The First–Restoration
By Patrick J. Murphy
When considering an organ project one must assess the merits of the instrument and the needs of the user. This first of three installments of Restore, Rebuild, Replace—Knowing when to keep, how to use and when to toss out—will deal with Restoration. For the sake of convenience I will address all instruments regardless of action and make.
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Restoration of any given instrument should not be taken for granted. Many fine organs are at times found in a state that does not warrant a strict restoration or are candidates for rebuilding because of misguided alterations in the name of improvements.
To quote noted organbuilder George Bozeman Jr., “Fashion is a vicious, capricious, and cruel mistress. She is so intent in establishing her ever-changing newness that she continuously sweeps her past under the carpet of time. Of course she always misses some of the dusty remnants, and when these evade her broom long enough, she eventually realizes that they weren’t so bad after all. Often these overlooked artifacts then become the inspiration for a new idea in fashions mind.”
Bozeman goes on to say that “The primary victims of fashions ruthless changes are, of course, her most recent accomplishments. Our loudest scorn is for those organs built 20, 30, 40 years ago. What were those people thinking? [Did they] really expect to play real organ music or a normal church service on such instruments?” (Excerpt from AIO convention in 1997).
Each and every instrument regardless of age, builder and condition, I judge first for its integrity of the tonal design, then for its mechanical condition and finally for its potential following a proposed restoration or requested enhancement. Is this a musical instrument to begin with? Would this pipe organ serve the needs of the client in a restored state?
Would it be cheaper to start over or preserve what’s here? In other words does this instrument support congregational singing primarily and/or does it support choral accompaniment? Certainly some instruments should not be restored, simply because they lack creditable integrity—regardless of their age or condition. Remember, an old organ usually costs far less to restore and maintain than a new replacement, and is certainly a better value than an electronic substitute.
When to restore
Some instruments are singularly musical and mechanically unique. They can provide musical evidence as to a style of music or performance. One may first sit down and become impressed by the musical properties of the instrument at hand, although the mechanical functions may be lacking due to age or deferred maintenance.
Sometimes it is easy to decide. The 18th century Tannenburg organ we restored a few years ago in Spring City is a noteworthy example due to its age and quality construction. The 1869 Hook for Epiphany Episcopal in Agora, California and the 1898 Hook & Hastings for All Saints Pittsburgh, were restored because the instruments were first rate survivors providing honest musical and congregational support and real value. While the California organ was a straightforward restoration, he Pittsburgh organ had a new Mixture installed in place of the Great Dulciana to provide brilliance for its new location.
Often a client has asked me to restore an organ that cannot provide adequate hymn leading support, its primary requirement, due to poor voicing, inadequate winding or bad maintenance. Often then only a comprehensive sympathetic reworking of the instrument is the only creditable way to guarantee enduring quality.
On the other hand, sometimes the promise of new or convenience tempts the decision makers to sacrifice longevity and permanence for the sake of fashion. But certainly, those instruments should be preserved whose mechanical and/or electric actions service faithfully with little maintenance–if they suit the needs of the client. Furthermore, an instrument can only sound as good as its organist. A good pipe organ can sound bad in the wrong hands, and a bad pipe organ can sound good in the right hands.
The fact is in some cases, a specific instrument may be needlessly condemned because it does not have an AGO pedalboard, or transposer, or a reliable combination action, or even a single Mixture. Often such accessories can be satisfactorily provided while maintaining the integrity of the instrument as a whole. Thus the preserved instrument can offer its best music having undergone only minimal alteration.
Next in Series: Rebuild