Rev. F. Scotson, 217. 
 Clementi, 18. 
 Clemm, John, 242. 
 Clerembault, 162. 
 Cliquot, 178. 
 Coerne, Louis, 295. 
 Colborne, Langdon, 228. 
 Cooke, Benjamin, 54, 124, 127. 
 Cooke, Henry, 47, 50. 
 Cooper, George, 191, 192, 216, 
 
 231. 
 Cooper, Samuel, 249. 
 Coppeau, 162. 
 Corelli, 57. 
 Corey, N. J., 295. 
 Corfe, 128, [97, 198, 228, 250. 
 Coward, James, 199. 
 Croft, William, 48, 55, 57, 58, 
 
 59,61. 
 Crotch, Doctor, 129, 133, 135, 
 
 136, 224. 
 Ctesibius, i. 
 Cummings, 302, 308. 
 Cushman, Charlotte, 256. 
 Cutter, E., 295. 
 
 Dallarn, Ralph, 40, 43, 300. 
 Dallam, Robert, 43, 300. 
 Dallam, Thomas, 300. 
 Davenant, William, 42. 
 Dehn, S. W., 149. 
 Delibes, 169. 
 Despres, Josquin, 7. 
 Dethier, Gaston M., 293. 
 Dietsch, 176. 
 Dipper, 244. 
 Douglas, Ernest, 295. 
 Draghi, John Baptista, 51, 52.
 
 INDEX 
 
 341 
 
 Dubois, C. F. Th., 159, 168-170, 
 
 177, 17S, 182. 
 Dubourg, Matthew, 67. 
 Ducis, Benoit, 7. 
 Ducroquet, 303. 
 Duddington, Anthony, 28. 
 Dunham, Henry M., 283, 284, 
 
 294, 295. 
 Dupuis, Thomas Saunders, 126. 
 Dwight, J. S., 250. 
 
 Eberlin, Joh. Ernst, 106. 
 Eddy, Clarence, 150, 282, 283, 
 
 286, 294. 
 Elvey, Sir George, 195, 210, 216, 
 
 219. 
 Elwart, Professor, 172. 
 England, G. P., 69. 
 Enstone, Edward, 240. 
 Erbach, Christian, 10. 
 Erben, 241. 
 Erdmann, 85. 
 Erich, David, 22. 
 Eybler, 107. 
 
 Faber, Nicolas, 4. 
 
 Faisst, E. G. F., 140, 152. 
 
 Falk, Louis, 275. 
 
 Farrant, Richard, 32. 
 
 Faure, Gabrieli Urbain, 176, 177. 
 
 Festing, Rev. Michael, 62. 
 
 Fetis, 177, 183. 
 
 Fink, 140. 
 
 Flagler, I. van Vleck, 274. 
 
 Flight & Robson, 137. 
 
 Flight, B., 302, 308. 
 
 Foote, Arthur, 295. 
 
 Franck, Cesar, 159, 177, 181, 182, 
 
 292. 
 Frescobaldi, G., 15, 26, 27, 118. 
 Friese, Heinrich, 82. 
 Froberger, J. J., 14-16, 38. 
 Fux, Joh. Joseph, 17-20, 113. 
 
 Gabrieli, Andrea, 23-25. 
 Gabrieli, G., 8, 12, 24, 114, 183. 
 Gansbacher, Johann, no. 
 Garrett, George Mursell, 211, 
 238. 
 
 Gauntlett, Doctor, 146, 187, 188, 
 
 193. 304-306, 309. 
 Gerber, Heinrich N., 107. 
 Giafur, 3. 
 
 Gibbons, Christopher, 15,38, 42 
 Gibbons, Rev. Edward, 36, 38. 
 Gibbons, Ellis, 37. 
 Gibbons, Orlando, 36-39. 
 Gibbs, Miss Grace, 242. 
 Gigout, Eugene, 159, 176. 
 Giles, James, 282. 
 Godard, B., 170. 
 Goodrich, Wallace, 291, 292, 
 
 296. 
 Goodson, 250. 
 Goss, Sir John, 186, 187, 216, 
 
 226, 234-236. 
 Graff, Johann, loi. 
 Gram, Hans, 246. 
 Grani, Aloys, 25. 
 Gray, 136. 
 
 Gray & Davison, 199. 
 Greene, Maurice, 58, 61, 62, 70, 
 
 121, 122, 125. 
 Grover, Hon. W., 257. 
 Grunicke, 294. 
 Guilmant, A., 158, 159, 165, 170, 
 
 175. 177. 178, 182, 204, 222, 
 
 275, 2S6, 287, 291, 294, 295, 
 
 314.315- 
 Gyles, Nathaniel, 32. 
 Gyrowetz, no. 
 
 Hale, Philip, 150, 296. 
 Hall, Walter E., 281, 294. 
 Handel, Georg Friedrich, 61, 
 
 62, 75' 77. 81,88-97, 123. 125, 
 
 130, 172, 173, 197, 201, 244. 
 Harris, Renatus, 43, 52, 300, 301. 
 Harris, Thomas, 43, 300. 
 Hassler, Leo, 24. 
 Haupt, Karl August, 148-151, 
 
 266, 271, 273, 275, 276, 286, 
 
 287, 289. 
 Hauptmann, 226, 251, 269. 
 Haus, Henry de, 282. 
 Hawkins, Sir John, 70. 
 Haydn, Joseph, 19, no, 130. 
 Hayter, A. W., 250.
 
 342 
 
 INDEX 
 
 Hayter, George F., 250. 
 
 Heitmann, Johann J., 82. 
 
 He ring, 140. 
 
 Herman, Wex, 279. 
 
 Herzog, Johann Georg, 140, 151, 
 
 152. 
 Hesse, Adolph Friedrich, 147, 
 
 148. 
 Hewitt, Miss (Ostinelli), 249. 
 Hildebrand, 87. 
 Hill & Son, 187, 207, 305. 
 Hingston, John, 42. 
 Hodges, Edward, 246, 247. 
 Holland, 247. 
 
 Hook & Hastings, 243, 260. 
 Hope-Jones, 305, 307, 309. 
 Hopkins, E. J., 189-192, 211, 
 
 217, 222, 238. 
 Hopkins, John, 189. 
 Hopkins, Thomas, 189. 
 Houghwart, Charles, 281. 
 Howland, C. A., 295. 
 Humfrey, Pelham, 47, 50. 
 Hummel, 107. 
 
 Inglott, WilHam, 36. 
 Isham, John, 58. 
 
 Jackson, Dr. G. F., 246, 249 
 Jacob, Benjamin, 132, 133. 
 Jordan, Abraham, 301, 302. 
 
 Kauffmann, George, loi. 
 Kerl, Johann Kaspar, 16, 17. 
 King, Charles, 61. 
 Kirchoff, Gottfried, loi. 
 Kittel, Joh. Christian, 105, 106, 
 
 III. 
 Kleber, Henry, 279. 
 Klein, Bernhard, 148. 
 Knake, 279. 
 
 Knecht, Justin Henry, 108. 
 Knoetchel, 245. 
 Krebs, Joh. Tobias, 104. 
 Krebs, Ludwig, 104. 
 Kuhnau, Johann, 65, lOl. 
 
 Lablache, L., 194. 
 
 Lang, B. J., 252, 253, 255, 256, 295. 
 
 Lange, Samuel de, 158. 
 Lavves, Henry, 42. 
 Lefebure-Wely, 160, 161, 162, 
 
 178. 
 Lemare, Edwin H., 231. 
 Lemmens, N. J., 159, 166, 167, 
 
 172, 183, 206. 
 Leporin, 64. 
 Lieding, George D., 22. 
 Liszt, F., 222. 
 Locke, Matthew, 47, 49. 
 Locke, Warren A., 296. 
 Loosemore, H., 43. 
 Loosemore, J., 301. 
 Loret, 159. 
 
 Loud, J. Hermann, 293, 294. 
 Lowe, Edward, 46. 
 Lully, 47, 113. 
 Lux, F., 222. 
 Luzzaschi, L., 26. 
 
 MacCaffrey, 279. 
 
 MacDougall, H. C, 285, 286, 
 
 296. 
 Macfarren, Sir George, 231. 
 Macfarren, Walter, 231. 
 MacLean, Doctor, 300. 
 Mailly, Alphonse, J. E., 183, 
 
 206. 
 Mallet, 245. 
 
 Marchand, Louis, 80, 81, 159. 
 Marmontel, 182. 
 Marpurg, 18, 107. 
 Martin, Sir George, 229-231, 238. 
 Mason, Dr. Lowell, 261, 262. 
 Massenet, 177, 182. 
 Mattheson, Johann, 64, 65, 88, 
 
 89, 90. 
 Maxson, Frederick, 290, 291. 
 Mellor, C. C, 281, 282. 
 Mellor, John, 281. 
 Mendelssohn, 145-147, 151, 152, 
 
 155, 188, 192, 194, 202, 203, 
 
 206, 236, 237, 260. 
 Merkel, Gustav, 140, 152, 153, 
 
 165, 222. 
 Merklin, 173. 
 
 Merulo, Claudio, 24, 25, 114. 
 Meyerbeer, no.
 
 Il^DEX 
 
 343 
 
 Middelschulte, Wilhelm, 289, 
 
 290, 294. 
 Milton, John, 41. 
 Moitessier, 304. 
 Moran, 248. 
 Morgan, George W., 150, 256, 
 
 259, 260, 272. 
 Morgan, J. P., 275. 
 Morley, John, 33. 
 Morse, Charles H., 284, 285, 
 
 296. 
 Moscheles, I., 136, 226, 251, 269. 
 Mosel, 107. 
 
 Mozart, 19, 129, 223, 224, 236. 
 Mueller, F. F., 251. 
 Muffat, August G., 113. 
 Muffat, George, 113. 
 Miiller, August E., 109. 
 Mulliner, Thomas, 30. 
 Mundy, John, 32, 39. 
 
 Nares, Doctor, 125. 
 Naumann, 140. 
 Neidermeyer, 176, 182. 
 Nichol, Horace W., 277, 278. 
 Nivert, 162. 
 Norris, Homer A., 296. 
 
 Oakeley, Sir Herbert, 112, 210, 
 
 230, 238. 
 Okeghem, Jean, 7. 
 O'Shea, John, 296. 
 Otten, Joseph, 279. 
 Otto, Julius, 153. 
 Ouseley, Sir Frederick, 38, 46, 
 
 194-198, 216, 226, 228. 
 
 Pachelbel, Johann, 100, 103, 1 17- 
 
 119. 
 Paine, John Knowles, 150, 256, 
 
 267, 268, 274. 
 Parchebel, C. T., 241. 
 Parker, Horatio W., 154, 296. 
 Parker, J. C. D., 251, 252. 
 Parratt, Henry, 218. 
 Parratt, Thomas, 218. 
 Parratt, Sir Walter, 216, 218- 
 
 224. 
 Peace, Albert Lister, 224. 
 
 Pearce, Stephen Austen, 266. 
 
 Pepin, 2. 
 
 Pepusch, Doctor, 67, 68, 121, 
 
 123, 124, 125. 
 Pepys, Samuel, 47, 50, 124. 
 Petter, 104. 
 Pfefferkorn, Otto, 295. 
 Phillips, Arthur, 46. 
 Pierne, H. C. G., 181. 
 Piggott, Francis, 57. 
 Plaidy, 226, 251, 269. 
 Prastorius, Bartholomseus, 11 
 Prastorius, Hieronymus, 10. 
 Praetorius, Johann, 11. 
 Prastorius, Michael, 11, 25. 
 Preindl, Joseph, 109, iii. 
 Prout, E., 222. 
 Purceil, Daniel, 61. 
 Purcell, Edward, 51, $2. 
 Purceil, Henry, 47-57, 60, 61, 
 
 68. 
 Purcell, Thomas, 50, 51. 
 
 Radcliffe, W., 295. 
 
 Randall, Doctor, 136. 
 
 Redford, John, 28. 
 
 Reinken, John Adam, 9, 22, 82. 
 
 Reissiger, 153. 
 
 Reitz, 226, 251, 269. 
 
 Rheinberger, J. G., 153-158, 223, 
 
 291. 
 Richter, E. F., 140, 226, 251, 
 
 269, 288. 
 Rimbault, 46, 191. 
 Rinck, 106, 111-113. 
 Riseley, George, 228, 229. 
 Roberts, Dr. Varley, 294. 
 Rockstro, 19. 
 Rogers, Benjamin, 46. 
 Rohback, Henry, 282. 
 Roosevelt, 309. 
 Rue, De La, 7. 
 
 Safford, Charles A., 296. 
 Saint-Saens, C, 159, 167-169, 
 
 176. 
 Salome, Th. C, 159, 170. 
 Savii, Gianpolo, 25. 
 Scarlatti, Alessandro, 66, 107.
 
 344 
 
 INDEX 
 
 Scarlatti, Domenico, 66. 
 Schaab, 140. 
 .Scheibe, Johann, 86, 87. 
 Scheidt, Samuel, 9, 26, 115. 
 Schein, Johann H., il. 
 Schellenburg, 140. 
 Schenuit, John, 279. 
 Schiedemann, Heinrich, 9. 
 Schieferdecker, J. C, 65. 
 Schmidt, Bernhard, 40, 43, 44, 
 
 , 52. 301- 
 
 Schmidt, Georges, 162. 
 Schneider, Friedrich Joh., 149. 
 Schneider, Joh. Gottlob, 139- 
 
 145' 149' 152, 210, 269. 
 Schubart, 104. 
 Schulhoff, 168. 
 Schulz, Jerom, 10. 
 Schumann, 153. 
 Schumann, Gustav, 271. 
 Schurig, 140. 
 Schiitz, Heinrich, 11, 12, 13, 
 
 25- 
 
 Schutz, 140. 
 
 Scott, Chas. P., 296. 
 
 Sejan, Louis, 160, 161, 162. 
 
 Sejan, N., 139, 160, 162. 
 
 Selby, Edward, 244, 245. 
 
 Seyfried, 107. 
 
 Smart, Sir George, 189, 192. 
 
 Smart, Henry, 188, 189, 199, 
 
 220-222. 
 Smith, Gerrit, 286. 
 Smith, J. C, 125. 
 Snetzler, Johann, 302. 
 Spalding, Walter R., 296. 
 Spark, Doctor, 164, 198, 199. 
 Spitta, Phillip, 88, 114, 115, 117. 
 Spohr, L., 134, 236. 
 Stainer, Sir John, 195, 215, 222, 
 
 226-228, 230, 231, 238. 
 Stamaty, C, 167. 
 Stanfield, W., 296. 
 Stanley, John, 124, 125. 
 Steggall, Doctor, 231. 
 Sterling, W. S., 295. 
 Stewart, Dr. H. J., 227, 292. 
 Stockwell, 248, 249. 
 Swan, Allen W., 296. 
 
 Taft, Frank, 294. 
 
 Tallys, Thomas, 31, 32, 37. 
 
 Taverner, John, 28, 29. 
 
 Taylor, Rayner, 246, 248, 249. 
 
 Taylor, S. P., 249. 
 
 Telemann, George Ph., 102, 103, 
 
 107. 
 Thayer, Eugene W., 150, 255, 
 
 256, 266, 267, 286. 
 Thiele, Louis, 149, 151. 
 Thomas, Ambroise, 169. 
 Thomas, Theodore, 270, 273, 
 
 290. 
 Thunder, H. G., 295. 
 Tilborghs, Joseph, 183. 
 Timm, Henry Christian, 248. 
 Titelouze, Jean, 158. 
 Tombelle, F. de la, 182. 
 Tbpfer, 140. 
 
 Tourjee, Dr. E., 252, 257. 
 Travers, 124. 
 Truette, E. E., 163, 170, 203, 
 
 287, 288, 296. 
 Tucker, H. G., 253. 
 Tuckerman, Dr. S. P., 256, 258- 
 
 260. 
 Tudway, 39, 56. 
 Turle, James, 190. 
 Turner, William, 47. 
 Tye, Christopher, 28, 29. 
 
 Upham, G. Baxter, 254. 
 
 Valbeke, L. Van, 5. 
 
 Valentini, 16. 
 
 Van der Broeck, 166. 
 
 Van Eyken, 140. 
 
 Van Os, Albert, 5. 
 
 Verscbneider, 303. 
 
 Vetter, Nikolaus, loi. 
 
 Vilback, A. C. R. de, 167. 
 
 Vitalian, 2. 
 
 Vogler, Joh. Caspar, 104, no. 
 
 Vogt, A. S., 295. 
 
 Von Hagen, 245. 
 
 Walcker, E. F. & Son, 254-256. 
 Walther, Johann, loi, 103. 
 Warren, George W., 267.
 
 INDEX 
 
 345 
 
 Warren, Richard H., 267. 
 Warren, Samuel P., 271, 286, 
 
 296. 
 Webb, George James, 253, 254. 
 Weigl, 107. 
 Weldon, 58, 60, 61. 
 Wesley, Charles, 131, 234. 
 Wesley, Samuel, 128, 130, 133, 
 
 234- 
 Wesley, S. S, 133-135, 198, 235, 
 
 237, 306. 
 Whelpley, B. L., 296. 
 Whiting, George E., 251, 271- 
 
 273' 294- 
 Whitney, S. B., 274, 296. 
 Wider, CM., 159, 165, 173, 177, 
 
 178, 291. 
 Wiegand, Auguste, 205, 206. 
 Wieprecht, 266, 271. 
 
 Wild, Harrison M., 288, 294. 
 Wilkins, Hervi D., 276. 
 Willaert, Adrian, 23-25. 
 Willcox, John H., 255, 256, 260- 
 
 263. 
 Willis, 224, 304, 309. 
 Wilson, Doctor, 42. 
 WoUe, Fred. J., 295. 
 Wood, Anthony, 42. 
 Woodman, R. II., 294. 
 Wry, H. E., 296. 
 Wiilcken, Anna M., 83. 
 Wulstan, 3. 
 
 Young, 200. 
 
 Zachau, 63. 
 
 Zeuner, Carl, 249, 258. 
 
 Ziegler, Joh. Gotthilf, 105.
 
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