100 years and counting
One can only wonder if The Diapason’s founder, Siegfried E. Gruenstein, envisioned the day his magazine would turn 100. The fiftieth anniversary issue, December 1959, noted:
Siegfried E. Gruenstein, a rare combination of competent organist and professional newspaper man, founded The Diapason in 1909 against the advice of his elders among organists, builders and well-wishers. That it grew and prospered under his forty-eight years guidance was due wholly to his skill, his impartiality and his taste.
Mr. Gruenstein listened to all of the advice offered, and did not follow any of it. He persisted in going ahead, and the initial issue, all of eight pages, made its appearance. A few leaders in the organ profession offered encouragement (Clarence Eddy, William C. Carl, Peter Lutkin, and Harrison Wild). Others gave the paper three to six months to live. At the end of the first year, the record showed a net profit of $15, a paid circulation of 200, and accumulated assets of a desk, a file cabinet, a wastebasket, and much goodwill. We have reproduced the first issue as part of this 100th anniversary celebration (see pages 23–30).
When The Diapason was launched, electro-pneumatic action was new, and tubular-pneumatic and tracker-action organs were still being built. The electric fan blower was still new and water motors were being made, while the human blower was not extinct. The Diapason has documented the trends in organbuilding over the last hundred years, from the orchestral/symphonic organ to the American Classic organ, the clarified ensemble, the Organ Reform movement, historically informed organ building, historic replicas, and a rediscovery of Ernest Skinner, Cavaillé-Coll, and Henry Willis.
The Diapason has served as a mirror of the organ culture in this country, documenting the work of builders, players, teachers, and composers. To read through the issues of The Diapason from 1909 to the present is to read the history of organ building, performance, pedagogy and composition in the United States for the last century. What have we learned from the last 100 years? Perhaps that the organ can exist in many forms, can be beautiful and expressive in many different ways, and inspire and uplift us in its numerous incarnations.
Dare we imagine the world of the pipe organ 100 years from now? What will the next 50 years, the next 25 years, or even the next decade bring? If the past is any indication, the pipe organ will continue to be built, played, and enjoyed, perhaps in ways we cannot envision. There will always be a need and a market for the quality, beauty, and artistic expression that the organ represents. Keep reading as The Diapason embarks on its next hundred years.
A word of thanks
That The Diapason has not only survived but flourished over this first century is due to its many faithful subscribers and advertisers, especially during the current challenging times. The Diapason continues because of the generosity and dedication of its authors and reviewers. Among our many contributing editors who regularly provide columns and reviews, our harpsichord editor Larry Palmer is celebrating his 40th year of writing for The Diapason. James McCray has been writing his reviews of new choral music since 1976. Leon Nelson has written reviews of organ music and handbell music since 1982. Brian Swager has served as carillon editor since 1991. More recently, Gavin Black continues to write “On Teaching” and John Bishop presents “In the wind” every month. And many more writers provide reviews of books, recordings and organ music each month.
Here in Arlington Heights, Illinois, associate editor Joyce Robinson proofs and edits every item, in addition to compiling the calendar and organ recitals, managing classified ads, scanning all the images, and maintaining our website content and electronic newsletter. And I must honor the memory of Wesley Vos, who served as associate editor from 1967–2001 and was largely responsible for bringing me onboard and serving as my mentor.
It has been an honor to serve as editor and publisher for more than 25 years. Every day I feel fortunate to guide this magazine, blessed to work with authors, advertisers, and subscribers who love the The Diapason as I do. I hope you enjoy this 100th anniversary celebration. In addition to images of the past on the cover and the reproduction of volume one, number one, this issue includes reflections on The Diapason and the last hundred years.
Diapason history
December 1919 – founded by Siegfried E. Gruenstein (1877–1957), who served as editor and publisher through December 1957
1919 – official journal of the National Association of Organists
1929 – official journal of the Hymn Society of America
1933 – official journal of the Canadian College of Organists
1935 – official journal of the combined National Association of Organists and the American Guild of Organists
Frank Cunkle – editor, February 1958–September 1970
Robert Schuneman – editor, October 1970–August 1976
Arthur Lawrence – editor, September 1976– March 1982
David McCain – managing editor, April 1982–August 1983
Jerome Butera – editor and publisher, September 1983 to present
Longtime Diapason subscribers
As part of The Diapason’s 100th anniversary celebration, I have noted, in my “Editor’s Notebook” column, our longtime subscribers—those who have subscribed for more than 50 years. The longest subscription is that of Malcolm Benson: 70 years! We salute these subscribers for their many years of faithful support. Our most up-to-date list includes the following:
Fred Becker, Crystal Lake, Illinois, 1959
Bruce P. Bengtson, Wyomissing, Pennsylvania, 1958
Malcolm D. Benson, San Bernardino, California, 1939
Gordon Betenbaugh, Lynchburg, Virginia, 1957
Byron L. Blackmore, Sun City West, Arizona, 1958
Gene Boucher, Annandale, Virginia, 1957
George Bozeman, Deerfield, New Hampshire, 1951
John M. Bullard, Spartanburg, South Carolina, 1953
Merrill N. Davis III, Rochester, Minnesota, 1955
Douglas L. DeForeest, Santa Rosa, California, 1955
Harry J. Ebert, Pittsburgh, Pennsylvania, 1946
Joseph Elliffe, Spring Hill, Florida, 1956
Robert Finster, Canyon Lake, Texas, 1954
Henry Glass, St. Louis, Missouri, 1957
Antone Godding, Oklahoma City, Oklahoma, 1952
Will Headlee, Syracuse, New York, 1944
Charles Huddleston Heaton, Pittsburgh, Pennsylvania, 1947
Victor E. Hill, Williamstown, Massachusetts, 1953
Harry H. Huber, Salina, Kansas, 1943
Lance Johnson, Fargo, North Dakota, 1959
Richard Kichline, Alliance, Ohio, 1953
Christopher King, Danbury, Connecticut, 1952
Bertram Y. Kinzey, Jr., Blacksburg, Virginia, 1945
Allen Langord, Poinciana, Florida, 1950
Arthur P. Lawrence, Lancaster, Pennsylvania, 1953
Michael Loris, Barre, Vermont, 1956
William (Bill) Mollema, Scotts, Michigan, 1957
William H. Murray, Fort Smith, Arkansas, 1959
Mark Nemmers, Dubuque, Iowa, 1954
Barbara Owen, Newburyport, Massachusetts, 1951
David Peters, St. John’s, Newfoundland, Canada, 1954
Patrick J. Rafferty, San Pedro, California, 1950
Thomas Schaettle, Springfield, Illinois, 1949
Robert A. Schilling, Indianapolis, Indiana, 1949
Ronald T. Severin, Orange, California, 1956
Richard A. Smid, Yaphank, New York, 1955
Francis M. Stone, Indianapolis, Indiana, 1953
Frederick Swann, Palm Springs, California, 1946
Rodney Trueblood, Elizabeth City, North Carolina, 1944
Charles J. Updegraph, South Orange, New Jersey, 1953
John Weaver, West Glover, Vermont, 1947
Robert Webber, Phoenix, Arizona, 1947
Harry Wells, Pullman, Washington, 1954
The Rev. Bruce McK. Williams, Albuquerque, New Mexico, 1946
Charles Woodward, Wilmington, North Carolina, 1953
—Jerome Butera
Editor and Publisher
The Diapason
