The University of Redlands enjoys a reputation as one of the finest private institutions of its size in North America. Since its foundation in 1907, this small liberal arts college has garnered plaudits for its many achievements, drawing students from the United States and many other countries. Few establishments can rival its situation, nestled as it is at the foot of the spectacular San Bernadino Mountains. The area is blessed with a moderate climate throughout the year, enabling the visitor more fully to appreciate not only the imposing mountain scenery but also the delightful Victorian homes and leafy streets which grace the City of Redlands. For those in search of things more exotic and cosmopolitan, Los Angeles is but an hour away; Mexico, just under three.
The campus too is a delight to the eye, with its harmonious blend of architecture both old and new. Particularly attractive is the Memorial Chapel, built in memory of those alumni who gave their lives during the Great War. With its fine acoustics, this noble edifice has been the focal point of many college events over the years, from celebratory graduation ceremonies to commemorative events of more sober import.
A central part of the chapel's life over the years has been Casavant's opus 1230, installed at Christmas, 1927. It has enjoyed an eventful life, the many vicissitudes of which, together with the College's future aspirations for this magnificent example of the organbuilder's art, form the basis of this article. When it came to choosing an organ for the chapel, both the organist, Charles H. Marsh, and the University's Business Manager, George P. Cortner, were determined that the contract be awarded to Casavant Frères1. Marsh was in France studying with Dupré at the time, and discussed the organ project with his illustrious maître in some detail2. In a letter from Paris dated January 4, 1927, Marsh writes to Casavant as follows:
I have your letter of Dec. 18th enclosing specification for the proposed organ at Redlands. Your statement that you seem likely to get the contract gives me great joy. In fact, I have just written Mr. Cortner the strongest letter I can, urging him by all means to accept your proposition which I honestly believe to be superior to anything he could get for the money in the U.S. I have tried to explain to him the superiority of the Casavant materials, workmanship, & voicing over all American makes with the possible exception of Skinner - and inasmuch as you are offering a better balanced organ than Skinner I hope the University will follow my advice & give you the contract.
The addition of a harp stop would be very simple if Mr. Cortner wishes it. There is one suggestion I would like to make and that is the addition of a French Horn to the Solo - if not the addition then the substitution of a French Horn in the place of the Fugara.3
He goes on to relate Dupré's glowing praise for the Canadian company, together with several suggestions regarding the new organ:
. . . he [Dupré] assured me that you could build a French Horn very similar and just as effective as the French Horn that Skinner builds. I have also talked with M. Dupré about the style of the console and he thinks as I do, the French style of stop-knobs on steps or terraces are preferable. I am suggesting this to Mr. Cortner also.
On January 15, 1927, Stephen Stoot writes from Casavant to inform Marsh that the firm's bid for the Redlands organ has been accepted. No problem with the tonal additions, says Stoot:
. . . we desire to state that in the last specification we sent (in contract form) both Harp and Chimes were included, but if a French Horn be desired, this can be added later as our specification provides for one blank knob on the Great, one on the Swell, two on the Choir and two on the Solo.4
On the subject of console design, however, he is a little more guarded:
We were interested in learning of the preference of M. Dupré for the French terraced style of drawstops, and on this point we wish to state frankly that we are willing to build the console in either the French or English style. We would advise you, however, that the prevailing style of drawstop console in the U.S.A. as well as Canada is the English style with the knobs arranged in upright jambs standing at an angle of forty-five degrees. IF, therefore, the French style were chosen for your organ there might be some criticism of the console layout by visiting organists.
The contract dated December 29, 1926, was signed by both parties on January 26, 1927; the final purchase price was $36,200.00. This latter is of particular interest when one notes an earlier comment by Marsh in his letter of January 4:
You will know how genuine is my admiration for your organs when I tell you confidentially that an American organ [sic] offered me 10% of the contract price (and another one, 20%) if one of their organs were put in at Redlands. Neither one of these firms was Skinner.
For the most part, the Casavant archives relating to the Redlands organ contain correspondence between Stephen Stoot and George P. Cortner. According to M. Simon Couture, Joseph-Claver Casavant (1855-1933), the elder of the two brothers who established Casavant Frères in 1879, was himself responsible for the scaling of the new instrument.
The specification of the new instrument as per the contract was as follows:
GREAT
16¢ Double Open Diapason
8¢ Open Diapason No. 1
8¢ Open Diapason No. 2
8¢ Violin Diapason
8¢ Hohl Flote
8¢ Gemshorn
4¢ Harmonic Flute
4¢ Octave
22/3¢ Twelfth
2¢ Fifteenth
V Mixture
16¢ Contra Tromba
8¢ Tromba
4¢ Clarion
Chimes (Ch)
SWELL
16¢ Bourdon
8¢ Open Diapason
8¢ Clarabella
8¢ Stopped Diapason
8¢ Viola di Gamba
8¢ Voix Celeste
8¢ Aeoline
4¢ Principal
4¢ Flauto Traverso
2¢ Piccolo
V Cornet
16¢ Double Trumpet
8¢ Cornopean
8¢ Oboe
8¢ Vox Humana
4¢ Clarion
Chimes (Ch)
Tremulant
CHOIR
16¢ Double Dulciana
8¢ Open Diapason
8¢ Melodia
8¢ Dulciana
8¢ Unda Maris
4¢ Violina
4¢ Lieblich Flote
2¢ Flageolet
8¢ Clarinet
Chimes
SOLO
8¢ Stentorphone
8¢ Gross Flote
8¢ Viole d'Orchestre
8¢ Viole Celeste
4¢ Fugara
8¢ Ochestral Oboe
8¢ Tuba Mirabilis
Chimes (Ch)
Tremulant
PEDAL
32¢ Double Open Diapason (ext)
16¢ Open Diapason
16¢ Violone
16¢ Bourdon
16¢ Dulciana (Ch)
16¢ Gedeckt (Sw)
8¢ Octave (ext)
8¢ Cello (ext)
8¢ Stopped Flute (ext)
4¢ Flute (Sw)
32¢ Bombarde
16¢ Trombone (ext)
8¢ Trumpet (ext)
Pietro Yon, the renowned organist of St. Patrick's Cathedral, New York, inaugurated the Redlands instrument on February 28, 1928 with the following program:5
Second Sonata, F. de la Tombelle
Chimes of St. Marks, A. Russolo
Preludio e Fuga (in D Major), J.S. Bach
Chorale - "Break Forth, O Beauteous, Heavenly Light," J.S. Bach
Cherubic Hymn - "Lo, A Voice to Heaven Sounding," D.S. Bortniansky
A Cappella Choir
Spanish Rhapsody, E. Gigout
Duetto Lirico, D.G. Pagella
A Vesper Prayer, Roland Diggle
Speranza, P.A. Yon
Marche des Bergers, P.A. Yon
Hymn of Glory, P.A. Yon
As to the physical disposition of the instrument, the Great and Pedal are sited in the right-hand chamber as one faces at the stage; sound egress is excellent as the shutters are immediately behind the grillwork. The Swell, Solo and Choir are located on the left-hand side.
Shortly after, Arthur Poister was appointed Chapel Organist and Professor of Organ at Redlands. An eminent student of Dupré, Poister invited guest organists of note from Europe and the United States, and performed the complete organ works of Bach in an heroic series of recitals. His work was continued in grand style by Leslie Pratt Spelman, who began his Redlands career as professor of organ in 1937, became director of the School of Music in 1952 and retired in 1968.
Dr. Spelman is, of course, one of the legends of the twentieth-century American organ scene. His recollections are of interest not only to the organ historian, but also speak volumes about the art of organ pedagogy to those who still have ears to hear:
Poister had already built up a noted reputation for the instrument by the time I arrived at Redlands in 1937. Like Poister, I invited famous organists--Bonnet, Marchal, Weinrich and Crozier, for example --to play at Redlands. I too was a pupil of Dupré, and had him play here during one of his tours in the 1930s. He greatly admired the Casavant, and said that at the time it was "the best organ on the West coast."
When complete and working, the instrument was wonderful! It was a little unusual in that everything was enclosed; not to my taste, I must say, but that was the fad then. But it was ideal for certain types of music, and by planning one's registration and moving carefully from manual to manual, the most wonderful crescendo was possible--almost orchestral in effect, I recall.
Without doubt, it was a marvellous organ for Karg-Elert. I would teach students two Karg-Elert works, planning the registration for the first in minute detail. The students then would play the piece exactly as I had shewn them. Once they had the work under their belt and understood how to manage the crescendi and so forth, then they would learn the second piece, this time entirely on their own.
In those days, the organ was so busy that it was in use until midnight: we had forty-five students back then! The old console took quite a battering, and we had it replaced in the late 1950s with a new one from the Casavant firm.6
After Dr. Spelman's retirement, there was much talk of replacing the Casavant. Several overtures were made to builders on both sides of the Atlantic, all of which came to nought: the Casavant, while perhaps out-of-fashion, somehow stood its ground.
That is not to say that the instrument escaped entirely unharmed. Although the organ was never subjected to wholesale tonal surgery, certain misguided changes were effected. The idea, presumably, was to convert a very romantic organ into a neo-baroque one; as useful and feasible an exercise as trying to put a newly-laid egg back in the chicken. The Swell Cornet V (a Dulciana Cornet according to those who knew the instrument well) was replaced by a quint mixture, with a separate Tierce displacing the Vox Humana. The Clarabella, reputedly a delightful voice,7 made way for a Nazard fashioned from Clarabella pipes. A high-pitched (and decidedly inappropriate) three-rank mixture was added to the Choir. And when the right-hand chamber was left open one day, the Great Mixture suffered damage when a youngster found his way in and walked over the pipework.
In all fairness, the organ has also contributed its own grist for the gremlin mill. A major problem with the Casavant is its ventil chests, which have proved rather unreliable and extremely expensive to maintain. Californian organbuilder Steuart Goodwin, a Redlands alumnus, looked after the organ for many years, and considers the design of these ventil chests " . . . poor and sluggish. Because of the amount of pressure under the pouches, the leather only lasts about twenty years, making maintenance a difficult and costly affair."8 Some of the reeds, particularly in the Swell, are constructed in such a way that regulation and stability have also posed headaches to numerous tuners and builders over the years.
In spite of everything, the Redlands Casavant undoubtedly is a grande dame; a little shaky on her feet, perhaps, but nonetheless possessed of true dignity and bearing. True enough, registering a large concert program is presently a difficult and somewhat thankless task; but the organ still gives freely of its many riches. The Great reeds, for example, are superb specimens, as is the Pedal Trombone (now named Bombarde)--a snorting, lively, brassy creature. On the Solo, the Gross Flöte has power and velvet in equal measure, and is much enhanced by the addition of a tremulant. The total enclosure permits special (but musical!) effects of great drama: for example, the Pedal 32¢ reed, box tightly shut, sits beautifully under Full Swell. Try Full Swell (box open) + Full Great and Pedal (box closed): a tremendous sound. Open the Great/Pedal box very gradually, and the effect is quite unforgettable. When it comes to quieter colors and ensembles, Frederick Swann's masterly recital at the conclusion of the 1996 Redlands Festival showed that this organ has them--and in abundance.
Like its predecessor, the second console gave good service but finally gave up the ghost several years ago. The present, third console, is a handsome affair, custom-built by the Reuter company of Lawrence, Kansas. Reuter has also been generous in its long-standing financial support of the Redlands Organ Festival and associated events.
The late Samuel Swartz did much to bring the Redlands organ to the notice of a wider public through the well-known Redlands Organ Festival. Thanks to his endeavours, organists and convention delegates from around the world gathered every January to hear this fine but weary instrument. Since Dr. Swartz's untimely death in 1993, the Festival has continued under the direction of his successor, Dr. Janet Harms. Dr. Harms is proud not only of the excellent tradition she has inherited at Redlands, but also of the Casavant instrument, which she holds in high esteem.
Having survived cuts, scrapes, and several near-fatal misses, the organ is in sore need of restorative work. Fortunately, the University recognizes that it has a gem in its possession, and is committed to restoring the ailing Casavant to full health: the provision of the new console was the first step in a three-phase process of restorative work. Even if we leave aside all historical considerations (which are legion), the instrument is a worthy one which has served, inspired, consoled and taught many who have heard and played it, from undergraduates and graduating students to listeners and worshippers. Over the years, some of this century's finest organists have made glorious music in the chapel, from Virgil Fox and E. Power Biggs to present-day luminaries such as Frederick Swann, Robert Glasgow and Peter Planyavsky. The organ has also played a major rôle in the training of organists and church musicians at Redlands, including noted figures such as Max Miller, George Ritchie and the late Larry King.
Many similar instruments have fallen by the wayside, turfed out in favor of "more fashionable" organs by "more fashionable" builders. Having survived thus far, the Casavant at Redlands now needs and deserves a helping hand, not to mention a healthy dose of TLC. Aside from preserving the organ for the benefit of future generations, the prospect of this faded but still lovely instrument restored to its former glory is mouthwatering, to say the very least! n
(The author owes many thanks to the following for their help with this article: Casavant Frères of Saint-Hyacinthe, Québec, especially their Archivist, M. Simon Couture; Steuart Goodwin; the Reuter Organ Company of Lawrence, Kansas; Phil Riddick; Dr. Leslie Pratt Spelman; and Dr. Janet Harms and Irmengard Jennings of the University's School of Music for their hospitality and assistance with numerous matters logistical.)
Notes:
1. Dr. Leslie Spelman recalls that Cortner was instrumental in securing the contract for Casavant.
2. According to M. Simon Couture, Archivist of Casavant Frères, Dupré advised Casavant on a number of other instruments from the same period.
3. Letter in the possession of Archives Casavant Frères, Saint-Hyacinthe, Québec, Canada.
4. Letter in the possession of Archives Casavant Frères.
5. Information kindly supplied by Archives Casavant Frères.
6. Telephone conversation with the writer, February 23, 1996.
7. Casavant Clarabellas from the period (the 1920s and 1930s) are quite exquisite.
8. Telephone conversation with the writer, February 23, 1996. On a note of historical coincidence, Mr. Goodwin's uncle attended Yon's inaugural recital in 1928.
