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In the wind . . .

February 27, 2006
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“Won’t you be my neighbor?”

Do you associate a tune with that sentence? The cardigan sweater, the sneakers, the catchy melody, and the slightly off-pitch singing are all icons for the children of baby boomers—those who grew up watching Mr. Rogers’ Neighborhood. I picture a quiet suburban cul-de-sac with ranch houses, station wagons parked on concrete driveways, bicycles on their sides in the tree lawns, kids being sent next door to borrow a cup of sugar, and maybe a spinet piano covered with framed photos. Fred Rogers did his best to teach our children and us how to be good friends and neighbors over the airways of Public Television.
There’s an eight-rank Aeolian residence organ in my workshop right now, Opus 1014, built in 1906 for the home of John Munro Longyear in Brookline, Massachusetts. Mr. Longyear discovered huge mineral deposits in the Upper Peninsula of Michigan, acquired vast tracts of land, and made a fortune bringing the ore to market. He and his wife Mary were devoted students of Christian Science, and they moved to Boston in 1901 where Mary Longyear became a close friend of Mary Baker Eddy, the founder of Christian Science. Following their deaths, their home was left to a foundation in their name that developed the building and grounds into a museum about Christian Science.1 After the museum closed in 1998, the estate was purchased by a developer who built a community of condominium residences on the site. The Organ Clearing House acquired the organ in the summer of 2005, helping the developers create space for a fitness center.
This is a terrific organ, complete with a 116-note roll-player, the famed automatic device that plays the organ using paper rolls. Spending a few months with an organ like this gives one great insight into the standards of a legendary company. In the last years of the nineteenth century, Aeolian began building a list of clients that reads like Who’s Who of the history of American corporations. Aeolian didn’t get such a good name by accident—their organs are beautifully made and uniquely conceived as the last word in personal luxury of their day. The idea that a pipe organ like this would be considered a must-have furnishing in a grand house has captivated me, and with the help of a smashing book I’ve formed a picture of a neighborhood that would knock Mr. Rogers’ socks off.
Rollin Smith’s The Aeolian Pipe Organ and Its Music was published by the Organ Historical Society in 1998 and is available through their catalogue. Go to and buy a copy or two. I took quite a bit of grief at home when my wife realized that the book I was chuckling over was about residence pipe organs, but when I read her a couple passages my point was made. Mr. Smith understands that the heritage of the Aeolian Company is something very special, and he has told us all about it. The book contains plenty of facts about the company’s history. The stories about the early twentieth-century organists who played on, composed for, and recorded on the Aeolian Organ form a fascinating picture of the styles and opinions of early twentieth-century virtuosi—many of whose names are familiar to us today. The importance of the Aeolian Organ as documentation of a school of playing is unequaled—remember that the phonograph was primitive in those days—and the Aeolian rolls are among the earliest accurate recordings of such masters as Marcel Dupré, Clarence Eddy, and Lynwood Farnam. An example of the accuracy of this musical documentation is found on page 227, where Mr. Smith provides a comparison of the first eight measures of the score of the Daquin Noël with a reprint to scale of the same passage as recorded on the Aeolian roll by Dupré. By looking at the length of the notes on the roll, an organist familiar with piece can see clearly that Dupré clipped the first note of the piece short and accented the second (fourth beat of the measure), that he added a low D in the left hand on the fourth beat of the fourth measure (not in the score!), and that he started his trills on the lower note. What a lot of historical information to get from a few dots on a page.
Mr. Smith emphasizes the importance of this documentation by quoting a statement made by Charles-Marie Widor in 1899:

How interesting it would be if it were possible for us to consult a phonograph from the time of Molière or an Æolian contemporary with Bach! What uncertainties and errors could be avoided, for instance, if the distant echo of the Matthäus-Passion, conducted by the composer, could still reach us.
Is it not truly admirable to be able to record the interpretation of a musical work with absolute exactitude and to know that this record will remain as an unalterable document, a certain testimony, rigorously true today, which will not change tomorrow—the quintessential interpretation that will not vary for all eternity?2

But enough about the organists—it’s the patrons that got me going. One of the book’s appendices is an alphabetical list of those who purchased Aeolian organs (page 384). Another is an Opus List that includes the street addresses of Aeolian installations (page 319). Published lists don’t always make good reading, but when I started flipping back and forth between these two I started humming Mr. Rogers’ neighborhood song while in effect reading the Manhattan phone book!
With the help of these lists, I’ve imagined a walking tour of some very special residences, all home to Aeolian organs. Let’s start on the corner of Fifth Avenue and East 92nd Street in Manhattan. Central Park is on the west side of Fifth. When we stand with our backs to the Park we’re looking at the home of Felix Warburg. Mr. Warburg was in the diamond business, and was one of New York’s most enthusiastic musical patrons, serving as a member of the board of directors of both the Metropolitan Opera and the Philharmonic Society. In the 1930s he rescued many prominent Jews from Germany and supported the emigration of musicians such as Yehudi Menuhin and Jascha Heifetz.3 Mr. Warburg’s Aeolian organ (Opus 1054, II/22) was installed in 1909.
We walk south to 90th Street to find the residence of Andrew Carnegie. Inside is Aeolian’s Opus 895 with three manuals and 44 ranks, built in 1900.4 Mr. Carnegie, founder of the Carnegie Steel Corporation of Pittsburgh, Pennsylvania, was an active philanthropist whose generosity resulted in what is now Carnegie-Mellon University. His foundation was responsible for the construction of 2,509 public libraries throughout the English-speaking world.5 And since Mr. Carnegie believed that “music is a religion,” the Carnegie Organ Fund gave millions of dollars in matching grants to help build more than 8,800 pipe organs.6 Walter C. Gale was organist to the Carnegie family for seventeen years, arriving at the house at seven o’clock every morning they were in town. Mrs. Carnegie kept a log book of their Atlantic crossings in which she wrote about their return from Liverpool on December 10, 1901, driving directly to their new home to find “Mr. Gale playing the organ and the garden all covered in snow.”7 One door south from Mr. Carnegie is the residence of Jacob Ruppert8, brewing magnate (Knickerbocker Beer) and owner of the New York Yankees. Unfortunately Mr. Ruppert’s was not the complete household—no Aeolian organ. Still heading south, we cross East 89th Street and pass the Guggenheim Museum. At 990 Fifth Avenue (at 80th Street—two blocks south of the Metropolitan Museum of Art) we find the residence of Frank W. Woolworth who nickel-and-dimed himself into prominence with a chain of stores bearing his name. Mr. Woolworth was one of Aeolian’s best customers. His first instrument was #874 (II/16, 1899). In 1910 the organ at 990 5th Avenue was enlarged to three manuals and 37 ranks (Opus 1144). But why limit yourself to just a city organ? Mr. Woolworth installed Opus 1318 (II/23, 1915) in his second residence, which he called Winfield (his middle name) in Glen Cove (Long Island), New York. Winfield was destroyed by fire in 1916 but fortunately for the local trades and for the Aeolian company, it was rebuilt at three times the original cost, and Mr. Woolworth bought his fourth and largest Aeolian organ, Opus 1410 (IV/107).9 Installed in 1918, this grand organ included the first independent 32¢ Diapason in an Aeolian residence organ.10
Frank Woolworth was one of Aeolian’s few patrons who could actually play the organ. He was wholly devoted to Aeolian organs, to the company, and to the music it provided. His contract for Opus 874 included 50 rolls of his choosing and free membership in the Aeolian Music Library for three years to include an average of twelve rolls per week.11 When mentioning Aeolian rolls, it’s interesting to note that in 1904 the price of the roll-recording of Victor Herbert’s Symphonic Fantasy was $9.25 and a worker in the Aeolian factory earned $11 per week.12 Frank Taft, art director of the Aeolian Company, was one of Woolworth’s close friends. It was Mr. Taft who played the organ for Woolworth’s funeral at his home at 990 Fifth Avenue (Opus 1144) in April of 1919.13
Our tour continues six blocks south to the home of Simon B. Chapin at Fifth and 74th. I wouldn’t have recognized Mr. Chapin’s name without having had an encounter with his “country organ” several years ago. Mr. Chapin was a successful stockbroker. Among other pursuits, he invested his immense personal wealth in large and successful real estate ventures. Most notable among these was his partnership with Franklin Burroughs in the development of Myrtle Beach, South Carolina into a popular resort. The firm of Burroughs & Chapin developed the Seaside Inn (Myrtle Beach’s first oceanfront hotel), and the landmark Myrtle Beach Pavilion. The new shopping district was anchored by the Chapin Company General Store, and to this day Burroughs & Chapin is a prominent real estate development company. He built a lakefront vacation home in Lake Geneva, Wisconsin in 1898, about 75 feet from the shore. The house presents a 115-foot façade that includes a 55-foot screened porch. Aeolian’s Opus 1000 (II/18) was installed there in 1906. He must have been pleased with the instrument because that same year he purchased a two-manual instrument with 15 ranks for his home on Fifth Avenue (Opus 1018).14 One block further south on Fifth Avenue and a couple doors east on 73rd Street we find the home of newspaper publisher Joseph Pulitzer where Aeolian’s Opus 924 (II/13) was installed in 1902. Edward Rechlin was organist to the Pulitzer family, playing from 9:30 to 10:00 each evening they were in town. He was paid $20 an evening and $25 for a family wedding.15
Keep going east on 73rd Street, turn right on Madison and walk one block south to East 72nd and you’ll find the home of Louis Comfort Tiffany. Now this guy knew something about quality of design, and the folks at Aeolian must have been very pleased when Mr. Tiffany contracted for Opus 925 (II/12) in 1902. And once again, a city organ wasn’t enough—Aeolian’s Opus 1146 (II/27) was installed at Tiffany’s second home in Cold Spring Harbor, New York in 1910.16
By the way, Mr. Tiffany’s appreciation of the Aeolian organ was shared by his clients. The Dodge brothers, Horace and John, started their career building automobile chassis for the Ford Motor Company. It didn’t take them long to realize that they would make more money building entire cars, and they formed the company that still bears their name. They each had large Aeolian organs in their Michigan residences. Horace’s first organ was Opus 1175 (II/15) and his second was Opus 1319 (IV/80). John’s only Aeolian was Opus 1444 (III/76). Perhaps Horace was threatened by his brother catching up because in 1920 he purchased Opus 1478. With two manuals and 16 ranks, this organ was not so impressive by itself, but its setting certainly was. It was installed in his steam-powered yacht, the Delphine. The Delphine was 257 feet long, had five decks and a crew of 58, and its interior appointments were designed by Louis Tiffany. The organ was installed across from the fireplace in the walnut-paneled music room.17 It’s fun to imagine Mr. Tiffany and Mr. Dodge sharing their appreciation of the Aeolian organs at Tiffany’s drawing board over snifters of cognac.
From Louis Tiffany’s house, we walk two blocks south on Madison Avenue, then back west to Fifth Avenue, to the home of Henry Clay Frick, another steel industrialist from Pittsburgh. The Frick family moved to New York in 1905 and rented the William H. Vanderbilt residence on Fifth Avenue at East 51st Street (no organ). During this period they built a vacation home at Pride’s Crossing, Massachusetts, and Aeolian Opus 1008 (III/44) was installed there in 1906. Once that house was complete, the Frick family started building their own home in Manhattan at One East 70th Street, on the corner of Fifth Avenue, opposite Central Park. This home was graced by Aeolian 1263 (IV/72), which was shipped from the factory in March of 1914. Mr. Frick also donated an Aeolian organ (Opus 1334, IV/64) to Princeton University in 1915, where it was installed in Proctor Hall of the Graduate College.18
We’ve walked 24 blocks, and I’d like to show you one other organ. It’s a little too far to walk so we’ll take a cab. Charles Schwab, the first president of U.S. Steel, built his West Side home to occupy the entire block between 72nd and 73rd streets on Riverside Drive. With 90 bedrooms it was the largest residence in Manhattan, but Mr. Schwab started small in the Aeolian department—Opus 961 (1904) had only two manuals and 33 ranks. Perhaps he was inspired by his steel colleague Mr. Frick when he ordered the enlargement of the organ (Opus 1032, 1907) to four manuals and 66 ranks.19 We might imagine that Frick’s response was to up the ante with Opus 1263 (IV/72). Do you suppose that the man from Aeolian was encouraging these guys to outdo one another?
Our little tour has taken us past some of Manhattan’s grandest sites. Many of the homes I’ve mentioned have been replaced by modern high-rise luxury condominiums, but it’s fun to imagine a day when Fifth Avenue was dominated by some of the grandest single-family homes ever built. What was it about the Aeolian organ that excited the interest of this group? What extravagant home furnishings are available today that can compare to a $25,000 or $35,000 pipe organ built in 1910 or 1920? However we answer those questions, the Aeolian Company got it right for about 30 years. Then came the Great Depression.

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